Archive for the ‘Silver’ Category

Flatware, or cutlery, remains among the most popular antique silver today. Spoons, owned and valued by all classes of society, are among the earliest utilitarian silver to survive in any quantity – being small, they had a relatively low value as bullion and were not as readily converted into coin as larger items. Forks were only used for sweetmeats or desserts until the 16th century in continental Europe and the late 17th century in Britain. It was not until the 18th century that matching sets of silver spoons, forks, and knives were produced, but thereafter they were made on a large scale and in an extensive range of patterns. Complete and original sets of flatware are rare and expensive, since individual pieces were often very heavily used and then replaced.
APOSTLE SPOONS
English apostle spoons were made in London and the provinces from the mid-15th to the mid-17th century. They have a fig-shaped bowl and faceted hexagonal stem, and are so called because the cast finials depict the
12 Apostles; originally they were made in sets of 12 or
13 (the thirteenth spoon usually representing Christ), but very few full sets survive today. Spoons were often given as christening presents, the child receiving the spoon representing the saint after whom he was named. Each Apostle can usually be identified by the symbolic object in his right hand – for example keys or a fish for St Peter or a saltine cross for St Andrew. The bowl and stem were created from a single piece of silver, one part being drawn out for the stem and the other hammered into a shaped die for the bowl; the finial was attached with a “V”-joint on pieces made in London; provincial makers used a lap joint. The position of marks on apostle spoons is also distinctive – the town mark is in the bowl; other marks appear on the back of the stem.
Apostle spoons tend to fetch high prices on the market today, as they have been of interest to collectors and antiquarians from as far back as the 18th century. Many fakes were created by cutting off the stem from a similar spoon and adding a reproduction apostle finial. Indistinct features of the apostles are not always a sign that the finial is a fake, because in the 15th and 16th centuries a single mould may have been employed to cast hundreds of finials, so some genuine examples lack sharpness.
SETS OF SILVER FLATWARE
French styles of silver were popular in England after the Restoration in 1660, when King Charles II returned from exile in France. Among the new forms introduced was a type of spoon with an egg-shaped bowl and broad, flat stem ending in a simple trefoil, known as a “trefid” spoon. The bowl was joined to the stem by a tapering rib, or “rat-tail”, and sometimes the back of the spoon was decorated with scrolls in low relief or engraved with a crest or initials. By c.1690 the trefid pattern had flattened out into the “dognose” – the end of the stem had a central curve with a smaller one on either side. Dining forks, used in France and Italy since the 16th century, were also introduced to England at the Restoration; these followed the styles of trefid and dognose spoons and usually had two or three prongs, or tines. Early forks are rare and much sought after. Some fakes have been converted from spoons, but the proportions are slightly wrong and the tines too thin. Usually, early forks were thick and heavy.
By the early-18th-century forks, knives (with rounded cannon- or pistol-shaped handles), and spoons were made as a set – a trend probably influenced by the fashion for dinner services with matching ornament. The first pattern for matching flatware was the “Hanoverian”; it features a flat, rounded end turned upward and a ridge along the front of the handle. Coats of arms or crests were engraved on the back of the stem, since flatware was laid face down on the table in the French manner.
The Hanoverian pattern evolved by the 1760s into the “Old English” pattern, with a plain, rounded end but turned down instead of up (on spoons), according to the new fashion of placing cutlery face up on the table. In the same period, forks were made with four instead of three tines. With increasingly elaborate dining habits, special silver-gilt services for dessert became popular.
Flatware was made in a huge variety of patterns from the late 18th century, especially with the development of mechanized manufacture in Sheffield, which became the most important centre of cutlery production in England. The more popular styles in the late 18th and 19th
centuries included the “fiddle” (with the end of the handle in a fiddle shape), and the more ornate “King’s” and “Queen’s” pattern. Flatware of this date was often supplied with a fitted case.
Today, complete and original sets of flatware, even from the 20th century, are very rare, as pieces were often replaced due to heavy use. When buying flatware, it is important to check for forks that have been trimmed off (this is difficult to detect) and for spoons whose bowls have been reshaped to disguise wear.
CADDY AND MOTE SPOONS
Before the 1770s tea was measured out using the domed caps on tea-caddies; when these were replaced by larger lids a small spoon was kept in the caddy. From the late 18th century thousands of caddy spoons were produced in a diverse range of designs, especially by manufacturers who specialized in “toys” – wine labels, boxes, buckles, and other small items. Like wine labels, caddy spoons are popular with first-time silver collectors.
Among the earliest and most common designs was a spoon with a shell-shaped bowl; other popular novelty forms included a vine leaf with a vine tendril as a handle, a shovel or scoop, and, most coveted by collectors, an eagle’s wing and a jockey cap. Most spoons were made by die-stamping, but heavier and more expensive pieces might be cast. Filigree and handles of bone, ivory, or in other- of-pea rl were also used. In recent years many reproductions of earlier designs have been produced.
Mote silver spoons, or skimmers, were used to skim tea leaves off tea. Made from the early 18th century, they usually have a pierced bowl, with a pattern of circular holes or crosses and scrolls, and a slender, tapering, pointed stem, for unblocking the spout of the teapot. Mote spoons were often made en suite with teaspoons. Some fake mote spoons have been converted from teaspoons, but teaspoons have larger bowls and no pointed end and are shorter.
LADLES AND FISH SLICES
Ladles for serving soup, sauce, punch, and sugar were produced from the 18th century, sometimes en suite with tureens and punch-bowls. The styles tend to follow flatware, but some soup ladles were made with deep-fluted shell bowls. Punch ladles had circular or oval bowls with a lip and a handle of wood, whalebone, or silver.
Fish slices, produced from the 18th century, have a broad pierced blade and turned wooden or silver handle. Early pieces are pierced with simple patterns, but some Victorian ones depict fishing themes. Fish slices are easily damaged, especially on the piercing and where the blade joins the handle.

Apostle spoons
• CONSTRUCTION the finial is joined to the stem on London-made spoons with a “V”-joint and on provincial pieces with a lap joint
• COLLECTING very few complete sets survive today; most are provincial pieces
Marks
The town mark is typically found in the bowl; other marks may appear on the back of the stem
Flatware
• COLLECTING it is important to check patterns closely because of small variations in design; complete and original sets are now rare; those with an equal amount of wear on each piece are most collectable; early forks are valuable; knives made before 1800 are abundant but few have survived in good condition
Marks
These were struck near the stem in the early 18th century but near the handle by the 1770s
Caddyspoons
• CONDITION check for badly repaired pieces, with spoons that have snapped where the bowl joins the stem; filigree spoons tend to be very fragile
• COLLECTING designs are extremely varied
STYLES OF FLATWARE
Sets of flatware with matching decoration were first produced in the early 18th century. These are some common styles.

Featured at Antcollectors Silver:
silve filigree fish slice and fork with ivory handles
silver antique candelabra markings
silver candleabras made in england
silver candlestick pillar
silver candlesticks worth
silver entree dishes
silver ornate tea spoons italy
silver pillar candlestick
silver plated corinthian hexagonal base three light candelabra
silver tray on stand
silver tray with food
silver tray with top
silversmiths london england 19th century

Tureens
Tureens were introduced in the early 18th century, reflecting the French fashion for serving stews, soups and sauces. Legend has it that the tureen was named after the 17th-century Vicomte de Turenne, who reputedly ate his soup from his upturned helmet; in fact, the term derives from the French terrine. From the early 18th century, soup usually accompanied boiled meats, fish, and vegetables as part of the first course and was served to the guests by the host or hostess. As such, the tureen became associated with a show of wealth and was often the most richly ornamented and expensive piece in the dinner service. Sauce tureens replaced sauceboats in the second half of the 18th century and were often smaller versions of soup tureens.
SOUP TUREENS
soup tureens were introduced c.1720, but examples dating from before 1750 are very rare today. Generally circular or oval and of heavy-gauge silver, they were set on four cast scroll, hoof, or ball-and-claw feet with cast scroll, ring, or drop handles at the sides and a domed cover with an ornamental finial; most are engraved with a coat of arms. Tureens designed in the 1730s and 1740s by famous French silversmiths such as Juste-Aurele Meissonnier ( 1695-1750) and Thomas Germain are among the most magnificent pieces of Rococo silver pair of tureens (1734-40), designed by Meissonnier for the English Duke of Kingston, is cast in the shape of lame shells on curving scroll bases, with the covers decorated with cast crustacea, game, and vegetables. These pieces were highly influential: vegetable, fish, and game finials are a feature of European tureens from the 1730s to the 1760x. In the I 750s matching stands and ladles became popular, and many tureens were fitted with detachable liners in thin sheet silver with two end handles; these are often sold separately as baskets. Sheffield-plate liners became more common after the 1770x.
In the Neo-classical period architects such as Robert Adam (1728-92) produced designs for tureens to match the dining-room furnishings. Adam’s designs particularly influenced silversmiths, and tureens of this period arc generally oval on a single pedestal foot, with high loop handles, a ring handle, or an urn finial on the cover, and reeled, beaded, and gadrooned edges; decoration includes fluting, swags, palmettos, and bands of Vitruvian scrolls. Soup and sauce tureens were often made as sets from the 1770x, but these are now rare. Tureens were also made in Sheffield plate. The handles and feet of such pieces were not cast but stamped in two halves from thin sheet metal, filled with lead, and soldered together; in many cases a silver panel was inserted for engraving the armorials.
Early 19th-century Regency tureens contrast strongly with the elegant forms of the late 18th century: massive and of heavy-gauge silver, they are richly decorated with lion masks and Classical ornament and have four cast shell, scroll, dolphin, or paw feet. The best pieces have solid cast crests and heraldic devices on the cover. Due to the increasing popularity of the ceramic dinner service, fewer silver tureens were made in the first half of the 19th century. However, a distinctive form of the 1830s and 1840s was the melon-shaped tureen with cast vegetable finials, typical of the Rococo Revival style.
Silver disks for engraved coats of arms or crests, are often easily visible. More ornate and expensive examples have cast-and-applied swag ornament, with fruit- or bud-shaped finials; some especially fine pieces made by the renowned Birmingham manufacturer Matthew Boulton (1728-1809) also have radiating fluting on the covers. In addition, some sauce tureens were engraved with a crest or coat of arms on both the cover and the body; any armorials on the cover should match those on the body. In the late 18th century engraved armorials Such as these were often ten enclosed within wreaths or ribbon cartouches.
In the early 19th century silver sauce tureens were made in fewer numbers (sometimes in Sheffield plate), as ceramic examples (particularly those in creamware) became more popular and widely available. However, some heavier versions in both silver and Sheffield plate, with large, cast, drop-ring handles and elaborate mounts, finials, and decorative borders, standing on four feet, survive from this period, while the Neo-classical boat shape was revived at the end of the century.
SAUCE TUREENS
Sauce tureens became popular from the 1770s. Unlike traditional cold accompaniments to meat, such as mustard and redcurrant sauces, the new French sauces were served hot – meaning that tureens with lids were more practical than open sauceboats for keeping them warm. Sauce tureens were usually made in pairs or sometimes as a set of four – one for each corner of the table – and some had matching ladles. Single tureens are generally less collectable than a pair, and sets of four fetch considerably higher prices. Some examples have matching stands, as with sauceboats, to protect the table from the heat of the tureen’s contents and to hold the ladle when not in use, although other pieces have covers with a notch inside the tureen where the ladle could be placed.
Like soup tureens of the period, sauce tureens from the late 18th century are characteristically oval or boat-shaped, with elegant upswept loop handles and a single pedestal foot. The cover will often be steeply domed in the centre, with the finial at the same height as the top part of the handles. The body of the tureen was raised from a single sheet of silver, while the handles and foot were made separately and soldered onto the body. The majority of early tureens have cast handles, but from about 1790 a number were made from thick silver wire. These delicate handles, which could be very easily damaged by lifting the tureen when full, were sometimes reinforced at the bottom, but it is always important to make sure that the handles have not been pulled away from the body; nor should there be any cracks or tears on the lid where any reinforcing plate that secures the finial has been damaged and/or repaired.
Sauce tureens of this period tended to be sparingly decorated, usually only with reeding, gadrooning, or beading around the rims, covers, and feet; small, urn-shaped finials on the lid were common, but these
were generally replaced with a single reeded or plain ring handle from the early 1790s on onward. On such plain pieces scratches, dents, and, on versions made from Sheffield plate, inserted

Soup tureens• CONDITION seldom good as many pieces suffered from over-use and cleaning; pieces were raised from a single sheet and should therefore not have scams, thinning of metal may indicate removed armorials
• COLLECTING examples were usually made singly but sometimes in pairs; many were produced with stands, liners (often in Sheffield plate), and ladles, but these are typically missing or have been sold separately
Marks
These should appear on both the cover and the base; armorials on the cover should match those on the body
Sauce tureens• CONDITION with the earliest designs (typically featuring a pedestal foot and loop handles) it is particularly important to check for cracking, splitting, and signs of repair where the foot, finial, and handles, join the body
• COLLECTING examples were made from the I 770s, in pairs or sets of four; from c.1790 reeded or plain ring handles were common on the lid instead of the finial
Marks
The cover and body should feature the same mark; a crest on the cover should match that on the body

18th-19th Century Silver Entree Dishes and Sauceboats
Entree dishes and sauceboats were among the new items of dining silver introduced in France in the late 17th century. French fashion changed European tastes in food: as the new trend developed, the typical plain roast meat served with cold sauces was replaced by soups, stews, and dishes accompanied by hot sauces made from seafood or veal stock, ham and bacon, and herbs and spices. Silver was a particularly useful material for vessels containing these hot foods as it retains heat well. In the 18th century dishes and sauceboats were decorated en suite with plates, tureens and other dining utensils, as the complete dinner service with matching ornaments became the height of fashion.
SILVER ENTREE DISHES
Entree dishes were used for serving the “entree” – the first course of cooked food that came before the main meat course – for example, small game such as hare, pheasant, or partridge. From about the middle of the 18th century they were also known as “hash” or “curry dishes”, from the hot and spicy curries that were introduced to Britain via its extensive trade with India. Today, entree dishes are more popular for serving vegetables or salads.
Made in various sizes and often in pairs or sets of four, these dishes are shallow with a flat bottom and/or four low feet and usually a domed cover with a handle. As with candlesticks, single entree dishes are generally less collectable than a pair or set. The handles, which are sometimes wooden on early examples, are generally detachable, so that the cover can be used by itself as a separate dish. The cover should always fit comfortably into the dish, and both should bear the same marks. Some entree dishes had Sheffield-plate covers, possibly to reduce the cost of the whole piece.
Entree dishes from the mid- and late 18th century are usually oval in form, with a handle on the cover and very little ornament other than gadrooning or fluting around the edges. The finest entree dishes have heavy cast handles in the form of a family crest, but simple reeded or plain ring handles, with leaf decoration covering the locking plate, are more common. Most examples are also engraved with a coat of arms, but some pieces have a coat of arms on the cover and a crest on the base. Those made in the late 18th century tend to Lie much lighter than earlier ones, as the gauge of metal used was considerably thinner. Such pieces should therefore be carefully checked for denting or splitting.
In the early 19th century entree dishes became larger and heavier, with a more pronounced domed shape to the cover, and with ornate cast handles sometimes in the form of vegetables, reflecting the contemporary taste for naturalistic ornament. Shapes became more varied, being square, oblong, round, and cushion-like as well as oval. The simple gadrooning around the rims was often replaced by more elaborate reeding interspersed with flowers, scrolls, or shells.
To keep the food warm, the dish was generally placed either on a dish cross (incorporating a burner) or, from the early 19th century, on a plated heater base, usually made from Sheffield plate, which contained hot water or a block of heated iron. Only a very few entree dishes are found today with their original heater base.
Fewer dishes were being made for the entree course by the mid-19th century, principally because the custom of laying out dishes on the table so that diners could help themselves was replaced by the practice of servants serving food to each of the diners individually as they moved around the table.
SILVER SAUCEBOATS
First introduced c.1715, sauceboats were used for serving gravy or the rich, thick sauces that accompanied meat and fish dishes. They were often made in pairs, and sometimes in sets of four or six for larger services. Like other items commonly made in pair or sets, a single sauceboat is generally less desirable than a pair. The earliest examples of the George I period were double-lipped and stood on a flat oval base with simple scroll handles on either side of the body. The only decorative features were the moulded, wavy rim and engraved armorials. However, this form, which was copied by early European porcelain manufacturers, proved impractical for pouring, and by c.1725 the familiar bulbous form of sauceboat had appeared, with its single everted (out-turned) lip opposite a handle. It was first made with a central pedestal foot; three or four cast hoof, shell, or scroll feet were introduced in the 1740s, and cast masks or shells applied where the feet joined the body. Some sauceboats were made with a matching circular or oval stand and ladle and sometimes a cover.
The body of the sauceboat was generally raised from a single sheet of silver, so no seaming should be evident. For practical reasons, decoration was restricted to gadrooning or punching to strengthen the wavy rims and the shells or masks where the feet joined the body, although crests were sometimes engraved on either side
of the body or under the lip. Cast double-scroll handles were usual until c.1745 and flying-scroll handles (with only one end joined to the body) thereafter, sometimes with leaf decoration.
The sauceboat was a form particularly well exploited in the 1730s and 1740s by the best Rococo silversmiths, often of Huguenot descent – in England, Paul Crespin (1694-1770), Paul de Lamerie (1688-1751), and Nicholas Sprimont (1716-71) – who produced shell-shaped bodies with ornate cast handles
in the form of dolphins, caryatids, birds, griffins, and animals, and cast and applied shells and marine creatures. The bodies of Rococo sauceboats are also sometimes decorated with cast and applied scrolls
and cartouches. Some of the highest-quality sauceboats are gilded inside. Among the finest examples of this period are the set of naturalistic shell-shaped sauceboats with sculptural figural handles made by Sprimont in 1743-4 for Frederick, Prince of Wales.
The prevalence of sauceboats with shell-and-fish motifs indicates the popularity during this period of rich sauces made with fish. Some rare examples have
a body with a double thickness of silver, to be filled with hot water to keep the sauce warm at the table.
In the 1770s the central foot
again became fasionable and bowls were deeper, with a tall loop handle replacing the
scroll handle. However, sauceboats were generally superseded by sauce tureens in this period, although they returned after the 1820s. In the 19th
century, sauceboats were often made in 18th-century styles as part of a ceramic dinner service. Common features of 19th-century sauceboats include a heavy cast foot, applied shell decoration, leaf-capped scroll handles, and three feet. The shell shape was also revived
and was produced in Sheffield plate as well as silver; similarly, the early double-lipped sauceboat was popular in the 1820s and 1830s; examples of this date can be distinguished from the early 18th-century versions by their high, inward-curving handles. Sauce-boats of this period were commonly produced in large sets of varying sizes, especially in response to the expansion of the hotel and catering trades after the mid-19th century.
Entree dishes•
DESIGN the cover may have gadrooned rims on the inside to match the base when turned over and used as a dish.
• CONDITION the cover and handle should both fit properly; lead may show on Sheffield-plate examples –this is caused by bleeding from lead-filled plated and applied handles under heat.
• COLLECTING most entree dishes found today are not in good condition because they have been subjected to considerable use – only the best are collectable; lack of detachable handle (or handle soldered on) reduces value; plated heater bases are often found separately.
Marks
The cover and dish should bear the same marks; armorials on the cover should match those on the base
Sauceboats
• CONDITION the handle should be securely attached –seaming under the handle may indicate repairs; pieces in good condition, raised from a single sheet of silver, should have no seaming; rims are thin and often damaged or repaired; feet are vulnerable to damage.
• COLLECTING pairs are more valuable than singles.
Marks
These are under the body on three-footed pieces and on the edge or inside the foot on pieces with a central foot.

