Posts Tagged ‘mahogany’

Globes
Pair of early nineteenth-century mahogany library globes by Newton, published in 1838 and 1836. The tripod frames with out-scrolled legs ending in brass castors, 3 ft 8 in high        780 0
Large pair of terrestrial and celestial globes by Newton; published 25 March 1875. Supported in mahogany frames on triple curving legs 205 0
Pair of terrestrial and celestial globes in turned stands by James
Wyld, Charing Cross East; published 1847 185 0
Knife Boxes
A pair of mahogany urn-shaped knife boxes, stamped W. Johnston, with domed lids and bodies inlaid with flowers and stripes, 2 ft 5 in high 115 0
Sheraton  inlaid  mahogany serpentine-fronted knife box in
original condition 32 0
Mirrors—Mantel
Empire-style giltwood overmantel with triple mirrored panels
and decorated with classical figures 105 0
Rectangular mantel mirror in a giltwood frame carved with
acanthus and shell motifs, 31 in by 25 in 60 0
Mirrors—Toilet or Dressing
Sheraton serpentine-fronted box-frame toilet mirror fitted with
two drawers, 17 in wide 36 0
Sheraton box-frame shield-shape toilet mirror with two drawers,
18 in wide 30 0
Mahogany box-frame toilet mirror with three drawers, 15 in
wide 15 0
Edwardian   mahogany   box-frame   toilet  mirror   with three
drawers to base, 22 in wide 9 0
Mirrors—Wall
Pair of Chinese-Chippendale giltwood girandoles of rococo outline mounted with phoenix-birds and clusters of flowers from which issue two scrolled candle branches. The base enriched with acorns and oak leaves, 38

in high 650 0
Mid-Georgian wall glass in a giltwood frame carved with scrolls
and foliage and pierced, 44 in high 200 0
Chippendale mahogany mirror with gilt gesso beading
George IV convex mirror in a gilt frame enriched with spherical ornament with two scrolled candle sconces. Crested with a gilt eagle with outspread wings 76 0
Regency giltwood convex mirror with ball encrusted moulded
frame and ebonised slip, 1 ft 11 in diameter 15 0
Settees, Couches and Chaise Longues
Small carved mahogany sofa, the arched back carved with
rococo motifs. Curved arms, carved seat rail and cabriole legs        135 0
some auction room prices ‘. 1968-69
Decorated satinwood cane-panelled settee with loose seat
cushion, 4 ft 4 in George III painted settee with flat rectangular back and arms,
on turned legs. The arms, seat rails and legs are painted
with husks and flowers on a cream ground, 6 ft wide Early George III mahogany settee with stuffed back and arms.
The seat rail and legs are carved with blind fret, 5 ft 8 in
wide, (some restoration) Victorian rosewood frame serpentine-fronted chaise longue on
short cabriole legs
Settles
Eighteenth-century oak settle, 5 ft 5 in wide Seventeenth-century panelled oak settle with box seat, 4 ft 6 in wide
Seventeenth-century carved and panelled tall-back hall settle, 5 ft 7 in wide
Sideboards
Small nineteenth-century sideboard inlaid with ebony lines. Raised back, the centre drawer flanked by a cupboard and deep drawer. Supported on six turned and tapering legs, 4 ft 8 in wide
Hepplewhite-style mahogany serpentine sideboard of rich mellow colour, cross-banded in kingwood and fitted with a napery drawer and cellaret cupboards with octagonal gilt metal handles and supported on chamfered

legs, 7 ft 2 in wide
Georgian mahogany half-moon sideboard with two cupboards to the sides and two drawers with lion ring handles in the centre. Four tapering legs, 4 ft wide
Large mahogany Sheraton-style sideboard fitted with two long drawers and flanked by two deep drawers, supported on tapering legs
Regency Empire mahogany sideboard of architectural form, with a reverse breakfront with two shallow drawers to the centre flanked by deep cupboards. Supported by two curved and four simulated bamboo legs

terminating in brass paw feet. The whole mounted with ormolu and brass griffins, lions’ masks and sphinx and with Adams-style garlands and patera, 7 ft 6 in long
Late Georgian mahogany sideboard with shaped front, the top back rail fitted with three tambour slides. Two cupboards and a centre drawer to the base over a waved apron. Supported on six slender tapering legs, 5 ft