Decorative tableware
In the 18th and 19th centuries the utilitarian plate on dining-tales was complemented by richly
decorative pieces such as bread-, fruit- and cake-baskets, epergnes, and centrepieces. Made as much to display wealth as to be practical, these are characterized by high-quality casting, chasing, and, especially on baskets and epergnes, piercing. Such objects are among the most popular with collectors today because they are particularly attractive as
display pieces on a table.
SILVER EPERGNES
First used at the French court in the 1690s and in England c.1715, the epergne was an elaborate centrepiece for the dinner-table or sideboard. The name “epergne” is probably derived from the French word epargner, meaning “to save”: space could be saved on the table by
bringing together several dishes on one stand. By the 1740s the epergne was associated with the dessert course and generally took the form of a central
pierced basket surrounded by four to six pierced dishes or baskets for holding fruit or sweetmeats. It was most popular during the mid-18th century, when the light and delicate pierced forms, often ornamented with cast shells and flowers, were particularly suited to the Rococo style. Some epergnes, particularly those by the leading English maker Thomas Pitts (c.1723-93), demonstrate the contemporary vogue for chinoiserie, with their pagoda-like canopies with suspended bells.
In the 1760s and 1770s epergnes became wider and headier with the addition of more baskets, and in the 1-80s the influence of the Neo-classical style was
evident, with simpler oval or circular baskets, sometimes with blue glass liners, and decorated with Vitruvian scroll borders and swags. The leading specialist maker of epergnes in late 18th-century England was Thomas Pitts’s son William Pitts (active 1781-1806). Like other silversmiths, he offered clients a choice between more expensive epergnes, which had cast branches and decoration, and less expensive examples with mechanically produced ornament.
Heavier and more solid than 18th-century examples, Regency epergnes are usually mounted on a heavy Square or round foot, with branches ending in large floral sockets supporting cut-glass bowls rather than pierced silver baskets. Very few epergnes were made after this period, as they were generally replaced by the ornamental centrepiece.
SILVER CENTREPIECES
Large centrepieces as a decorative focal point for the dining-table or sideboard have always been among the most expensive items of plate and were often displayed as a sign of the wealth and status of the owner. One of the most famous and inventive pieces is the English silver-gilt Poseidon or Neptune centrepiece of 1741, made for Frederick, Prince of Wales. It features an elaborate stand of sculptural cast dolphins and mermen and is decorated with shells and marine creatures. Although this piece bears the maker’s mark of Paul Crespin (1694-1770), it may in fact have been designed and made by Nicholas Sprimont (1716-71 ); both were
leading English Huguenot makers of Rococo silver. The centrepiece was made with many matching salt-cellars and sauceboats, as befitting a grand table service for a royal patron.
Regency and Victorian centrepieces from the
19th century appear more frequently frequently at auctions today (although North American pieces are rare). Made with or without branches for candles, they usually have a central bowl, either solid silver or pierced with a glass liner, for fruit or sweetmeats. Centrepieces with all their original glass liners are rare today. Female caryatid figures supporting a bowl on a stand with heavy scroll or paw feet are characteristic of the Regency period, whereas later 19th-century centrepieces were made in
a huge variety of designs – naturalistic, sculptural figures were particularly popular. Many Victorian centrepieces were supplied with a flat, mirrored stand known as a “plateau” to enhance the decorative effect, but very often these became separated from the centrepiece and were sold on their own.
In the 19th century there was also a great demand for presentation plate, and the most important firms, such as Hunt & Roskell (est. 1844), Garrards (est. 1802), and Elkington & Co. (est. c.1830) in England, and Odiot in France, employed sculptors to design magnificent silver or electroplate centrepieces for historic or sporting occasions. Such pieces were shown at the 1851 Great Exhibition in London. Centrepieces were also made in Germany and Austria, notably by the firm of Klinkosch, but these are not always of such good quality as English and French pieces because the metal is often thinner. By the second half of the 19th century centrepieces had been scaled down in size and elaborateness, with a single basket on a stand becoming the usual form. This developed into the dessert stand, which had replaced the centrepiece by the end of the century.
Regency and early Victorian baskets were produced in a wide variety of styles, but in many cases they can be distinguished from 18th-century examples by an unpierced body that is embossed and chased with heavy scrolls, flowers, and foliage, or radiating lobes. Silversmiths in the 19th century also reproduced the shell-shaped designs and elaborate patterns that were typical of the Rococo period.
Victorian baskets are generally less expensive and more readily available to collectors today than examples from the 18th and 19th centuries. The handles on these baskets are sometimes bent or damaged (or have been removed altogether), as the weight of the unpierced body puts strain on them. Any basket that does not have a handle should be carefully examined to see if the handle has been removed. As on earlier examples, the feet may also have been pushed up into the body of the basket if it has at some stage been overloaded.
SILVER BASKETS
Silver baskets designed for holding bread, fruit, cake, or sweetmeats are known from the early 17th century, but most of those surviving today date from (.1730 onward. They are oval or circular with pierced sides,
a flat base on a raised foot or four cast feet, and a fixed or swinging bail handle. In many cases, the flat base was engraved with a coat of arms. In the late 1730s and 1740s the leading English silversmiths Paul de Lamerie (1688-1751), Paul Crespin (1694-1770), and
James Schruder (active 1737–(.1752) produced intricate Rococo baskets with delicate pierced designs of scrolls, circles, crescents, and quatrefoils, elaborate engraving and chasing, and asymmetrical handles with cast and applied masks, animals, figures, and birds.
Another feature typical of the Rococo fashion for novelty was the imitation of inexpensive materials in silver; on baskets dating from the first half of the 18th century the sides are often pierced and chased to give the impression of wickerwork strips. Some extremely rare and expensive baskets by the best makers were made in the form of sculptural scallop shells with scroll handles.
By the late 18th century silversmiths used hand-piercing only for the finest baskets, as the majority of pierced parts were mass-produced quickly and
accurately using the newly developed fly-punch. The silver sheet was also much thinner than on earlier pieces, so baskets of this date should always be carefully checked to make sure that the piercing is intact. Simple wirework baskets embellished with chased and applied motifs such as flowers, vine leaves, and sheaves of wheat (for bread-baskets) were also popular in the late 18th century.
Epergnes
• COLLECTING individual baskets may be sold separately; check branches and feet for cracks or repairs
Marks
All detachable parts should be marked; crests or coats of arms on each piece should match
Centrepieces
• COLLECTING mirrored plateaux are now often sold on their own; inscriptions do not add value unless of particular historical interest
Marks
All detachable parts should be marked
Baskets
• DESIGNS solid forms with chased scrolls, flowers, and shells were typical in the early 19th century
• CONDITION piercing is particularly vulnerable to damage and should be checked carefully; ensure that the handle is not bent or damaged due to wear or overloading the basket; feet are prone to pushing LIP through the body on light, sheet-metal baskets
• COLLECTING early 18th-century baskets in heavy-gauge metal are more valuable than later, lighter ones
Marks
Both the handle and body should feature the same mark; marks arc sometimes pierced out.

Dining silver
Plates, salvers, tureens, and other items of dining silver first appeared in the late 17th century, when the complete dinner service, NN ith matching dishes and cutlery, was introduced at the French court. From that period, and especially in the 18th century, elaborate dining silver in the latest fashions was often used to display the wealth and status of the host, and finely engraved coats of arms or crests, identifying the owner, are common features of items such as salvers. For collectors today, heavy and elaborately decorated items including tureens and centrepieces are generally more rare and expensive than flatware, utilitarian drinking vessels such as tankards, and casters, cruets, mustard-pots, and salt-cellars, all available in a great variety of styles.
Plates and salvers
Dinner services, comprising individual plates and cutlery as well as serving dishes for specific courses and foods, were first introduced at the French court in the late 17th -century. Initially they were the preserve of royalty and the aristocracy, but the fashion for complete services spread in the early 18th century to the minor nobility and gentry, who often acquired different parts of the service over a period of time as their finances allowed. Silver plates, of various sizes, were generally made in sets of 12 (and are normally sold as such today). On both plates and salvers, the main decorative feature is usually the engraved coat of arms or crest of the owner, and sometimes the engraving is of very high quality.
PLATES
The earliest plates found on the market today tend to date from the early 18th century, when the first complete dinner services were made. These plates are seldom larger than 25cm (10in) in diameter and are starkly plain, except for a crest or coat of arms engraved on the broad, flat rim. Marks on these plates are generally found on the underside of the rim and should be clearly visible.
Missing or distorted marks usually indicate that the
plate has been altered; new borders may have been added and the rim reshaped to accommodate them.
More common than early 18th-century
plates are those dating from the 1740s
onward. During this time the fashion
for complete dinner services, unified by
matching ornament, reached its peak
and the custom of dining on a grand scale
necessitated services of up to 200 pieces. The standard service included six dozen meat plates, generally 25cm (10in) in
diameter (first-course and dessert plates were slightly smaller), and two dozen soup plates. Larger oval dishes for serving roasts were also made en suite.
Eighteenth- and nineteenth-century plates vary little in design except for the borders. During the 1730s the broad, plain, flat rim was replaced by a narrower, wavy rim (giving the plate a five-sided appearance) with gadrooning. With the development of the Rococo style in the 1740s, shell and gadrooned borders became most common; some of the finest plates have separately cast and applied borders, which should be marked. Simpler patterns of reed-and-tie or beading became fashionable in the 1770s and 1780s. The more elaborate gadroon, shell, and foliage border is characteristic of the Regency period. After about 1840 porcelain services were more popular than silver, and most silver plates made were replacements for or additions to earlier services.
17TH- TO EARLY 18TH-CENTURY SALVERS
Dating from the mid-17th century, the earliest salvers were of thin-gauge metal with a raised central foot, and were made as stands for porringers or candle cups. The finest examples were gilded and richly chased and embossed around the border with acanthus leaves, fruit, and flowers in the Dutch Baroque style. From (.1680 to (.1720 heavier-gauge metal was used, and the central foot, sometimes detachable, was often strengthened with applied cut-card work. In the 1720s the central foot was replaced by three or four small cast (usually bracket) feet, eet, especially on the rarer square, octagonal, or octafoi I -sh aped salvers popular during this period. Salvers before c.1740 often had moulded and applied rims of convex and concave curves.
LATER 18TH- AND 19TH-CENTURY SALVERS
Like plates, salvers from (.1740 onward are generally circular or five- or six-sided in shape, with only the borders and engraved armorials changing in style. On salvers, however, the armorials usually appear in
the centre rather than on the rim. The style of engraving should be contemporary with that of the border and correspond to the date of the marks. In the Baroque period, designs of arms and cartouches were relatively symmetrical, with strapwork and interlacing scrolls; the finest designs on English pieces were by Huguenot engravers such as the Gribelin fatuity.
In the mid-18th century, delicate, asymmetrical designs of flowers, shells, and scrolls reflected Rococo fashions. Salvers were particularly in demand for carrying tea and coffee services. Smaller versions, known as “waiters” (generally less than 20cm/8in in diameter),
ENGRAVING
Engraved designs were traditionally cut into the metal surface by hand with a sharp steel tool known as a “burin” or “graver”; today, most engraving is done
by machine. The technique was particularly popular for reproducing coats of arms, ciphers, and crests. Some of the finest engraving was done in early 18th-century England by such specialists as William Hogarth (1697-1764) and Simon Gribelin (1661-1733). The style of engraving can help to date a piece, but it is not always a reliable method as arms were often re-engraved with a change of ownership.
were also made, and sets of two or more salvers became common. The largest, measuring up to 38cm (15in would usually be engraved with a coat of arms; smaller ones (15-20cm/6-8in) had only a crest. Elaborate Rococo borders appeared, sometimes cast separately, featuring forward and reverse scrolls interspersed with shells, and feet took the form of scrolls or shells. The finest salvers were also flat-chased around the outer edge with designs of scrolls, shells, and foliage.
In the Neo-classical period more restrained borders of gadrooning, reeding, and beading, together with bright-cut engraving of ribbons, husks, and swags, were introduced. However, the taste for more ornate plate in the Regency period led to the appearance of large and heavy, often silver-gilt, salvers with paw feet and richly cast borders of shells, vine leaves, and gadrooning. Throughout the 19th century salvers in 18th-century styles were popular; some earlier salvers were also redecorated with chasing, but the 19th-century style is more elaborate and covers more of the flat surface than on 18th-century examples.

Candelabra – table candlesticks with branches for extra lights – began to be made from c.1660 and increased in popularity, throughout the 18th and 19th centuries. A candelabrum consists of a central shaft with two or more detachable scroll branches supporting candle sockets; sometimes there is also a socket at the top of the shaft. Made in similar styles to candlesticks and by the scone makers, candelabra were likewise generally produced in pairs. Most found today, are in good condition, because they were better made and much more expensive than candlesticks and therefore were not subjected to the same amount of wear or damage.
THE EARLY 18TH CENTURY Silver Candelabra
Although examples are known from the late 17th century, few candelabra dating from before the 1770, survive today. Until the late 18th century most had two branches, but matching branches and stems were not particularly popular or fashionable until c.1750. As on candlesticks, detachable nozzles for the sockets appeared c.1740. To be of value to collectors, a candelabrum should have all its separate parts – the branches, the nozzle, and the stem – in the same style and hearing the same maker’s marks. Before -.1750 branches were often considered awkward and so were discarded and the stem used as a candlestick.
French silversmiths createdd some of the finest Rococo candelabra in the early and mid-18th century. One of the most famous examples is a single three-hranched candelabrum designed in 1734-5 by juste-Aarele Meissonnier (1695-1750), Royal Goldsmith to King Louis XV of France, and executed by Claude DLIVivicr (1688-1747) for the English Duke of Kingston. It has an extraordinary, asymmetrical, spiralling stem with three richly sculpted branches ending in flower-shaped sockets, and a cast finial in the form of a cluster of leaves, which can be removedto hold a fourth candle. Such pieces fully exploit the plastic, sculptural qualities of cast sib, er, and had a particular influence in England, where elaborate Rococo candelabra were made by such leading silversmiths as George Wickes ( 1698-11-61) and Paul de Lamerie (1688-1751) in the 1740s and 1750x. All such pieces are exceptionally rare and valuable today and fetch high prices on the market.
THE LATER 18TH CENTURY Silver Candelabra
In the early 18th century the hour for dining was generally about 3p.m., but lit the latter part of the century it was put back and the main meal of the day was often eaten after dark. For this reason, more light was needed, and so candelabra from the 1770s onward usually have at least three branches. Elegant and light Neo-classical forms, with fluted or plain tapering baluster stems, simple, slender branches, and urn-shaped sockets, all decorated with beading and reeding, were especially popular. Such designs were produced in cast and loaded sheet silver and Sheffield plate; some candelabra have silver stems but Sheffield plate branches, perhaps to reduce the cost. Similarly, candelabra made entirely in Sheffield plate often had a matching set of more expensive silver candlesticks.
THE EARLY 19TH CENTURY Silver Candelabra
Massive, heavy silver-gilt candelabra are characteristic of the Regency period. Made largely to impress, these often form part of elaborate table centrepieces. Magnificent candelabra were made by the leading English goldsmiths Rundell, Bridge & Rundell (est. 1805) and by Paul Story (1771-1844) for the Prince of NXiale, (later King George IV) and his circle. Such pieces – such as one made by Edward Farrell in I824 – have five or more branches, sometimes with double sockets, and stems lit the form of caryatids or mythological figures. Earlier candelabra were often altered to suit new tastes: a pair of candlesticks ordered by the Earl of Carlisle from the firm Parker & Wakelin (est. -.1758) in 1770 was supplemented with double branches in 1780 and triple branches in 1826.
THE LATER 19TH CENTURY Silver Candelabra
Most candelabra made in the later 19th century are of loaded sheet silver or plate, and many have figures supporting the candle sockets or as decoration on the base. After the introduction of oil lighting, some candelabra were converted to oil lamps. in the second half of the 19th century a huge range of items, including candelabra, was produced using the new method of electroplating. Following the invention of the electric battery in the early 19th century, an English doctor named John Wright experimented with electrolysis to coat the surface of base-metal objects with precious metal. In 1840 the Birmingham firm of Elkington & Co. (est. c.1830), in partnership with Wright, took out the first patent for this new process. Known as “electroplating”, it involved the immersion into a plating bath of a nickel object attached to a positive anode and a block of pure silver attached to a negative anode. When the electric current was switched on, silver particles passed through the solution and were deposited on the nickel object; the same process could be used both for gilding and for replacing worn objects.
The introduction of electroplating led quickly to the decline of the Sheffield-plate industry. The new process was far safer than the old one, but its main advantage was that it enabled objects to be formed entirely by traditional silversmithing methods before being plated, making complex sculptural ornament possible. By comparison,handles and borders made in Sheffield plate had to be silver. Condition Is important stamped out from sheet silver, filled with lead, and applied.
Elkington & Co. and the marm, other electroplate manufacturers established in the 1850s and 1860s produced a huge range of electroplated items, from chargers, ewers, and centrepieces richly decorated with valuable ornament in various historical styles to cutlery, frames, and spoon-warmers. Elkington employed the French sculptor Leonard Morel-l.aclertil ( 1820— ) to design splendid Renaissance-style pieces for display at international exhibitions. The firm also used the process of electrotyping - taking a mould front an object and depositing onto it a thin layer of silver, backed with base metal - to produce facsimile copies of a number of historically important pieces of silverware, in particular a collection of Tudor and Jacobean silver held in the Kremlin Armoury in Moscow.
Since such large quantities of electroplate still exist, it is important to buy pieces in the very best condition. Electroplate can usually be distinguished from Sheffield plate by the harsher colour of the pure silver (the sterling standard was used in Sheffield plate) and the lack of visible series, and joins, which are hidden by the layer of deposited silver.

Candlesticks are among today’s most popular and collectable silver items. The earliest-surviving domestic examples date from the mid-17th century, but most found today were made from the 18th century onward. A great variety of styles is available, from the Classical column shape of the late 18th century to the inventive figural and telescopic forms of the 19th century.
Early candlesticks were cast in solid silver, but huge numbers of less expensive examples stamped from rolled silver sheet were being produced in Birmingham and Sheffield by the 1770s – these were among the first-ever items mass-produced by industrial methods. It is important to remember when buying candlesticks and candelabra that most were made as pairs.
Candlesticks Before 1800
Until the age of mass production, silver candlesticks were used mostly by the Church and the wealthy; others tended to be made of less expensive pewter. Examples made before the mid-17th century are rare. Medieval candlesticks, made largely for church altars, featured tripod feet and a pricker (metal spike) to hold the candle: sockets or sconces for the candle were not introduced until the 15th century. Candlesticks were usually made as pairs and are generally sold as such today; single candlesticksmay sometimes be worth as little as a quarter of the value of a pair.
BAROQUE AND QUEEN ANNE STYLES Silver Candlesticks
Although many candlesticks are recorded from before the 17th century, few survive; they were often melted down because they were damaged, or for conversion into coin. In particular, there are very few English candlesticks dating front before the 1650s, as much silver was melted down during the Civil War (1642-9).
In the 17th century most silver candlesticks were raised from thin, hammered sheet metal. The earliest candlesticks found on the market today, dating from the 167()s and 1680s, have stems of fluted Classical columns, or clusters of columns, and octagonal or square bases. Some rare examples have scalloped, richly embossed bases – a speciality of Dutch silversmiths. American candlesticks made before c.1760 are rare; the earliest-known pair, made in Boston, dates from 1675.
In the 1690s immigrant Huguenot silversmiths revolutionized the production of English candlesticks by casting them in solid silver rather than raising them from sheet. The base, stem, and sconce were cast separately and soldered together. The earliest pattern of cast candlesticks, •generally 15 to 18chn (6-7in) high, had a plain baluster stem with a series of knops (bulbous rings) on a square, round, or angled base. During the 17105 and 1720s octagonal and hexagonal faceted stems and bases, typical of the Queen Anne style, became fashionable. These elegant candlesticks, made in the higher-standard (”Britannia”) silver, were plain except for an engraved coat of arms at the bottom of the stem.
ROCOCO AND NEO-CLASSICAL STYLES Silver Candlesticks
The baluster shape remained the most popular design in the early and mid-18th century, but IT, the early 1730s candlesticks were slightly taller (19-23Cro/7e’2_9jlj high), with richer ornament of pleated, lobed forms on the base and stern. The influence of the Rococo style is evident in the chased shell motifs and flared, flower-like nozzles
of examples from the 17305 to the 17605. Some exceptionally fine candlesticks of this period have ornately cast and chased steins of figures holding the candle sconce above their heads. In the 1740s detachable nozzles were added to the spool-shaped sconces for saving dripping wax and for easier removal of candle stabs; some candlesticks found today have replacement nozzles because the originals were damaged or lost. Throughout this period some silversmiths specialized in the production of candlesticks; in England, the best known were the Gould and the Cafe families.
In the 1750 and 1760s simpler forms returned under the influence of the Neo-classical style. Candlesticks of this period, averaging 24 to 28.5cm (9f —I Ist) high, have plain, circular nozzles, square bases, and plain or faceted stems decorated with typically Classical gadrooning around the base, knici and sconce. By c.1765 Corinthian column
candlesticks had become fashionable, and by he 1770S and 1780s the French style of plain or fluted tapering baluster stein on a circular base, decorated with Neo-classical ornament such as reeding, beading, swags, and ram’s heads, was popular. Noted architects such as Robert Adam, James Wyatt, and Sir William Chambers also produced designs for Neo-classical candlesticks as part of their overall schemes for interior decoration.
Simple Neo-classical forms with restrained decoration were particularly v suited to new methods of manufacture. Silversmiths in the growing industrial centres of Birmingham and Sheffield used rolled sheet silver, made in flatting mills, to manufacture candlesticks on a large scale. As this silver was often of very thin gauge, the base of the candlestick was weighted, or “loaded”, with wood, pitch, or plaster of parts for stability. Mass production of loaded candlesticks in Birmingham and Sheffield increased after the opening of assay offices in those two cities in 1773; the candlesticks proved SO popular that London silversmiths often bought in provincially made pieces and overstani them with London marks. Loaded candlesticks were significantly less expensive than cast ones because much less silver was used, and they still fetch lower prices today.
SILVER TAPERSTICKS, CHAMBERSTICKS AND SNUFFERS
From the late 17th century silversmiths made taperstick, — smaller versions of candlesticks (10-13crr/4—Sin) —for holding a taper, or thin candle, with which to melt sealing wax and light tobacco pipes. Since the designs of taperstick, copy almost exactly those of candlesticks, many such pieces were probably supplied as a set, although taperstick, were usually made singly rather than as a pair. Front the irricl century the taperstick was replaced by the waxjack, featuring a central rod, around which the taper was coiled, on a circular foot.
chambersticks were used to light the way at night. Because each member of a household would need one, they were made fit large sets, but pairs were common after c.1800. They usually have a saucer-like base, decorated with reeding, beading, or gadrooning, with a central socket on a short stem, and detachable nozzles from the mid-18th century. Rare, early 17th-centUry chambersticks have long, flat handles, but ring- or scroll-shaped handles were introduced front the 1720s, with a thumb-piece and socket fora conical extinguisher. Some chambersticks also have a pierced slot under the sconce for snuffer scissors, but matching snuffer scissors and chambersticks are rarely found today.
Snuffers (scissor-like implements for trimming and collecting wicks) were an essential accessory for candles before the self-consuming wick was invented c.1800. They were produced by specialist makers. The earliest sets, from the late 17th to early 18th century, have vertical stands with faceted baluster stems and bases similar to contemporary candlesticks, sometimes with a conical extinguisher attached. Later sets have oblong or hourglass-shaped stands, like trays, with feet or handlts. Snuffer trays are sometimes sold today as pen trays.
Silver Candlesticks after 1800
By the late 18th century huge numbers of loaded sheet-silver candlesticks were being made using mechanized production in the English industrial centres of Sheffield and Buirraigham, primarily to meet demand from the newly prosperous middle classes. The Ire, mechanized techniques of rolling sheet silver, die-stamping, and die-sinking gradually began to replace laborious casting methods (although the best-quality candlesticks were still cast). Candlesticks were also among the earliest items made in Sheffield plate. As the 19th century progressed, elaborate surface ornament, in keeping with Victorian taste, and revivals of 17th- and 18th-century styles characterized the production of candlesticks. They remained popular as decorative items even after the invention of gas and oil lighting and, later, electricity.
LATE NEO-CLASSICAL CANDLESTICKS
At the end of the 18th century candlesticks of all kinds —cast, loaded sheet silver, or Sheffield plate — were made either in the Corinthian column style on a square foot, or in the plain or fluted tapering baluster form on a circular foot: both types are decorated with ornament derived from Classical architecture, such as swags, ram’s heads, vreaths, urns, and formal leaves. Thee are generally 25.5 to 31cm ( 10-12m) tall. Sheet-silver and Sheffield-plate candlesticks have Visible seaming lines where the separate sheet or plate parts have been joined. They may also have small holes in the silver (or patches Of visible copper on plate pieces), especially on areas of high relief, caused by overstretching the sheet or plate. Any die-stamped ornament should be sharply defined.
The telescopic adjustable candlestick, a speciality of Sheffield makers, was popular in the late 18th and early 19th centuries. Made in loaded sheet silver and Sheffield plate, it featured a cylindrical stem fitted with telescopic slides rising from the base. Although telescopic candlesticks occasionally appear in auctions today, most do not worl, properly; their restoration can be costly.
THE 19TH-CENTURY REVIVAL STYLES Silver Candlesticks
In the 19th century silver items were produced in an unprecedented range of historical styles, mainly as a result of developments in mechanized production, which meant that manufacturers could reproduce almost any form or type of ornament. The widespread dispersal of aristocratic collections of historic plate also provided inspiration for designers. Motifs such as trefoils and arches derived from Gothic art, while the Rococo — more ornate and bulbous than the original 18th-CCutUry version — remained one of the most popular revival styles throughout the Venture.
REGENCY AND VICTORIAN CANDLESTICKS
In the Regency period (late ISth—cariv :19th centres candlesticks became more ornate, with richer foliate and scroll decoration on the base, at the top of the stem, and around the socket. From about the 1820, and 1830, candlestick-makers concentrated on imitating 17th-and 18th-cenrur.% styles, beginning with the Rococo. Candlesticks in the Rococo Revival taste arc richly chased all over with scrolls and flowers and have undulating baluster stems, but the curves are heavier, the proportions less balanced, and the sconces more bulbous than on 18th-century originals; most were also made of loaded sheet silver, rather than cast as they would have been in the first half of the 18th century. Since mechanized manufacture resulted in less expensive products, large sets of matching candlesticks were more popular in this period than
Candlesticks in revival styles were produced in both larger and smaller versions of the originals; man, were also made as exact copies of originals to replace those that were damaged or lost, although there are although a number of fakes. Figural candlesticks were particularly popular during the 19th century, reflecting contemporary taste for novelty pieces. Subjects for figural candlesticks included caryatids, knights in armour, and rustic figures of shepherds and shepherdesses; pairs usually consist of male and female figures.
In the 1890s there was a revival of the fashion for column candlesticks, this time with stepped square bases and with inam, variations in the patterns of the borders and the capital. These are generally smaller than late 18th-centurN versions — about 14can 15′ 2111) high. Afam candlesticks in the late 19th and early 20th centuries were wired for electrical lighting as dressing-table of desklights — in such cases there mac be holes in the base for the electrical cord. During the Vogue for the Queen Anne stele in the early 20th century, sonic silversmiths produced copies of early 18th-century styles; these can be distinguished from originals by their use of sterling silver instead of the Britannia standard and by their detachable no,zlcs, which did not appear before c.1740.
With the invention of the self-consuming candle wit: in the early 19th century, snuffers became obsolete, although some were made in revival stales.
THE NEW INDUSTRIAL CENTRES
Candlesticks were among the first items mass-produced in the English cities of Birmingham and Sheffield, using newly developed mechanized methods of manufacture. With the expansion of industry in those cities in the mid-19th century, candlestick manufacture became a specialized trade. The rolling, mill, invented c.1740, enabled a silver ingot to be flattened into a sheet of uniform gauge, while the fly press, developed in the 1760, and 1770x, made accurate and repetitive piercing possil-il, Both these inventions reduced labour and manufacturing costs, since they replaced laborious hammering and hand-piercing. Decorative components were also mass-produced by die-stamping. The sheet of metal was placed oil a block with a sunken die in the form of the pattern to lie reproduced; this was struck with a hammer with a relief pattern in the sart, shape as the dic. This method was used for items in both silver and Sheffield plate, and a vast range of styles and forms was made possible by interchanging the decorative stamped components. As complete sets of dies were highly expensive, then were often used by several manufacturers, resulting in the production of identical patterns by a Nall of silversmiths. These new industrialized methods were especially well exploited by the Birmingham makers Matthew Boutton ( 1728-1809) and John Fothergill (ti. 1782), who pioneered the use of the steam-powered rolling mill in the late 18th century.

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Tables are arguably the most essential item of furniture. Known to have been made in ancient Egypt, they have evolved from the very simplest utilitarian form to items of great splendour and ingenuity. The table is a good record of the changing habits of the societies for which they were made. In the Middle Ages meals were taken in vast halls and suitably large tables were made to accommodate the numerous guests. However, by the 18th century meals were taken in more intimate surroundings, which gave rise to the need for smaller tables that could be set aside when not in use. Of course tables were not just for serving or eating, but also for playing games, working, sewing, reading, or purely for ornamental purposes.
Early tables
During the Middle Ages, banquets were the principal ceremony in any wealthy household and invariably took place in the Great Halt. The high table, usually placed on a raised dais beneath a canopy, was reserved for the master of the house, his family, and guests. Meanwhile, the rest of the household and retainers sat at side tables, drawn into the centre of the room and set at right angles to the high table. Flemish, British, and French trestle tables, dating from the 15th and 16th centuries, are usually of massive boards of indigenous woods such as oak or elm, above a central support, and with two or three sturdy trestle supports. Originally functional and plain, the top was draped with a cloth – textiles gave colour and decoration to interiors, and the table was another surface to cover. Man- tables were later embellished with carving. These earliest trestle tables were often designed to be taken down and removed after meals, the tops themselves being detachable to make way for dancing and festivities in the Hall. Contrastingly, Italian, Spanish, and Portuguese collapsible trestle-tables of the 16th and 17th centuries tend to have planked tops of walnut, rosewood, or chestnut, with X-shaped iron supports or stretchers to stabilize the end-supports.
“JOYNED” AND DRAW-LEAF TABLES
During the 15th and 16th centuries the more stable, although still collapsible, “joyned” tables evolved. The precursors of 16th-century refectory tables, these tables had trestles strengthened by side-rails and stretchers, which were secured through the end-supports bi, stout, tapering, triangular pegs. Also of oak, elm, or chestnut, these “tables upon a frame” were more permanent fixtures, and were usually supplied with matching stools. When not in use the stools were stored away beneath the table frame, with the scats facing out and testing upon the stretchers. The tables were frequently elaborately carved with Gothic foliage, or even with grotesque beasts.
With their heavy fixed tops, these early trestle tables were not suitable for seating the continually changing numbers of diners, and a more sophisticated design therefore emerged. The innovative “draw-leaf” table was developed in Germany, The Netherlands, and Britain in the mid-16th century; the length of the table could he doubled b., pulling out “draw-leaves” at each end, upon which the top rested when closed (hence the appearance of a double thickness top). The basic design of the draw-leaf table was inspirational to Regency cabinet-makers in Britain, as well as to British vernacular furniture-makers of the 19th and 20th centuries.
REFECTORY TABLES
During the 16th century refectory tables – so-called because they originated in monasteries, where the eating room was known a refectory – became increasingly elaborately decorated. Italian refectory tables were made of walnut and were initially restrained in character, perhaps with turned column legs or carved gadrooncd or fluted decoration to the friezes. This style gradually gave way to fabulous tables with boldly sculptural carved end-supports, with figures, foliage, and nymphs or sphinxes on lion supports. The ideas of Italy travelled northward to France, especially the exaggerated and attenuated forms of early Mannerism, as popularized by the painter Giulio Romano ( 1499-1546) when lie left Italy to join the court of Francis I at the chateau of Fontainebleau, outside Paris. Such decorative schemes were swiftly adopted by Flemish and German craftsmen in the later 16th century; it was the latter who developed the fashion for exaggerated vase-shaped legs, often carved with grotesque faces and lion-masks. Through the published designs of northern Mannerist architects such as Hans Vredeman do Vries (1526—c.1604), as well as the work of immigrant craftsmen, the fashion was transmitted further through Europe, and spread to Britain. Examples of British 16th- and 17th-century refectory tables are distinguished by their bulbous legs, often carved with foliate arabesques, while friezes are often embellished with naive inlay of interlaced designs incorporating architectural arcades or grotesque beasts.
While walnut was much used in southern Europe and in court pieces elsewhere, oak predominates in central and northern Europe. The carving was bold, individual, and well executed. The carvers worked to a high standard, with good spatial awareness, and there is a robustness about the pieces that diminished toward the end of the 17th century.
The art of wood turning was an important 17th-century development. This was not a new discovery, and had certainly been practiced in ancient Egypt.
With the increased use of rigid pieces of furniture, more attention was paid to the way in which the exposed wood was displayed. During the 17th century, table designs became lighter and more refined, with baluster or columnar rather than bulbous legs, finished with ring-turned mouldings. Friezes became increasingly restrained, sometimes subtly enriched with parquetry decoration incorporating fine specimen woods or fluting. I hese later examples are often dated and carved with initials, perhaps to commemorate a marriage. However, beware as these dates can be spurious and applied considerably later, particularly in the 19th century when Lill things -jacobethan” enjoyed a revival. Victorian copies of these tables are generally more poorly produced and lack the bold confidence of their 17thMltlury counterparts.
While trestle and “]oynecl” refectory tables continued to be made in northern Europe, as well as by provincial furniture-makers in England well into the 19th century, the fashion for eating “in Hall” was gradually abandoned in the late 17th century in favour of smaller dining-rooms. As life became more settled, and merchant classes grew, new types of table developed to suit their needs. Even in aristocratic circles the scale of houses diminished and dining became more intimate.
OTHER SMALLER TABLES
Matching furniture to a specific room was a concept that spread from Spain to the rest of Europe and became a major influence in furniture design. Rooms acquired more furniture, although they N were still sparsely furnished by today’s standards. As part of this scheme small tables played an important role. Many types, such as the credence table, were designed to perform specific functions, although often those uses have now lapsed. Since the table formed such an integral part of day-to-day life at all levels, its deNelopicient, style, construction, timber, and name closely reflected progressions and changes within society.
As tables diversified, drawers became common additions. The decorative turnings were more refined; small tables now had slender baluster or bobbin turnings, which were a significant development from the heavier and more sturdy legs of the previous century. Small, occasional, side tables were produced on a large scale, and fortunately many have survived. Set against walls, they developed into more formalized console tables, which were an important feature in grand interiors from the beginning of the 18th century. ‘The 16th century, with the early 17th, is considered to be the age of the joiner, but as fashions and woodworking skills developed, increasing rapidly throughout the 17th century, his position was taken by the cabinet-maker, who developed and refined the table throughout the I8th century.

William Iv, 3 Arched Glazed Doors Over 3 Paneled Doors, 101 X 64 In.

Walnut, Ogee-molded Cornice, Glazed Doors, C.1850, 88 X 57 X 13 In.

Revolving, Edwardian, Mahogany Inlay, Ogee Feet, C.1900, 31 X 20 In.

Renaissance Revival, Walnut, 2 Glass Doors, C.1880, 86 X 52 X 23 In.

Regency, Mahogany, Molded Cornice, 2 Doors, Brass Grills, 81 X 59 In.

Regency, Mahogany, 2 Doors, Applied Lead Grill Strapping, 51 X 42 In.

Regency Style, Pine, Shelves, Reeding, Lion Masks, Paw Feet, 42 X 58 In.

Regency Style, Mahogany, Projecting Center Section, 84 X 102 In.

Pearson, 3-stack, Oak, Leaded Glass Door, 47 X 34 X 13 In.

Oak, Leaf Carved, Flower Medallion, 2 Shelves, 46 X 42 X 13 1/2 In.

Oak, 3 Doors, Adjustable Shelves, 55 X 59 X 12 1/2 In.

Oak, 2 Doors, Scroll Carving, Claw Feet, 56 X 48 X 15 In.

Oak, 2 Doors, Glass Panes, Adjustable Shelves, 1920s, 78 X 48 In.

Neoclassical, Rosewood, Gilt Decoration, Baltimore, C.1820, 91 X 76 In.

Mahogany, Molded Cornice, Rosette Corners, 3 Glazed Doors, 59 X 73 In.

Mahogany, Marquetry, Arched, Glazed Doors, Drawers, Dutch, 87x 65 In.

Mahogany, Crossbanded, 2 Doors, Shelves, Drawers, 83 1/2 X 48 X 21 In.

Mahogany, 3 Doors, Carved Baluster Posts, Claw Feet, C.1910, 58 X 20 In.

Mahogany, 20th Century, 75 1/2 X 60 X 17 In.

Macey, Oak, Nut Brown Finish, 4-stack, Paneled Ends, 63 X 52 In.

Louis Philippe, Mahogany, Glazed Door, C.1850, 48 X 37 In., Pair

Lifetime, Oak, Glass Door, 4 Shelves, 59 X 31 In.

Lifetime, Door, 4 Shelves, Copper Hardware, 54 X 28 In.

L. & J.g. Stickley, 2 Doors, 12 Glass Panes, 52 X 12 X 56 In.

John Shaw & Son, William Iv, Mahogany, C.1835, 71 X 58 In.

Grain Painted, Dovetailed Case, 3 Drawers, 48 X 42 X 10 In.

Globe-wernicke, Oak, Stack, Early 20th Century, 10 X 34 In. ~illus

Georgian Style, Walnut, Oak, Glazed Door, Shell-carved Cabriole Legs, 76 In.

George Iv, Rosewood, Brass Mounted, Parcel Gilt, C.1820, 38 X 30 In., Pair

George Iii, Mahogany, Wooden Screws, Drawer, Bun Feet, 1800s, 23 X 23 In.

George Iii, Mahogany, Drawer, Door, C.1790, 49 X 24 X 12 In.

George Iii Style, Mahogany, Inlaid, Cylindrical, 1900s, 26 3/4 X 22 In.

George Iii Style, Mahogany, Cornice, Astragal Glazed Doors, 81 X 52 In.

George Iii Style, Mahogany, Adjustable Shelves, C.1850, 94 X 135 In.

George Ii Style, Mahogany, Early 20th Century, 47 X 60 X 13 In.

G. Stickley, V-shaped Pulls, Paper Label, 56 X 60 X 13 In. ~illus

G. Stickley, Open Door, 6 Shelves, Arched Toe Board, Columns, 48 X 58 In.

G. Stickley, Oak, 2 12-pane Doors, 56 X 60 X 13 In.

G. Stickley, 2 Doors, 3 Shelves, 56 1/2 X 45 1/2 X 13 In. ~illus

G. Nakashima, Walnut, C.1972, 48 X 36 X 12 In.

English Oak, 2 Doors, Early 20th Century, 73 X 43 1/2 X 17 3/4 In.

Cherry, Beaded Back Panels, Pullout Drawer, Doors, 6 Panes, 95 X 45 In.

Blue Paint, Blocked Cornice, Open Shelves, 2-drawer Base, 73 X 53 In.

Biedermeier, Fruitwood, Ebonized Trim, 2 Glazed Doors, 72 X 50 In.

Barrister, Ebonized Oak, Checker Inlay, England, Late 1800s, 81 X 35 In.

Arts & Crafts, Oak, Dark Stain, Tapered Sides, 6 Shelves, 45 X 18 X 13 In.

Arts & Crafts, Mullions, Backsplash, Shelves, 56 X 42 In.

Arts & Crafts, 2 Doors, Gallery Top, 8 Panes, Hammered Copper, 56 X 47 1/2 In.

Art Deco, Rosewood, Inlaid, France, C.1925, 40 X 10 X 44 In.

Art Deco, Asian Hardwoods, 60 X 33 X 15 In.

Aesthetic Revival, Ebonized, Carved Frieze, C.1875, 68 1/2 X 33 X 16 In.

William Iv, Mahogany, Molded Cornice, Glazed Doors, 80 X 57 X 18 In.

William Iv, Mahogany, Astragal Glazed Doors, 91 X 54 X 17 In.

William Iv, Mahogany, 3 Shelves, Turned Pilasters, 44 X 53 In.

Weis Furniture, Oak, Stack, 8 Sections, Drawer, 34 X 11 X 95 In.

Walnut, Rope-carved Border, Drawer, Lion’s-paw Feet, 69 X 52 In.

Walnut, Crossbanded, 3 Doors, Bracket Feet, 42 1/2 X 60 In.

Victorian, Walnut, Step Back, 2 Sections, 89 1/2 X 52 X 18 In.

Victorian, Walnut, Rosewood, Cornice, Glass Doors, 49 X 19 X 92 In.

Victorian, Walnut, Gallery, Rosette & Line Carving, 54 X 15 X 71 In.

Victorian, Walnut, Cornice, 2 Glass Doors, Over Drawer, 43 X 79 In.

Victorian, Walnut, Carved, 3 Sections, 3 Drawers, 79 X 19 X 96 In.

Victorian, Mahogany, Urn Crest Finial, Glass Doors, 53 X 16 X 77 In.

Victorian, Mahogany Inlay, Ogee Cornice, 58 X 48 X 14 In.

Udell, Oak, Stack, 6 Sections, 33 3/4 X 12 X 82 1/4 In.

Tiger Maple, 2 Sections, 4 Doors, New England, C.1835, 92 X 94 In.

Rohde, Herman Miller, C.1939, 25 X 36 X 13 In., Pair

Revolving, Oak, Glass Door, Molded Panel, 16 X 36 In.

Revolving, Edwardian, Mahogany, Crossbanded, Marquetry, 34 X 18 In.

Revolving, Edwardian, Inlaid Elm, Square Top, Crossbar, 31 X 18 In.

Revolving, Edwardian Style, Mahogany, Burl Walnut, 31 X 18 In.

Revolving, Danners, Mahogany, Canton, Ohio, 20 X 21 X 43 In.

Renaissance Revival, Walnut, Carved, 2 Doors, 57 X 54 X 16 In.

Renaissance Revival, Walnut, 3 Doors, Shelves, 90 X 74 X 20 1/2 In.

Regency, Mahogany, Pediment, Paneled Doors, 89 X 38 X 16 In.

Regency, Mahogany, 3 Shelves, Maidens’ Heads, 37 X 31 In., Pair

Regency, Mahogany, 3 Shelves, Early 1800s, 36 1/2 X 54 X 13 In.

Regency Style, Mahogany, Waterfall, 4 Tiers, 43 X 39 X 11 In.

Regency Style, Mahogany, Graduated Shelves, 44 X 39 In.

Regency Style, Mahogany, Gallery, Cock-beaded Edges, 44 X 39 In., Pair

Oriental, Elm, High Legs, 9 Sections, 3 Drawers, 63 X 20 X 76 In.

Onondaga Shops, No. 519, Gallery Top, 2 Doors, 56 1/2 X 52 In.

Oak, Stack, 5 Sections, Gallery Top, Paneled Ends, 32 X 12 X 67 In.

Oak, Stack, 5 Sections, Cornice Base, 34 X 12 X 66 In.

Oak, Carved, Turned Columns, Drawers, 19th Century, 86 X 73 X 19 In.

Oak, 3 Glazed Doors, Continental, Late 1800s, 64 1/2 X 78 In.

Maple, Brass, Decorative Wood Inlays, 1950s, 29 X 36 X 13 In.

Mahogany, Waterfall, 4 Shelves, 2 Drawers, England, 49 X 26 X 12 In.

Mahogany, Step Back, 2 Sections, Double Doors, 68 X 19 X 93 In.

Mahogany, Raised Corner Blocks, Incised Rosettes, 46 X 13 X 46 In.

Mahogany, Glass Doors, C.1920, 36 X 24 X 11 In., Pair

Mahogany, Adjustable Shelves, Reeded Half Columns, 45 X 30 X 10 In.

Mahogany, 3 Doors, Carved Posts, Claw Feet, 1910, 58 X 77 X 20 In.

Louis Xvi Style, Mahogany, 2 Glazed Doors, C.1885, 74 X 59 In.

Louis Philippe, Cuban Mahogany, Overhanging Cornice, 71 X 40 X 13 In.

Limbert, No. 372, 2 Arched Doors, 6 Shelves, Copper, 60 X 48 In.

Limbert, No. 359, Overhanging Top, 3 Glazed Doors, 57 X 66 In.

Limbert, No. 321, 2 Leaded Glass Doors, 7 Shelves, 54 X 43 In.

Limbert, Ebon-oak, 2 Doors, 6 Shelves, Copper, 60 X 48 X 14 In.

Limbert, Ash, 2 Doors, Iron Hardware, Slab Sides, 44 X 14 X 56 In.

Limbert, 1 Door, Leaded Glass, Through Tenon, Paper Label, 55 In.

Lifetime, Door, Overlaid Mullions, 28 X 13 X 56 In.

Lifetime Puritan, Glass Doors, Paper Label, 51 1/2 X 45 In. , Illustrated

L. & J.g. Stickley, Oak, Gallery Top, Through Tenon, C.1912, 55 X 30 In.

L. & J.g. Stickley, No. 647, 3 12-pane Doors, Gallery Top, 55 X 73 In.

L. & J.g. Stickley, No. 637, 2 Doors, 8 Panes, 36 X 13 X 56 In.

Heart Pine, 5 Adjustable Shelves, Beadboard Back, S.c., 84 X 56 X 13 In.

Gothic Revival, Oak, Timepiece, 3 Over 3 Doors, 1800s, 98 In.

Gothic Revival, Mahogany, 49 X 56 X 18 In.

Globe-wernicke, Oak, Stack, Cornice, 34 X 12 X 72 In.

George Iii, Mahogany, Cornice, Fret Carved Frieze, 86 X 47 X 16 In.

George Iii, Mahogany, Astragal Glazed, 1800s, 80 X 43 X 18 In.

George Iii, Faux Bois, Cornice, Astragal Glazed Doors, 54 X 20 In.

George Iii Style, Mahogany, Step Back, Drawers, 49 X 18 X 11 In.

George Iii Style, Mahogany, Astragal Glazed Doors, 68 X 44 X 13 In.

George Iii Style, Mahogany, 2-panel Doors, Splayed Feet, 77 X 27 In.

George Iii Style, Mahogany, 2 Astragal Glazed Doors, 84 X 50 X 16 In.

G. Stickley, No. 716, 2 Doors, Through Tenon, 16 Panes, 56 X 43 In.

G. Stickley, No. 542, 2 Doors, 56 X 36 X 13 In.

G. Stickley, 2 Doors, Through Tenon, 16 Panes, 56 X 46 X 13 In.

G. Stickley, 2 Doors, Mullion, Harvey Ellis, 42 X 14 X 64 In.

Federal Style, Pine, Double, 20th Century, 87 X 97 X 19 In.

Empire Style, Mahogany, 3 Doors, 56 X 72 X 19 In.

Empire Revival, Mahogany, Stepped, 2 Doors, Shelves, 35 X 28 In.

Edwardian, Burl Walnut, Bookmatched Top, 38 X 51 In.

Circassian Walnut, Adjustable Shelves, Early 1800s, 46 X 42 In.

Baltic, Ebonized, 2 Glazed Doors, Paneled, Drawers, 72 X 47 X 14 In.

Arts & Crafts, Oak, Glass Door, 1900s, 52 X 29 X 15 In., Pair

Arts & Crafts, Oak, Galleried Top, 4 Shelves, 78 X 39 X 15 In.

Arts & Crafts, Door, Shelves, Front Cutout, 33 X 13 X 48 In.

American Restauration, Mahogany, Stepped Top, 4 Doors, 67 X 82 In.

American Restauration, Mahogany, Ogee Cornice, 2 Doors, 87 X 64 In.

3 Glazed Doors, 3 Drawers, Turned Columns, C.1875, 74 1/2 X 58 X 14 In.

George Iii Style, Mahogany, 2 Astragal Glazed Doors, 94 X 88 X 17 In.

George Iii Style, Mahogany, 2 Astragal Glazed Doors, 90 X 70 1/2 In.

G. Nakashima, Walnut, 2 Adjustable Shelves, C.1977, 48 X 48 X 9 3/4 In.

George Iii Style, Mahogany, Astragal Glazed Doors, 90 X 103 In.

G. Stickley, 2 Doors, 16 Panes, Gallery Top, Label, 56 X 13 In.

Mission, Oak, 2 Doors, Glass Sides ~illus

Wormley, K 89-4, Pyramid, Mahogany, Drexel, 1956, 55 x 19 x 24 In.

Walnut, Carved Crest, Burled Drawer Base, C.1880, 91 x 43 x 17 In.

Walnut, 3 Vertical Compartments, 3 Drawers, Victorian

Walnut, 3 Sections, Glass Doors, Half Spiral Columns, 63 x 128 x 19 In.

Walnut, 2 Doors, Columns, Burled Crest, C.1880, 84 1/2 x 47 x 20 In.

Victorian, Mahogany, C.1885, 16 1/4 x 13 x 9 3/4 In.

Stickley Bros., 2 Doors, Copper Hardware, Handle Cutouts, 29 x 54 x 31 In.

Stacking, Mission, 3 Sections Over Drawer, 48 x 34 1/2 x 23 In.

Roycroft, Mahogany, Open, 3 Shelves, C.1910, 38 x 15 1/2 x 53 In.

Roycroft, 1 Door, 16 Glass Panes, Iron Handle, 40 x 15 x 55 In.

Revolving, Victorian, Mahogany, Satinwood Strung, C.1890, 32 x 21 In.

Revolving, Regency Style, Inlaid Yew, Circular Top, 31 x 20 1/2 In.

Revolving, George Iii Style, Inlaid Satinwood, Circular, 39 x 17 1/4 In.

Revolving, Edwardian, Mahogany, Crossbanded, Quatrefoil Base, 32 x 19 In.

Revolving, Barrister, Mahogany, 4 Tiers, Molded Slats, 59 x 24 In.

Renaissance Revival, Walnut, Arched Glass Door, 99 In.

Renaissance Revival, Walnut, 3 Doors, Ebonized, Burled, C.1875, 78 In.

Regency, Rosewood, Brass Inlay, Grill Inset Doors, 75 x 39 x 21 1/2 In.

Regency, Mahogany, Open, Early 19th Century, 33 x 28 1/2 x 14 In.

Regency, Mahogany, 4 Open Shelves, C.1815, 41 x 37 In., Pair

Regency, Mahogany, 2 Split Pane Doors, Beaded, C.1835, 36 1/2 x 31 In.

Regency Style, Mahogany, 2 Glazed Doors, C.1850, 85 x 36 x 24 In.

Queen Anne Style, Walnut, Waterfall, 2 Drawers, 44 1/2 x 23 In., Pair

Queen Anne Style, Sliding Doors, C.1920

Pine, 3 Shelves, Bracket Feet, Shaped Returns, Lap Joints, 43 1/2 x 30 x 11 In.

Oak, Quartersawn, Sliding Glass Doors, Lock, 52 x 35 1/2 x 14 In.

Oak, Quartersawn, 2 Doors, Fixed Shelves, 63 x 54 1/2 x 17 1/2 In.

Oak, Quartersawn, 2 Doors, Fixed Shelf, 63 x 54 1/2 x 17 1/2 In.

Oak, Double Doors, Brass Floral Basket Hinges, American, 65 x 56 In.

Neoclassical, Mahogany, Open, North Italy, C.1835, 39 x 39 In., Pair

Mission, Limbert, Heart Cutouts, 58 x 39 3/4 x 13 In.

Michigan Chair Co., 2 Doors, Glass Panes, Through Tenon, 36 x 12 x 45 In.

Mccobb, Directional, Saffron Finish, 2 Shelves, 32 x 14 1/4 In.

Mccobb, Birch, 2 Open Shelves, Black Metal Stand, 33 x 36 x 12 In.

Mahogany, Wood Screws, 2 Drawers, England, C.1850, 58 x 26 x 15 In.

Mahogany, Carved Base, Winged Griffin Supports, C.1880, 92 x 108 In.

Limbert, 3 Doors, 57 x 66 1/2 x 14 In.

Lifetime, No. 7218, Door, 10 Top Squares, Copper Hardware, 28 x 56 In.

Lifetime, 1 Panel Glass Door, Mullion Overlay, 53 1/2 x 27 x 13 In.

L. & J.g. Stickley, No. 645, 2 Doors, 12 Panels, 52 x 12 x 56 In.

L. & J.g. Stickley, No. 643, 2 Doors, Glass Panes, 56 x 40 In.

L. & J.g. Stickley, No. 641, Door, Cooper Pull, 16 Panes, 55 x 30 x 12 In.

L. & J.g. Stickley, No. 637, 2 Doors, Arched Apron, 55 x 36 x 13 3/4 In.

L. & J.g. Stickley, No. 326 1/2, Door, 12 Panes, Key Tenon, 33 x 56 In.

Irish Regency, Mahogany, Adjustable Shelves, 97 x 78 x 16 In.

Gothic Revival, Walnut, 3 Glass Doors, C.1850, 71 3/4 x 107 x 19 In.

Gothic Revival, Walnut, 2 Glass Doors, C.1850, 71 3/4 x 84 x 19 In.

George Iii, Sheraton Style, Mahogany, 4 Doors, 2 Glazed, 87 x 45 1/2 In.

George Iii, Mahogany, 2 Glazed Doors, 2 Cupboard Doors, 76 x 41 In.

George Iii, Mahogany, 2 Doors, 4 Drawers, C.1785, 92 x 40 x 22 1/2 In.

George Iii Style, Mahogany, Glazed Doors, C.1900, 34 x 35 In.

George Iii Style, Mahogany, Broken Pediment, 86 1/2 x 52 1/4 In.

George Iii Style, Mahogany, 4 Glazed Doors, 80 x 43 x 17 1/2 In.

George Iii Style, Mahogany, 2 Astragal Glazed Doors, 88 x 44 x 13 In.

G. Stickley, No. 717, 2 Doors, Glass Panes, Through Tenon, 47 x 13 x 56 In.

G. Stickley, No. 716, 2 Doors, Glass, Iron Hardware, 43 x 12 x 56 In.

G. Stickley, 2 Doors, Key Tenon, 16 Glass Panes, C.1904, 46 x 56 In.

G. Stickley, 2 Doors, 24 Glass Panes, Through Tenon, 56 1/2 x 60 x 13 In.

G. Nakashima, Walnut, 2 Adjustable Shelves, C.1977, 36 x 40 x 12 In.

French Empire, Black Lacquer, Gilt Bronze, Inlaid, 19th Century, 44 x 43 In.

Flower Decoration, Molded Base, 2 Doors, Shelves, 43 x 12 1/2 x 38 In.

English Burl, Mahogany, Dovetailed, 13-panel Doors, 88 x 43 x 22 In.

Empire, Mahogany, Mullioned Double Doors, Paw Feet, 64 x 50 In.

Empire Style, Mahogany, Brass, Grill Inset Doors, 78 x 63 x 9 In.

Corner, Mission, Oak, Geometric Glazed Doors, 52 x 36 1/2 x 27 In.

Charles X, Mahogany, Arched Grillwork, Doors, C.1835, 94 x 59 x 20 In.

Charles Limbert, Glazed Oak, 2 Doors, 4 Glass Panel, 1906, 48 In.

Biedermeier, Walnut, Ebonized, 2 Glazed Paneled Doors, 66 1/2 x 45 In.

Biedermeier, Mahogany, 2 Glass Paneled Doors, C.1825, 80 x 46 x 13 In.

Biedermeier, Fruitwood, Tympanum Drawers, 1800s, 76 x 48 x 21 In.

Barrister, Oak, Stacking, Cornice, Glazed Doors, Early 1900s, 103 x 34 In.

Barrister, Oak, 3 Sections, 3 Doors, Globe-wernicke, C.1900, 49 x 34 In.

Barrister, Mahogany, 6 Sections, Globe-wernicke, C.1910, 34 x 61 1/2 In.

Arts & Crafts, 2 Doors, Vertical Mullions, 6 Shelves, 47 x 13 x 58 In.

2 Glass Doors, Brass Pulls, Arched Stretchers, 56 x 57 1/4 x 13 1/2 In.

2 Doors, Copper Pulls, Hinges, Backsplash Galley, 52 x 40 x 14 In.

William Iv, Rosewood, Breakfront Center, Barley Twist Supports, 44 x 64 In.

William Iv, Mahogany, Marble Top, 38 1/2 x 29 x 11 3/4 In.

Walnut, Molded Cornice, 2 Glazed Panel Doors, Raised Cabriole Legs, 61 In.

Walnut, Marquetry, Crossbanded, 19th Century, 36 x 39 x 11 In.

Walnut, Carved Burled Gallery, 2 Glass Doors Over 2 Drawers, 84 x 53 In.

Walnut, 4 Sections, Glass Door Front, 66 1/2 x 35 1/2 x 11 1/2 In.

Walnut, 3 Doors, 2 Carved, 4 Center Shelves, 70 x 66 x 15 1/4 In.

Walnut, 2 Doors, Carved Crest, C.1885, 104 x 50 x 19 In.

Victorian, Mahogany, Pedestal Doors, Drawers, 1840, 89 x 65 In.

Victorian, Mahogany, England, C.1885, 53 3/4 x 48 1/2 x 12 In.

Roycroft, Oak, Arch Top & Base, 3 Shelves, C.1907, 37 x 17 x 15 In.

Roycroft, Mahogany, 3 Shelves, 20th Century, 50 x 16 x 53 In.

Roycroft, 1 Door, 16 Glass Panes, C.1910, 40 x 15 x 55 In.

Revolving, Walnut, 3 Shelves, Slated Sides, 44 1/2 x 23 1/2 x 23 1/2 In.

Revolving, Mahogany, Round, Crossbanded, England, 34 x 23 1/2 In.

Revolving, Mahogany, Linenfold Inlay Top, England, 34 x 23 1/2 In.

Revolving, Mahogany, Inlaid, Square Top, 3 Tiers, 37 x 18 x 18 In.

Revolving, John Danner, Oak, Tiers, Cast Iron Legs, C.1880, 51 In. ~illus

Revolving, Edwardian, Mahogany, Inlay, Ogee Feet, C.1900, 31 x 20 In.

Revolving, Cherry, Square Top, Round Corners, Casters, C.1890, 44 x 20 In.

Renaissance Revival, Walnut, Burl, Glazed Doors, Panels, 91 x 50 x 19 In.

Renaissance Revival, Walnut, 2 Glazed Doors, Plinth Base, 87 x 49 In., Pair

Regency, Mahogany, Paneled Doors, Pilasters, Cornice, 94 x 48 x 18 In.

Regency, Mahogany, Glazed Doors, Pilasters, Plinth Base, 95 x 50 x 18 In.

Regency, Mahogany, Astragal Glazed Doors, C.1815, 88 x 35 In.

Regency, Mahogany, 2 Sides, Casters, Handles, 41 x 30 1/2 x 13 In.

Regency, Mahogany, 2 Astragal Glazed Doors, Paneled Pilasters, 84 x 44 In.

Regency Style, Rosewood, Marble Top, 2 Doors, 1800s, 36 x 42 x 13 In.

Oak, Curved Glass, Shaped Curio Gallery, C.1890, 71 x 29 x 13 In.

Oak, 3 Doors, Bow Center, Carved, Claw Feet, C.1885, 66 x 74 x 20 In.

Oak, 3 Doors, Beveled Mirrors, Floral Carving, C.1885, 76 x 72 x 18 In.

Oak, 2 Mullioned Doors, Acanthus Columns, Claw Feet, 53 x 54 In.

Oak, 2 Doors, Adjustable Shelves, 61 1/2 x 56 x 15 1/2 In.

Napoleon Iii, Walnut, 3 Sections, Glazed Door, 1800s, 97 x 84 x 25 In.

Mahogany, Step-down, 3 Doors, Curved Glass, 70 x 63 x 18 In.

Mahogany, Mortised Joints, Dovetailed, Doors, England, 17 1/2 In.

Mahogany, Molded Cornice, Frieze, 2 Glazed Doors, Pillars, 72 x 16 x 61 In.

Mahogany, Maple, Scroll Top, New England, 18th Century, 84 3/4 In.

Mahogany, Inlaid Top, Gadrooned Edge, Glazed Panel Doors, 48 x 38 In.

Mahogany, Inlaid Frieze, 2 Shelves, 39 1/2 x 40 1/2 x 12 1/2 In., Pair

Mahogany, Glazed Paneled Doors, Shelves, 19th Century, 77 x 44 x 12 In.

Mahogany, Glass Doors, C.1900, 47 x 13 x 57 In.

Mahogany, 4 Glass Doors, 2 J-curved, Full Female Caryatids, 69 x 85 In.

Mahogany, 4 Glass & 2 Carved Doors, C.1885, 63 x 72 x 15 In.

Louis Xv Style, Fruitwood, Doors, Wire Grills, France, 53 x 35 x 14 In.

Limbert, Oak, No. 337, Door, Inlaid Copper & Pewter, 37 x 16 x 50 In.

Limbert, Glazed Oak, 2 Doors, 4 Glass Panels, 1906, 48 x 47 In.

Lifetime, Oak, No. 7663, Puritan Line, 2 Doors, 3 Shelves, Signed, 45 x 52 In.

Lifetime, Oak, 3 Doors, Gallery Top, Cloud Lift Apron, 57 x 56 1/2 x 13 In.

Lifetime, Oak, 1 Door, 10 Squares, Copper Hardware, 28 x 12 x 56 In.

Library, 3 Doors, Slide Desk, 19th Century, 59 1/2 x 89 x 14 In.

Lakeside Craft, Cutouts, 31 x 29 x 10 In.

L. & J.g. Stickley, Oak, 2 Doors, 12 Panes, Copper Pulls, 55 x 52 x 12 In.

Kingwood, Gilt Bronze, Marquetry, 2 Drawers, 1880, 38 x 32 In.

Hepplewhite, Mahogany, 3 Doors, Drawers, 82 x 23 x 44 In.

Hepplewhite, Mahogany, 2 Doors Over 2 Drawers, 72 x 13 x 45 In.

Georgian, Yew, Carved, 2 Glazed Panel Doors, Splayed Legs, 93 In.

George Iii, Mahogany, Glazed Doors, Slant Front, 18th Century, 92 x 48 In.

George Iii, Mahogany, Glazed Doors, 18th Century, 95 1/2 x 47 x 24 In.

George Iii, Mahogany, Glazed & Paneled Doors, 103 x 116 x 19 In.

George Iii, Mahogany, Astragal Glazed Doors, 89 1/2 x 51 x 17 1/2 In.

George Iii, Mahogany, 4 Glazed Panel Doors, 2 Drawers, 93 x 22 In.

George Iii Style, Mahogany, Astragal Glazed Doors, 86 1/2 x 52 In.

George Iii Style, Leather Inset, Chinoiserie, 95 x 84 x 20 1/2 In.

George Iii Style, 2 Astragal Glazed Doors, 83 x 70 In.

G. Stickley, Oak, 2 Doors, 8 Glass Panes, 3 Shelves, 56 1/4 x 42 3/4 x 13 In.

G. Stickley, Oak, 2 Doors, 3 Shelves, Gallery Top, 56 x 46 x 13 In.

G. Stickley, Oak, 2 Doors, 3 Shelves, 16 Glass Panes, Mortised, 56 x 43 In.

G. Stickley, Oak, 2 Doors, 12 Glass Panes, Iron Pulls, 57 x 13 x 56 In.

G. Stickley, Oak, 1 Door, 16 Glass Panes, No. 715, Iron Pull, 36 x 13 x 56 In.

G. Stickley, Oak, 1 Door, 16 Glass Panes, Mitered Mullions, 32 x 13 x 56 In.

G. Stickley, 1 Door, Leaded Panes, 36 x 14 x 58 In.

G. Nelson, Walnut, Steel, Thin Edge, Herman Miller, 1950s, 67 x 32 In.

G. Nakashima, Walnut, 4 Shelves, C.1972, 49 3/4 x 60 x 23 In.

G. Nakashima, Black Walnut, C.1976, 60 x 50 In.

Federal Style, Mahogany, Glazed Doors, Writing Drawer, 36 x 15 x 81 In.

Empire Style, Cream Paint, Gilt, France, 19th Century, 77 In.

Edwardian, Satinwood, 2 Glazed Doors, 2 Paneled Doors, 86 In.

Chippendale, Mahogany, Slant Front, Drawers, C.1780, 88 x 40 In.

Chippendale Style, Mahogany, Pierced, Carved Pediment, 92 x 58 1/2 In.

Bowfront, 3 Doors, Carved Acorns & Leaves, C.1890, 78 x 70 x 22 In.

Biedermeier Style, Blond Wood, 2 Doors, 95 x 42 x 10 1/4 In., Pair

Barrister, Oak, 3 Tiers

Barrister, Mission Oak, 5 Tiers, 86 In.

Barrister, Mission Oak, 4 Tiers, Grand Rapids, 54 1/2 x 34 3/4 In.

Barrister, Globe-wernicke, Oak, 4 Tiers, Label, 1900

Bamboo, 4 Tiers, Open Back, Sides, Geometric, 51 x 26 x 11 In.

Arts & Crafts, Rectangular, Stretcher, Plank Sides, 26 1/2 x 24 x 11 In.

Arts & Crafts, Oak, 5 Doors, Beveled Top, 64 x 34 x 15 1/2 In.

Arts & Crafts, Oak, 2 Doors, Gallery, 6 Shelves, Latticework, 58 1/2 x 58 In.

Arts & Crafts, 3 Doors, Brass Hardware, V-board Back, 57 x 13 x 61 In.

Art Deco, Burl, 2 Glazed Doors Over 2 Solid Doors, 67 x 51 x 16 In.

William Iv, Mahogany, Mullioned Doors, 2 Drawers, England, C.1818

Walnut, Pierced Cornice Set With Gargoyles, 92 In.

Walnut, Carved Gallery, 2 Glass Doors, 2 Half Drawers, 74 x 48 In.

Walnut, 3 Sections, 4 Adjustable Shelves, 78 x 25 1/2 In.

Victorian, Walnut, Carved Gallery, Glass Doors, 2 Drawers, 92 x 78 In.

Victorian, Walnut, Carved Gallery, Columns, Burled Panels, 75 x 19 x 53 In.

Victorian, Rosewood, Mid 19th Century, 64 x 53 x 17 3/4 In.

Victorian, Carved Gothic Dividers On 2 Glass Doors, 2 Drawers, 120 In.

Stickley Bros., Mahogany, Flowers, Leaded Glass, 60 In.

Stickley Bros., 2 Glass Doors, Slatted Gallery Top, Brass Tag, 50 x 35 In.

Stickley Bros., 2 Doors, 16 Panes, Faux Mullion, Metal Tag, 53 x 48 In.

Roycroft, Oak, 3 Open Shelves, Marked Ledwidge, 38 In.

Rosewood, 12 Open Compartments, 2 Sliding Doors, Shelves, 79 1/2 In.

Rococo Style, Walnut, Carved, 2 Doors, Continental, 103 1/2 x 54 x 25 In.

Rococo Revival, Rosewood, Tracery, Drawers, 86 x 90 x 17 In.

Rococo Revival, Rosewood, Bonnet Top, Floral Crest, 124 x 66 x 25 In.

Revolving, Oak, 3 Tiers, Adjustable Bookrest, C.1880, 41 In.

Revolving, Mahogany, 2 Divided Tiers, Casters, 31 x 18 1/2 In.

Revolving, Burl Walnut, Inlaid, 2 Tiers, X-brace, Casters, 18 1/2 x 31 In.

Regency, Oak, Carved Pediment, Doors, 93 x 88 1/2 x 17 1/2 In.

Regency, Mahogany, Carved, Glazed, Lion-paw Feet, 53 x 72 x 11 In.

Regency, Mahogany, Broken Pediment, Bust, 98 x 56 1/2 x 19 In.

Regency, Mahogany, 3 Open Shelves, 42 x 36 x 14 In.

Regency, Mahogany, 2 Glazed Doors, 84 x 54 x 20 In.

Pine, Dovetailed Case, 2 Drawers, Fitted Interior Locks, 27 1/4 In.

Pine, 3 Shelves, Molded Cornice, Red Repaint, 29 x 9 1/2 x 39 3/4 In.

Oak, 3 Sliding Doors, Reeded Pilasters, 68 1/2 x 72 1/2 x 15 In.

Oak, 3 Sections, Sliding Glass Doors, Early 20th Century, 34 x 11 x 45 In.

Oak, 3 Glazed Leaded Glass Paneled Doors, 1900s, 61 x 13 1/2 x 63 In.

Oak, 2 Doors, Carved Door Panels, Beveled Mirrors, 90 x 18 x 56 In.

Marcel Breuer, 3 Shelves, Ebonized Wood, Chrome, 48 x 10 x 48 In.

Mahogany, Victorian, 4 Narrow Doors, 19th Century, 57 x 12 1/2 In.

Mahogany, Sliding Door, Carved, C.1885, 52 x 18 x 61 In., Pair

Mahogany, Mullioned Glass Doors, Adjustable Shelves, 93 In.

Mahogany, Figural Columns, Shaped Doors, C.1880, 66 x 16 x 52 In.

Mahogany, 2 Glazed Doors, 2 Lower Doors, 1820s, 90 1/2 In.

Mahogany, 2 Glass Doors, Flower & Leaves Inlay, 64 x 53 In.

Mahogany, 2 Doors, Adjustable Shelves, 4 Base Drawers, 88 1/2 In.

Mahogany, 2 Doors, 3 Shelves, Crisscross Front Panels, 46 x 49 x 13 In.

Lundstrom, Arts & Crafts, Leaded Glass Doors, Shelves, 53 x 68 x 12 In.

Limbert, Oak, 2 Doors, 3 Adjustable Shelves, Copper Pulls, 57 x 40 1/2 In.

Limbert, No. 358, 2 Doors, Copper Pulls, Splayed Legs, 48 x 14 x 57 In.

Limbert, No. 340, Mahogany, 2 Divided Glass Panes, 32 x 11 x 46 In.

Limbert, No. 327, Mahogany, Dark Finish, 1 Door, 37 x 16 x 50 In.

Limbert, No. 222, Mahogany, 2 Doors, 38 x 14 x 51 In.

Limbert, 3 Doors, Divided Glass Panes, Copper, 9 Shelves, 56 x 14 x 50 In.

Limbert, 2 Doors, 6 Open-end Shelves, 48 x 12 x 46 In.

Lifetime, Open, 3 Shelves, Gallery Top, 54 x 40 x 12 In.

Lifetime, Mahogany, Finish, 2 Doors, 45 x 42 x 12 In.

Lifetime, Mahogany, Dark Finish, 3 Doors, 54 x 55 In.

Lifetime, Drawer Over Door, Latticework Panes, Shelves, Label, 55 x 32 In.

Lifetime, 3 Doors, Faux Mullions, Gallery Top, 55 x 56 In.

Liberty, Oak, Open, 3 Shelves, Gallery Top, C.1900, 47 x 36 In.

Liberty, Gallery Top, Small Cabinet, Leaded Glass Door, 47 In.

L. & J.g. Stickley, Oak, Glass-paneled Door, Gallery Top, 55 x 30 In.

L. & J.g. Stickley, No. 638, Mahogany, 2 Doors, 6 Panes, 48 In.

L. & J.g. Stickley, 2 Doors, Through Tenons, Decal, 56 x 39 x 13 In.

Harvey Ellis, Mahogany, 2 Doors, Paper Label, 58 x 42 In.

Harden, 2 Sliding Doors, Inset Brass Handles, 3 Shelves, 44 x 15 x 56 In.

Globe-wernicke, Stacked, Oak, 6 Sections, Cincinnati, 88 x 34 In.

George Iv, Mahogany, Cross Braces, Open, Turned Legs, 72 x 15 In.

George Iii, Mahogany, Pierced Pediment, Doors, Plinth, 95 x 60 x 20 In.

George Iii, Mahogany, 2 Glazed Doors, 5 Shelves, Ionic Columns, 83 In.

George Iii, Mahogany, 2 Astragal Glazed Doors, Top-shaped Feet, 83 In.

George Iii, Gallery Top, Adjustable, England, 52 x 32 x 10 In.

G. Stickley, Oak, Rectangular Case, 3 Shelves, 1909, 56 3/8 In.

G. Stickley, No. 715, Mahogany, 16 Panes, 36 x 56 In.

G. Stickley, No. 703, Mahogany, 6 Adjustable Shelves, 58 In.

G. Stickley, No. 544, Mahogany, 16 Panes, 62 x 12 x 56 In.

G. Stickley, Mahogany, 2 Doors, 56 x 43 x 13 In.

Edwardian, Mahogany, String Inlay, 3 Glass Doors, Early 20th Century

Edwardian, Mahogany, Inlaid, Glass Door, Mullions, 60 x 38 x 17 In., Pair

Cornice, 6 Beaded-edge Shelves, Cutout Feet, 78 x 54 In.

Clipped Corner Gallery, Glass Panel Door, 2 Shelves, 56 x 28 x 13 1/2 In.

Chippendale, Mahogany, Broken Pediment, Brass Screen Doors, 89 x 51 In.

Chippendale Style, Mahogany, 2 Glass Doors, 13 Panes, 52 x 45 x 13 In.

Chinese, Rosewood, 4 Shelves, Mid 19th Century, 67 x 34 1/2 x 13 In.

Chestnut, Tapered Shelves, Keyed Tenons, 53 x 38 In.

Burl Trim, 3 Doors, 3 Drawers In Base, Shell Pulls, 105 x 76 In.

Black Japanned, Parcel Gilt, 3 Mullioned Doors, Shelves, 94 In.

Bamboo, Sea Grass Lined Top, 3 Open Shelves, 1880s, 36 In.

Arts & Crafts, Oak, 2 Doors, Slag & Clear Glass, 4 Interior Shelves, 57 In.

Arts & Crafts, Center Glass Door, Narrow Side Doors, 48 x 13 x 55 In.

Arts & Crafts, 2 Doors, Leaded Glass, Inlaid Tulips, 52 x 46 In.

Walnut, Step Back, Beveled Doors, Hold 45 Drawers, 152 x 22 x 106 In.

Walnut, Scroll, Shell Cornice, Arched Doors, 2 Base Drawers, 1840, 67 In.

Walnut, Gilt, Conforming Molded Frieze, Brass Plinth, 52 1/4 In.

Walnut, Burl Columns & Panels, 2 Sections, 2 Drawers, 62 x 54 x 19 In.

Walnut, 3 Doors, Aesthetic Floral Columns, 1875, 68 x 19 In.

Walnut, 2 Glazed Doors Over 2 Drawers, Lower Doors, 84 In.

Walnut, 2 Doors, Burl Trim, Paneled Cornice, C.1880, 93 x 60 x 15 In.

Stickley Bros., Oak, 2 Doors, 3 Small Panes, 55 x 48 x 12 In.

Roycroft, 1 Door, 20 Panes, 46 x 16 x 71 In. ~illus

Rosewood, Open Shelves, Term Figures, Human Feet, 48 In.

Rosewood, Marble Top, 3 Glazed Doors, C.1825, 38 In.

Rohde, Exotic Wood, Ebonized Interior, Herman Miller, 41 3/4 In.

Rohde, Burl Veneer, 1 Drop Door, 2 Lower Drawers, 27 In.

Rococo, Walnut, Carved Arched Pediment, Foliage, 92 x 43 In.

Revolving, Walnut, Square Top, Slatted Ends, England, 43 x 23 x 25 In.

Revolving, Mahogany, 2 Shelves, 31 x 19 1/2 In.

Revolving, Edwardian, Mahogany, Inlay, 31 x 19 1/2 x 19 1/2 In.

Renaissance Revival, Walnut, Carved Crest, Burled Side Panels, 74 In.

Regency, Mahogany, Marble Top, 2 Open Shelves, 34 1/2 x 44 x 11 In.

Regency, Celadon, Open Shelves, 3 Cupboard Doors, 64 x 20 In.

Provincial, Louis Philippe, Oak, 3 Glazed Doors, 91 x 65 1/2 x 19 In.

Oak, Silver Leaf Border, Geometric Glazing On Door, C.1900, 65 1/4 In.

Oak, Pine, High Turned Feet, Acorn Finial, 29 1/2 x 18 x 68 In.

Oak, Molded Cornice, Fluted Columns, Plinth Base, 93 1/2 In.

Oak, 3 Drawers Over 3 Glass Doors, Carved Demon Heads, 52 x 84 In.

Michigan Chair Co., 2 Doors, 44 1/2 x 36 In.

Mahogany, Pierced Gallery, Glazed Bars On Doors, 1840s, 51 1/2 In.

Mahogany, Open, Twist Turned Columns, 3 Shelves, 64 x 72 1/4 In.

Mahogany, Molded Top Over Paneled Frieze, Tapered Legs, 70 In.

Mahogany, Molded Edge, 3 Shelves, Plinth Base, 54 x 115 x 19 In.

Mahogany, Marble Top, 1850, 55 1/2 x 56 1/2 x 16 1/4 In.

Mahogany, Grill Inset Door, Over Projecting Door, C.1835, 72 x 32 In.

Mahogany, Glazed Doors, Silk Lined Shelves, Late 19th Century, 76 In.

Mahogany, Glass Doors, Molded Dentil, Foliate Mullions, 97 x 18 In.

Mahogany, Cherry Top, Mullioned Doors, Shelves, 92 In.

Mahogany, 4 Doors, Wooden Panel, 121 1/2 x 89 x 19 In.

Mahogany, 3 Glass Doors, Adjustable Shelves, Praying Monks, 58 1/2 In.

Mahogany Veneer, Reeded Sides, Flower Blossom In Center, 26 In.

Louis Xvi, Tulipwood, Rectangular Marble Top, Open, 46 In., Pair

Lifetime, No. 7218, Mahogany, 1 Door, 10 Squares, 28 x 12 x 56 In.

Lifetime, Golden Oak, 3 Doors, Glass Panels, 55 3/4 x 55 x 12 In.

Lifetime, Double Doors, Paper Label, 42 x 55 In.

Lifetime, 3 Doors, Gallery Top, 3 Adjustable Shelves, 56 1/4 In.

Liberty, Triple, Spade Cutouts, 3 Shelves, Leaded Glass Door, 71 In.

L. & J.g. Stickley, No. 645, Oak, 2 Doors, 12 Panes, 53 x 12 x 55 In.

L. & J.g. Stickley, No. 645, Mahogany, 2 Doors, 53 x 12 x 55 In.

L. & J.g. Stickley, No. 644, Open, Mortised Through Sides, Decal, 55 In.

Jules Leleu, Burl Walnut, C.1928, 56 1/2 x 43 x 12 1/2 In.

Hepplewhite, Mahogany, Inlay, 2 Glass Doors, 1 Drawer, 78 In., 2 Piece

Gothic Revival, Mahogany, Original Glass, 83 x 52 1/4 In.

Globe-wernicke, Stacking, Leaded Glass Top Door, 34 x 47 In.

Globe-wernicke, Stacking, 3 Sections, 34 x 49 In.

Globe-wernicke, Drop Front, Mahogany, 9 Sections, 59 x 84 x 11 In.

Globe-wernicke, 4 Stack, Paper Label, 59 1/2 In.

Georgian, Mahogany, 2 Doors, 4 Shelves, French Feet, C.1780, 93 x 49 In.

George Iv, Mahogany, Gothic Arch Mullions, 90 x 45 x 22 In.

George Iii, Mahogany, 2 Astragal Doors, Molded Cornice, 84 1/2 In.

George Ii, Mahogany, Slant Front Top, 3 Drawers, Bracket Feet, 6 In.

G. Stickley, Overhanging Top, 3 Vertical Panes, 58 x 14 In.

G. Stickley, No. 715, Mahogany, 16 Panes, 36 x 56 In.

G. Stickley, No. 543, Mahogany, 12 Panes, 50 x 12 x 56 In.

G. Stickley, Mahogany, 2 Doors, 8 Panes, 56 x 43 x 13 In.

G. Stickley, Mahogany, 16 Panes, Gallery Top, 55 1/2 In.

G. Stickley, 2 Doors, 16 Panes, V-pulls, Red Decal, 56 In.

G. Stickley, 2 Doors, 16 Panes, Hammered Copper, 56 x 13 In.

G. Stickley, 2 Doors, 12 Panes, Iron Hardware, No. 718, 56 x 54 In.

G. Stickley, 1 Door, 16 Panes, Iron V-pull, Red Decal, 56 In.

Frank Lloyd Wright, Mahogany, 3 Gilt-edge Shelves, 1923, 48 In.

Federal, Mahogany, Stepped Cornice, Glazed Doors, 90 x 48 In.

Federal, Mahogany, Molded Edge Top, 4 Shelves, 34 x 50 1/2 In., Pair

Empire, Mahogany, Marble Top, Bronze Egyptian Stiles, 1810, 36 x 50 In.

Empire, Mahogany, 2 Glazed Doors, Shelves, C.1840, 85 x 62 In.

Empire Gothic, Mahogany, Mullioned Doors, 4 Shelves, C.1840, 83 x 52 In.

Edwardian, Satinwood, Double Glazed Doors, Bracket Feet, 77 In.

Edwardian, Mahogany, Inlay, C.1905, 60 1/4 x 66 x 15 1/2 In.

Eastlake, 2 Framed Glass Doors, Spoon Carved Finial, 92 x 40 In.

Colonial Revival, Rectangular Top, Foliate Scrolls, 1800s, 41 1/2 In.

Chippendale, Slant Front, Swan’s Neck Pediment, 4 Drawers, 77 In.

Chippendale, Robin’s-egg Blue, Black Flecks, 28 x 14 x 66 1/4 In.

Cherry, Step Back, 4 Glass Doors, Cornice, 110 x 78 x 17 In., 2 Piece

Cherry, Revolving, Inlaid Center, 3 Shelves, Lattice Sides, 43 In.

Carlton, Multilevel, Memphis, 1981, 72 1/2 In. ~illus

Bird’s-eye Maple, Birch, Glazed & Paneled Doors, 1860s, 85 3/4 In.

Biedermeier, Maple, Pedimented Cornice Over Doors, 76 In., Pair

Biedermeier, Birchwood, Brass Grillwork, 96 x 82 x 19 In.

Biedermeier, Birch, Stepped Cornice, 2 Doors, 1830s, 47 3/4 In.

Baker Furniture, Black Enamel, Brass Lattice Panel Doors, 35 x 35 In.

Arts & Crafts, Oak, Upper Glass Panes, 2 Doors, 53 1/2 x 43 1/4 In.

Arts & Crafts, Oak, Floral Design At Top, Leaded Glass Doors, 82 In.

Arts & Crafts, Oak, 3 Shelves, Old Green Paint, C.1900, 55 x 25 1/2 In.

Arts & Crafts, Mahogany, 4 Doors, Adjustable Shelves, 92 x 59 In.

Arts & Crafts, Dark Mahogany, 8-pane Doors, 54 1/2 x 46 x 12 In.

Arts & Crafts, Center Glass Side Paneled Doors, Shelves, 59 x 67 In.

Arts & Crafts, 3 Shelves, 2 Doors, 48 x 36 x 12 1/2 In.

Arts & Crafts, 3 Glass Paneled Doors, 8-pane Doors, 55 x 55 x 12 In.

Arts & Crafts, 3 Glass Doors, 3 Shelves, 56 x 61 x 13 In.

Aesthetic Revival, Walnut, Carved, 2 Glass Doors, C.1870, 104 x 72 In.

Aalto, Walnut, 4 Shelves, Dowel Leg Support, 100 x 34 1/2 In.

Aalto, Plywood, 4 Shelves, Svenska Arteck, 100 x 59 x 34 In.

Aalto, Attached Table, Dowel Leg, 4 Shelves, 100 x 59 1/2 In.

Walnut, Maple, Carved Fretwork, Birds On Top, 1900, 79 x 47 x 15 In.

Walnut, 2 Sections, 2 Glass Doors, Carved, 1870s, 103 In.

Walnut, 2 Dovetailed Drawers, 2 Paneled Doors, Zoar, Ohio, 73 1/2 In.

Stickley Brothers, Hammered Copper Ring Pull, 50 x 35 1/2 x 12 In.

Stacking, Globe-wernicke, Mahogany, Leaded Glass, 4 Sections, 34 x 67 In.

Roycroft, 4 Shelves, Base Drawer, Light Finish, 65 x 14 x 9 1/4 In.

Rococo, Rosewood, Fruit, Foliate Carving, Mid 19th Century, 89 1/2 In.

Revolving, Mahogany, Inlay, 33 Shakespeare Volumes, C.1904, 6 In.

Revolving, Mahogany, 1910s, 44 x 20 x 20 In.

Renaissance Revival, Oak, Rectangular Top, 3 Aligned Drawers, 48 In.

Regency, Rosewood, Spiral Brass Molding, Paw Feet, 33 3/4 In.

Regency, Mahogany, 6 Doors, Rectangular Cornice, Key Border, 102 In.

Regency, Mahogany, 4 Graduated Shelves, 57 In.

Regency, Mahogany, 2 Paneled Doors, Molded Edge Plinths, 84 In., Pair

Regency Style, Mahogany, 3 Open Shelves, 2 Grilled Doors, 61 In.

Plexiglas, Rounded Top, 5 Shelves, 48 x 12 1/2 x 84 In.

Oriental, Bamboo, 3 Shelves, Red Lacquer, 44 x 14 x 57 In.

Onondaga, No. 320, Door Opposite Open Shelves, 42 x 35 In.

Neoclassical, Pine, Double Glazed Doors, Germany, 77 x 35 In.

Neoclassical, Fruitwood, 2 Paneled Doors, Ormolu Mounts, 86 In.

Mccobb, Maple, 2 Shelves, Platform Stand, 60 x 18 x 34 In.

Mahogany, Glazed Doors, Egg-and-dart Molding, 2 Drawers, 33 In.

Mahogany, Arched Frieze, Glazed Doors, Adjustable Shelves, 88 In.

Mahogany, 2 Glazed Doors, Adjustable Shelves, 56 3/4 x 53 1/4 In.

Limbert, No. 359, 3 Doors, Gallery, Branded, 57 x 66 1/2 x 14 In.

Limbert, No. 358, Corbel Supports, Copper Pulls, Arched Apron, 57 In.

Limbert, No. 314, Leaded Glass Door, Paper Label, 54 x 21 In.

Limbert, 2 Shelves Over 2 Doors, Heart-shaped Cutouts, 47 x 31 In.

Lifetime, No. 7242, 3 Drawers Over 2 Doors, Wood Squares, 55 In.

Lifetime, 3 Glass Doors, Shelves, Decal, 54 x 54 x 12 In.

Lawyers, Stacking, Oak, Beveled & Leaded Glass, 5 Sections, 68 x 34 In.

L. & J.g. Stickley, No. 643, Mahogany, 2 Doors, 16 Panes, 56 In.

Herter Bros., Walnut, 3 Adjustable Shelves, 2 Base Drawers, 66 x 57 In.

Georgian, 4 Glazed Doors With Rosettes, Fretter Drawers, 87 In.

Georgian Style, Mahogany, Glass Doors, Busts Of Diana, 104 In., Pair

George Ii, Walnut, Mirrored Door, Slant Front, 4 Drawers, 81 In.

George Ii, Mahogany, 6 Doors, Dentil Molded Cornice, 1800, 93 1/2 In.

G. Stickley, No. 719, 2 Doors, Glass Panes ~illus

G. Stickley, Mahogany, 2 Doors, 2 Oak Divided Panels, 58 In.

G. Stickley, 2 Doors, 16 Panes, Gallery, Tenon Sides, Label, 56 x 35 In.

G. Stickley, 2 Doors, 16 Panes, Gallery Top, Label, 35 x 25 In.

G. Stickley, 2 Doors, 16 Panes, Gallery Top, 56 1/2 x 48 In.

Eastlake, Walnut, Step Back, 2 Paneled Doors, 90 x 60 In.

Cherry, Glazed Doors, 4 Shelves Over Short Drawers, C.1790, 62 1/2 In.

Biedermeier, Walnut, Gothic Glazed Bar On Paneled Doors, 72 In.

Arts & Crafts, Double Doors, Gallery Top, 3 Interior Shelves, 48 In.

Arts & Crafts, Chestnut, Oak, 2 Doors, Large & Small Panes, 55 x 42 In.

Arts & Crafts, 3 Doors, Copper Star Pulls, 55 In.

2 Glazed & Mullioned Doors, Late 19th Century, 53 1/2 x 40 5/16 In.

2 Glass Doors, Carved Oak Leaves, Acorns, Victorian, 73 x 37 1/2 In.

Walnut, Step Back, Cathedral Glass Panel Doors, 2 Drawers, 104 In.

Walnut, 2 Doors Over 2 Drawers, Mid-19th Century, 87 In.

Traveling, Regency, Oak, 2 Adjustable Shelves, Turned Legs, 47 3/4 In.

Stacking, 3 Sections, Early 20th Century, 34 1/2 x 14 x 48 In.

Rosewood, Step Back, Glazed Doors, 2-drawer Base, 98 3/4 In.

Rosewood, Ogee Cornice Over 2 Glass Doors, Scrolling, 1800s, 90 In.

Renaissance Revival, Walnut, Carved, Incised, 114 x 101 In. ~illus

Regency, Mahogany, Arched Crest, 2 Pairs Of Drawers, Bun Feet, 47 In.

Regency, 2 Astragal Doors, 2 Paneled Cupboard Doors, 1820, 79 In.

Queen Anne, Walnut, Molded Marble Top, 3 Drawers, 82 x 22 In.

Queen Anne, Oak, Double Dome, Fitted, Candleholders, 81 x 38 x 23 In.

Pine, Continental, 108 In.

Onondaga Shops, Chestnut, 5 Shelves, 48 x 36 In.

Oak, Stacking, Quartersawn, 3 Sections, Macey, 47 x 34 In.

Oak, Stacking, Leaded Glass Fronts, 4 Tiers, Weiss

Oak, Molded Top, 2 Tiers, Slatted Sides, Plinth Base, 26 In.

Oak, Egg-&-dart Molding, 3 Masks On Frieze, 45 1/2 In.

Oak, Carved Front & Side Pillars, 3 Glass Doors, Shoe Feet, 60 In.

Oak, 4 Shelves, 2 Glass Doors

Napoleon Iii, Mahogany, Marble Top, Drawer, Carved, 1870, 58 x 18 In.

Mahogany, Revolving, Fan Inlay, 2 Open Shelves, Slatted Ends, 30 3/4 In.

Mahogany, 3 Sections, Glass Doors, Mother-of-pearl Pulls

Louis Xvi, Kingwood, Veined Marble Top, Cabriole Legs, 34 In.

Lifetime, Door, Small Panels At Top, Adjustable Shelves, 28 x 55 In.

Lawyer’s, Stacking, 3 Sections, 46 1/2 x 34 1/2 In.

L. & J.g. Stickley, Oak, Cupboard Door, 50 x 22 In.

L. & J.g. Stickley, No. 645, 2 Doors, Copper Pulls, Handcraft Decal

L. & J.g. Stickley, No. 643, 2 Doors, 8 Panes, 39 x 55 In.

L. & J.g. Stickley, No. 345, Oak, 4 Shelves On Stiles, C.1910, 45 x 19 In.

L. & J.g. Stickley, Double Door, Onondaga Shops, 49 x 54 In.

L. & J.g. Stickley, 8 Panes, Gallery Top, Branded, 55 In.

L. & J.g. Stickley, 3 Doors, 12 Panes, 73 x 12 x 55 In.

Hepplewhite, Mahogany, Glass Mullioned Doors

Globe-wernicke, Oak, Stacking, 6 Sections, Leaded Door

Globe-wernicke, Oak, Stacking, 2 Units, 53 x 34 In.

Globe-wernicke, Oak, Lawyer’s, 3 Stacks, Drawer Base, 52 1/2 In.

Glazed Upper Doors, Short Lower Drawers, Animal-paw Feet, C.1825

Georgian, Mahogany, Arched Cornice, 2 Drawers, Bracket Feet, 78 In.

Georgian, Mahogany, 4 Cupboard Doors, 98 In.

Georgian, Mahogany, 2 Short Drawers, Ogee Bracket Feet, 1840, 95 In.

George Iii, Molded Dentil Cornice, 2 Drawers, Bracket Feet, 94 1/4 In.

George Iii, Mahogany, Glazed Mullioned Doors, 94 3/4 In.

George Iii, Mahogany, Arched Backboard, 2 Graduated Shelves, 59 In.

George Iii, Mahogany, 4 Adjustable Shelves, Molded Plinth Base, 84 In.

George Iii Style, Mahogany, Lattice Glazed Doors, 85 x 73 x 17 In.

George Ii, Green Lacquer, Slant Front, 89 In.

G. Stickley, Oak, 16 Pane Doors, Safecraft

G. Stickley, No. 718, Mahogany, 2 Doors, Iron Hardware, 47 x 13 In.

G. Stickley, No. 717, Mahogany, 2 Doors, 8 Panes, 56 In.

G. Stickley, No. 703, Leaded Panels, 3 Windows, 58 x 14 In. ~illus

G. Stickley, Double Door, Red Decal, 56 x 60 In.

G. Stickley, Double Door, Gallery Top, 9 Panes, 44 3/4 In.

G. Stickley, Adjustable Shelves, 2 Doors, Red Decal, 56 x 48 In.

G. Stickley, 2 Mitered Mullioned Doors, 8 Panes, Gallery Top, 56 In.

G. Nelson, Primavera Birch, Door, Shelf, 30 x 52 x 12 In.

Frank Lloyd Wright, Mahogany, 3 Gilt-edged Shelves, 1923, 48 In.

Empire, Mahogany, Glass Double Doors, 108 In.

Empire, 2 Glass Doors, Cathedral Muttons, 1drawer In Base, 83 In.

Empire Style, Mahogany, Cathedral Door Panels, 4 Drawers, 83 1/2 In.

Elm, 2 Pierced Cupboard Doors, 2 Shelves, Pierced Apron, 78 In.

Edwardian, Mahogany, Glass Door, Swan Top, 1910, 55 In., Pair

Eastlake, Walnut, 2 Drawers, Glass Doors, 64 x 53 In.

Corner, Heywood-wakefield Co., 2 Adjustable Shelves, C.1950, 40 In.

Cherry, Revolving, Danner Company

Cherry, 2 Recessed Glazed Doors, 4 Shelves, Poplar Panels, 72 x 53 1/2 In.

Biedermeier, Walnut Veneer, Glass Door, Scroll Feet, 69 In.

Bamboo, Sea Grass, 2 Doors, Ebonized Trim, Anglo-indian, 1880, 34 In.

4 Shelves, Lower Drawer, E.e. Hale Company, 61 x 35 In.

Walnut, Carved Frieze Over 2 Glazed Doors, Blind Doors, 53 x 84 In.

Walnut, 2 Drawers, Adjustable Shelves, Crest, 60 1/2 In.

Urn Finial, 2 Glazed Doors, Shelves, Mirrored Back, 80 In.

Urn Finial, 2 Glazed Doors, Shelves, Mirrored Back Over Drawer, 80 In.

Sheraton, Mahogany, Astragal Doors, Bracket Feet, 89 x 46 x 20 In.

Roycroft, Mahogany, 12-pane Door, Original Finish, 56 In.

Regency, Mahogany, Walnut, 2 Doors, 87 x 85 In.

Queen Anne, Walnut, Beveled-mirror Door, Bracket Feet, 68 In.

Queen Anne, Mahogany, 2 Glazed Doors, Mirrored Back, 44 x 80 In.

Ormolu Mounted, Ebonized, Glazed Doors, 4 Shelves, 83 1/4 In.

Oak, Swivel, Square, X-shaped Base, Casters, 60 1/2 In.

Oak, Stylized Floral Inlay, 1910, 65 1/2 x 67 In.

Oak, Stacked, 3 Horizontal Sections, Glass Panel Door, 47 3/8 In.

Oak, Single Astragal Glazed Door, Side Brass Handles, 25 In.

Oak, Open Front, Adjustable Shelves, 2 End-to-end Drawers, 60 x 60 In.

Oak, Crenellated Top, 2 Shallow Shelves, 1855, 48 x 58 1/2 In.

Oak, 3 Adjustable Shelves, 2 Long Doors With Glass, 55 In.

Oak, 2 Drawers, Openwork Leaf Carving, 65 x 42 x 13 In.

Mission, Oak, Revolving, Open Storage, 4-prong Base, 69 x 26 In.

Mission, Oak, 2 Doors, 58 x 43 x 15 In.

Mission, 3 Sections, Leaded Glass Top, 19 Drawers ~illus

Mahogany, Wire-grill Front, Bronze Mounted, 48 x 58 3/4 In.

Mahogany, Tambour, Hinged Door, C.1790, 80 In.

Mahogany, Panels In Double Doors, 2 Lower Drawers, Korea, 44 1/4 In.

Mahogany, Open Shelf, Ogee Frieze Drawer, 60 x 35 x 14 In.

Mahogany, Figural Carving, 3 Open Shelves, 2 With Doors, 65 In.

Mahogany, 3 Shelves, 2 Glazed Doors, Dividers, Ball & Claw Feet

Mahogany, 2 Parts, 2 Doors, Leather-bound Books, Shelves, 1820s

Limbert, No. 358, 2 Doors, 2 Vertical Panes, Casters, Label, 59 x 48 In.

Limbert, 2 Doors, 3 Adjusting Shelves, Dark Brown Finish, 58 In.

Lifetime, Mahogany, 3 Shelves, Paine Furniture Co., 45 x 13 x 55 In.

Lawyer’s, Walnut, Step Back, 2 Glass Doors On Top, Ohio, 59 In.

L. & J.g. Stickley, Oak, 3 Doors, Red Decal, 1908, 55 1/4 In.

L. & J.g. Stickley, No. 641, 8-pane Door, Keyed Tenon Sides, 55 In.

Jean Prouve, Aluminum, Lacquered, Ash, 1952, 72 x 60 In. ~illus

Golden Oak, Paw Feet, Scrolled Apron, 1-pane Door, 58 1/2 In., Pair

Golden Oak, Acanthus Leaves On Columns, Glass Door, 4 Shelves, 53 In.

Golden Oak, 5 Levels Of Open Shelves, Plank Sides, C.1890, 61 In.

Globe-wernicke, Mahogany, Stacked, 4 Sections, 61 x 34 1/2 In.

Globe-wernicke, Mahogany, 3 Sections, Label, 35 x 11 x 50 In.

Globe-wernicke, Barrister, Step Back, Sliding Glass Doors

George Iii, Mahogany, Glazed Mullioned Doors, Shelves, 82 In.

G. Stickley, No. 715, 16-pane Door, Keyed Tenon Sides, Decal, 56 In.

G. Stickley, 2 Doors, Original Hardware, Decal, 56 1/4 In.

Ebonized, Silk, Brass Trellis, Victorian, 37 1/2 In., Pair

Duncan Phyfe Style, Eglomise Panes

Cushman, 4 Shelves Over 2 Doors, Pine Color, 79 1/2 In., Pair

Curly Maple, Walnut, Full Turned Pilasters, Beveled Glass Doors, 59 In.

Camden Cabinet Co., Oak, Stacked, 3 Sections, 44 1/2 In.

Cahoon, Brown & Yellow, 2 Hinged Doors, 1944, 67 x 42 In.

Biedermeier, Birch, Peaked Pediment, Dentil Molding, Glazed Doors

Arts & Crafts, Oak, 4 Shelves, Vertical Slat Sides, 39 In.

Art Nouveau, Walnut, Carved Thistle & Pinecone, 1900s, 74 x 86 In.

Walnut, 4 Doors, Burl Walnut Panels, Adjustable Shelves, 56 x 70 In.

Walnut, 3 Bottom Drawers, 4 Doors, Portrait Medallions, 54 x 96 In.

Victorian, Standing, Fluted Pilasters

Victorian, 2 Glass Doors, Base Drawer, 3 Shelves ~illus

Sheraton, Mahogany, Turned Legs, 1850

Satinwood, Brass Feet On Casters, Turned Legs, 15 In.

Rococo, Rosewood, Wavy Mold, 4 Shelves, 48 In.

Rococo, Mahogany, Bonnet Top, Leaf Carved Crest, 2-drawer Base

Revolving, 2 Tiers, Oak, Square, 32 x 12 In.

Regency, Mahogany, Glazed Doors, Plinth, 90 In.

Queen Anne, Walnut, Seaweed Marquetry, 93 In.

Oak, Victorian, 75 x 37 In.

Oak, Step Back, 6 Doors With Locks, 6 Drawers, 120 In.

Oak, Carved, Front Columns, Leather Fringe, 61 In.

Neoclassical, Black Faux Marble Top, 2 Drawers, Bun Feet, 51 In.

Mahogany, Tuned Side Supports, Lower Drawer, 5 Shelves, 48 In.

Mahogany, Glass Front Doors, Adjustable Shelves, 58 x 49 x 15 In.

Mahogany, Bowfront, 2 Shelves Behind Glass Doors, Paw Feet, 62 In.

Mahogany, 3 Glazed Doors, Carved Columns, Claw Feet, 55 x 72 In.

Mahogany, 2 Top Glazed Doors, Molded Cornice, 1845, 90 x 50 In.

Mahogany, 2 Glass Doors, Columns, Claw Feet ~illus

Limbert, No. 602, Oak, 2 Doors, 3 Shelves, 52 x 34 In. ~illus

Limbert, No. 358, Double Door, 4 Glass Panes, 3 Shelves, 57 In.

Lawyer’s, Oak, 5 Glass Door Shelf Sections, C.1890, 74 In.

L. & J.g. Stickley, 2 Doors, 12 Panes, 1905, 55 In.

Heywood-wakefield, Corner, Champagne Finish, 32 x 28 In.

Hepplewhite, Birch, 4 Dovetailed Drawers, Bracket Feet, 81 In.

Gothic Revival, Mahogany, 2 Glazed Panels, 1840-1850, 102 In.

Golden Oak, Quartersawn, 2 Glass Doors, 14 x 46 x 57 In.

Georgian, Mahogany, Breakfront, 4 Glazed Doors, 85 In.

Georgian, Mahogany, 2 Glazed Doors, Cornice, 19th Century, 90 In.

Georgian, Mahogany, 2 Glazed Doors, 69 x 48 x 20 In.

George Iii, Mahogany, Peach Moire Interior, Bracket Feet, 89 In.

George Iii, Mahogany, 4 Long Drawers, Bracket Feet, 84 In.

George Iii, Mahogany Inlay, Ogee Bracket Feet, 11 In.

G. Stickley, No. 717, D Door, 8 Panes Per Door, V Pulls, 55 In.

G. Stickley, No. 715, Gallery Top, 16 Panes, 56 x 36 In.

G. Stickley, Door, 3 Leaded Panes, Over Vertical Panes, 58 In.

Federal, Mahogany, 2 Doors, Compartments, Drawers, C.1820, 54 In.

Empire, Mahogany, Gilt Metal, 3 Sections, 69 In.

Eastlake, Walnut, 61 1/2 x 30 In.

Double Glazed Doors, Lower Drawers, Walnut, 1850s, 94 3/4 In.

Classical, Mahogany, Cornice, 2 Glazed Doors, 19th Century, 92 In.

Classical, Mahogany, 2 Glass Crossbanded Doors, 1890, 57 x 48 In.

Classical, Flame Mahogany, 2 Glazed Doors Over 3 Wood Doors, 1825, 86 In.

Chippendale, Cherry, Glass Doors, Locks, C.1875

Cherry, 4 Paneled Doors, Dovetailed Cornice, 91 In.

Charles X, Ebonized, Glazed Doors, Plinth Base, 8 Ft. 3 In.

Brooks, Cutout Sides, Original Glass Panes, 2 Shelves, 53 x 18 In.

Bibliotheque, Louis Xv, Tulipwood, Cornice, Plinth Base, 72 x 51 In.

Barrister, Oak, Per Section

Arts & Crafts, Oak, 3 Glazed Doors, 1910, 57 x 72 x 14 In.

Walnut, Bust Of William Shakespeare On Top, 3 Sections

Shaw Walker, Hardwood, Stacked, 3 Sections, 49 1/2 In.

Ridenour, Oak, Two 12 Pane Doors, Iron Hardware, 56 1/4 In.

Renaissance Revival, Walnut, 3 Doors, Refinished, 3 Sections, 1860

Regency, Rosewood, Gilt Rosettes, Reeded Columns, 44 1/2 In.

Queen Anne, Walnut, Double Library

Poplar, Skyscraper, Series Of Blocks Form Shelves, C.1930, 76 In.

Pine, Library, Center Shelves, Lower Paneled Drawers, 7 Ft., Pair.

Mission, Oak

Mahogany, Paned Doors, Slant Front, 4 Drawers, 81 1/2 In.

Mahogany, Open, Fluted Columns, 96 X 32 X 19 In

Mahogany, Carved Glazing Bars, Lower Cupboard, C.1835, 8 Ft.

Mahogany, Broken Pediment Top, Open Front, Shelves, 65 X 51 In.

Mahogany, 3 Shelf, Tapered Columns, Drawers, 67 X 35 X 17 In.

Mahogany, 3 Open Shelves, 2 Lower Drawers, Shaped Base, 67 In.

Limbert, No. 358, 2 Pane Doors, 6 Shelves, 57 X 48 X 14 In.

Limbert, No. 322, 3 Leaded Glass Doors, Gallery Back, 60 In.

Lifetime, No. 7219, Double Door, 4 Shelves, Gallery Top, 55 X 42 In.

Lifetime, Flush Top, 5 Adjustable Shelves, 54 X 12 X 28 1/2 In.

L. & J.g. Stickley, No. 719, 2 Doors, 12 Panes Each, 60 In.

L. & J.g. Stickley, No. 642, Open, 4 Shelves, Chamfered Back, 55 X 30 In.

L. & J.g. Stickley, 4 Glass Sections Top Of 2 Doors, 55 In.

L. & J.g. Stickley, 2 Doors, 3 Panes At Top, 48 X 54 In.

L. & J.g. Stickley, 12-pane Door ~illus

L. & J.g. Stickley, 12-pane Doors, Red-brown, Gallery, 55 X 46 X 12 In.

Humphrey Whidman, Mahogany, Neoclassical, 4 Sections, 34 In.

Heywood-wakefield, Corner, 2 Adjustable Shelves, C.1950, 40 In.

Harvey Ellis Design, Oak, C.1904

Golden Oak, Leaded-glass Doors, 54 In.

Globe-wernicke, Stacked, 4 Sections, 57 3/4 In.

Globe-wernicke, Quartersawn Oak, Stacked, 3 Sections, 51 In.

Globe-wernicke, Poplar, Birch, Stack, 3 Sections, Leaded Glass, 47 In.

Globe-wernicke, Oak, Stacked, Drawer In Base, 6 Sections, 81 In.

Globe-wernicke, Oak, 4 Stacks, Glass-front Doors

Glazed Doors, Adjustable Shelves, Lower Doors, Mahogany, 7 Ft.

G. Stickley, No. 719, 2 Doors, 3 Shelves, Copper Hardware, 1907

G. Stickley, No. 523, Oak, 2 Doors, 1912, 44 X 36 In. ~illus

G. Stickley, 16 Panes Of Glass, 1 Door, Copper Hardware, 56 In.

G. Stickley, 16 Pane Door, Gallery

G. Stickley, 12 Panes Each Of 2 Doors, Iron Pulls, 56 X 60 In.

G. Stickley, 12 Glass Panel Doors, Copper Pulls, 56 In.

French Provincial, Oak, Molded Cornice, Carved Plinth Base, 93 In.

Federal, Mahogany, Mass., Early 19th Century, 42 X 39 X 22 In.

Empire, Molded Cornice, 2 Gilt Columns, 2 Doors, 38 X 16 X 78 In.

Empire, Mahogany, Step Back, 8 Pane Glass Doors, Cornice, 91 In.

Empire, Mahogany, Cylinder, C.1850, 7 Ft. 11 In.

Eastlake, Walnut, Triple Door, 3 Bottom Drawers, 76 In.

Dwarf Pine, Glazed Door, Bracket Feet, Victorian, 72 X 60 X 18 In.

Crafters, Carved, 2 Glass Doors, 8 Shelves, 60 X 60 X 14 In.

Cherry, Step Back, New England, 19th Century, 86 X 36 In. ~illus

Cherry, Poplar, 1 Base Drawer, 2 Glass Doors, 40 X 13 X 76 In.

Burl Walnut, Crest, Glazed Door, Cylindrical, Victorian, 96 X 34 In.

Black, 2 12-mullioned Pane Doors, Gallery, 56 X 60 X 12 In.

Black Walnut, Stepped Cornice, Neo-gothic Arches, 6 Ft. X 9 In.

Alligatored Varnish Finish, Stack, 4 Sections, Cabriole Legs, 62 In.

William Iv, Mahogany, 2 Glazed Arched Doors, Plinth Base, 1835, 76 In.

Wanamaker’s, Walnut, Revolving, Square, 19th Century, 57 X 24 X 24 In.

Walnut, Step-up, Triple, Mirrored Back, 7 X 6 Ft.

Walnut, Glass Doors, Molded Base Doors, Phila., 1865, 107 X 54 In.

Wallace Nutting, Oak, Leaded Glass Top, 4 Shelves, 5 Ft. 2 In.

Satinwood, Open, Inlaid, Spade Feet, 36 X 66 In.

Roycroft, Architectural Form, Applied Columns

Roycroft, 1 Door, 16 Panes, 33rd Degree, No. 086, 40 X 15 X 55 In.

Queen Anne, Walnut, Mirror Doors, 82 In. ~illus

Quartersawn Oak, 3 Doors, Carved Columns, Victorian

Oak, Lift & Roll Doors, 5 Stack

Oak, Lift & Roll Doors, 4 Stack

Oak, Lift & Roll Doors, 3 Stack

Oak, 2 Stained Leaded Glass Doors

Oak, 2 Glazed Doors, Lower Paneled Cupboard Doors, 92 In.

Neoclassical, Mahogany, Canted Corners, Brass Mounts, Russia, 22 In.

Mission, Oak, C.1910, 54 X 39 X 13 In.

Mahogany, Peaked Pediment, Glazed Doors, Germany, 73 In.

Louis Philippe Style, Walnut, 4 Grillwork Doors, 94 X 84 In.

Limbert, Single Door, 6 Panes, 4 Shelves, Copper Pulls, No. 377

Limbert, Oak, Backsplash, Wicker Panels, No. 801-22, 60 In.

Limbert, Oak, 4 Shelves

Limbert, 8 Pane Doors, Copper Hardware, 8 Shelves, 1907, 60 In.

Lifetime, Oak, Medium Finish, No. 727, C.1910, 56 X 48 1/8 In.

Lifetime, 4 Shelves, 1 Door, Copper Pull, No. 7360, 31 X 58 In.

Lifetime, 1 Door Overlaid With 10 Small Sections, No. 7218, 55 In.

L. & J.g. Stickley, Open, 4 Shelves, Keyed Tenons, No. 646, 55 In.

L. & J.g. Stickley, 8 Panes, Double Doors, No. 643, 40 X 12 X 55 In.

L. & J.g. Stickley, 2 Doors, No. 645, Oak, 55 1/4 In.

L. & J.g. Stickley, 1 Door, 16 Panes, Keyed-tenon, No. 641, 55 In.

Kingwood, Ebonized Fret, Lion Marquetry, 37 X 13 X 68 In.

Gustav Stickley, Oak, 2 Doors, No. 716, C.1909, 56 X 43 12 In.

Gustav Stickley, 2 Doors, Slab Sides, No. 542, 56 X 36 X 12 1/4 In.

Gustav Stickley, 2 Doors, 8 Panes, Decal & Label, No. 716, 56 In.

Gustav Stickley, 2 Doors, 8 Panes Each Door, Oak, C.1902, 56 In.

Gustav Stickley, 2 Doors, 8 Panes Each, No. 717, 56 In.

Gustav Stickley, 1 Door, 16 Panes, Decal, 56 In.

George Nakashima, Headboard, 2 Sliding Doors, 54 In.

French Provincial, Oak, Carved Doors, Beveled Glass Panels, 71 In.

Frank Lloyd Wright, Mahogany, 3 Gilt Edged Shelves, 1923, 48 In.

Federal, Mahogany, 2 Doors, 1810, 67 X 48 In.

Empire Revival, Mahogany, 1 Door, Fluted Flanking Columns

Eastlake, Walnut, Burl Veneer, 3 Adjustable Shelves, 31 X 11 X 63 In.

Eastlake, Walnut, 2 Glass Doors, 2 Base Drawers, C.1880, 66 X 50 In.

Eastlake, Ebonized Finish, 3 Drawer Base, 42 1/2 X 50 In.

Cherrywood, String Inlay, 2 Doors, Gothic Panels, 73 X 53 In.

Biedermeier Style, Birch, Part Ebonized, Open Shelves, 57 In.

2 Doors, 5 Adjustable Shelves, Quartersawn Oak, 99 1/2 In.

William Iv, Veined Marble Top, 2 Open Shelves, Mahogany, 43 In.

Step Back, Burl Walnut, 2 Glass Doors, 2 Side-by-side Drawers

Roycroft, Oak, Tabard Inn Library, 4 Sides, 1910

Rococo Style, Carved, Pineapple Finial, England

Revolving, Walnut, Victorian

Regency, Mahogany, 2 Glazed Doors, Columns, Plinth, 96 X 50 In.

Quartersawn Oak, 5 Lions Faces, Glass Door & Pulls

Mission, Oak, 3-paneled Glass Door, Small

Mission, Oak, 2 Glass Doors

Louis Philippe, 1 Glazed Door, Mirrored Back, Fruitwood, 66 In.

Lifetime, 2 Shelves, Overhanging Gallery, 52 X 39 X 11 1/2 In.

L. & J.g. Stickley, Oak, 2 Doors, No. 645, C.1910, 55 X 52 In.

Hepplewhite, 4 Dovetailed Drawers, Walnut, Country, 84 In.

Gustav Stickley, 2 Doors, 16 Panes

Gustav Stickley, 16 Panes, No. 715, Paper Label, 56 X 35 In.

Gothic, 2 Doors, Carved Heads At Corners, Mahogany, 60 In.

George Iii Style, Mullion Doors, Chinoiserie, Japanned, 79 In.

Empire, Mahogany, 2 Glazed Doors, 19th Century, 57 X 48 In.

Empire, Floral Carved Cornice Over Shelves, Oak, 89 X 52 In.

Empire, Brass Mounted Feet, Bleached Mahogany, 1820s, 70 In.

Eastlake, Walnut, 3 Sections, 1870-1880, 132 In.

Danner, Revolving, Oak, Bucyrus, Ohio

Cylinder Top, Aqua Colored Glass Panels, Adjustable Shelves

Chippendale, Carved Mahogany, 2 Parts, Glazed Doors, C.1780, 98 In.

Chippendale, 3 Lower Drawers, Cherry, C.1800, 86 X 72 X 19 In.

Carved Mahogany, Victorian, 19th Century, 56 X 60 X 18 In.

Art Deco, Stepped Case, Walnut, 64 In., Pair

4 Tiers, Magazine Rack, Black Wood, China, 64 3/4 In.

4 Drawers, 2 Doors Of 8 Panes, Walnut

3 Doors, Carved Pediment Top, Walnut, 110 In.

2 Leaded Glass Doors, Walnut, Carved Winged Griffins, Paw Footed

2 Glass Doors Over 2 Drawers, Walnut, Burl, Carved Pediment

2 Drawers, Block Feet, Cherry, France, 30 1/2 X 78 In.