7 in wide
Early nineteenth-century mahogany bow-front sideboard on spiral-turned legs, 6 ft 1 in wide
Tables—Break fast
Regency mahogany breakfast table with brass stringing on the banded top and a turned pillar ending in a reeded quadruped, 5 ft by 3 ft 5 in
Georgian mahogany oval breakfast table with reeded edge and
Tables—Card
Chippendale mahogany card table with shaped folding top on boldly carved cabriole legs ending in claw and ball feet, 2 ft 7 in wide 370 0
Late George II mahogany card table with border of carved flowerheads and legs and frieze carved with blind fret, 3 ft wide 250 0
Regency card table in figured rosewood inlaid with brass flowers and leaves, the D-top on a ringed stem and quadruple brass capped legs, 3 ft wide 190 0
Sheraton mahogany card table inlaid with satinwood lines and
on tapering legs, 3 ft 2 in wide 180 0
George II walnut card table with rectangular top on turned legs
with mantled knees and club feet, 3 ft wide 95 0
Regency mahogany card table with green baize interior on curving quadruple support, ending in brass claw feet. The top is cross-banded 65 0
Victorian mahogany card table with double Sap top supported
on four tapering shafts, terminating in curved legs 44 0
Tables—Centre
Regency painted centre tabic, the circular top simulating green marble, the border with brass mouldings hinged to a carved turned central support on a curved triangular base with lion’s paw feet, 4 ft diameter 120 0
Edwards and Roberts eboniscd centre table with ormolu beading on cluster column and quadruple base, 5 ft 6 in wide 38 0
Red Buhl shaped centre table with heavy ormolu mounts, two
drawers and on cabriole legs. (Poor condition) 11 0
Tables—Dining
Charles I oak dining table with a triple-plank top and the frieze carved with leaves and interlaced arcading, on column legs, 6 ft 5 in long by 2 ft 7 in wide 360 0
Large late George III mahogany dining table, the top richly carved with acanthus, ribbon motifs, satyr masks and a coat of arms. Supported on ten tapering spiral-twist legs with five loose leaves, 12 ft 4 in long 185 0
Georgian mahogany two pillar dining table with triple curving
legs ending in brass-capped feet 122 0
Georgian mahogany oval drop-leaf dining table on turned legs
and pad feet 75 0
Eighteenth-century mahogany oval drop-leaf cottage dining table
on taper legs with pad feet, 3 ft 6 in wide 44 0
Mahogany gadrooned oval dining table with cabriole legs and
claw and ball feet 40 0
Georgian mahogany drum library table with leather top and four real and four dummy drawers. On triple curving legs with brass-capped feet, 3 ft 3 in diameter 680 0
some auction room prices : 1968-69
George III mahogany library table fitted with seven drawers and dummy drawers with gilt metal lion ring handles, the top with gilt tooled green leather and the whole raised on a curved quadruple support with

brass-capped feet
Tables—Games and Sewing
Eighteenth-century mahogany, shaped folding top, games table on nutcracker frame with cabriole legs and claw and ball feet, 34 in wide
William IV games table with sliding and reversible top inlaid as a chess board opening to reveal a backgammon board with two drawers to the side. Central pillar supported on quadruple curving feet
Nineteenth-century mahogany sewing table with rising top and drawers below. The slender tapering legs ending in brass-capped feet
Tables—Gate-leg
George I elmwood gate-leg table, the oval top with flaps on
cabriole legs carved with scrolls and leaves and ending in
pointed pad feet, 3 ft 9 in wide Seventeenth-century oak oval gate-leg dining table with double
flaps supported on bobbin turned legs with plain cross
stretchers, 4 ft 9 in wide Late George II mahogany gate-leg table, the oval top with two
flaps, on unusual legs fluted and ending in paw feet, 3 ft 9 in
wide
Oak oval gate-leg table on turned underframe with drawer, 4 ft wide
Tables—Occasional
Late George II mahogany piecrust table with bird-cage support on fluted stem with carved legs and claw and ball feet, 2 ft 2 in diameter
Large mahogany piecrust tripod table with baluster stem and
pointed pad feet, 3 ft 5 in diameter Mahogany tripod table, the circular top with raised rim, on
cabriole feet, 1 ft 10 in diameter
Tables—Pembroke
Late Georgian mahogany oval Pembroke table with drawer, on
square tapering legs, 2 ft 7 in wide by 3 ft 6 in long Late Georgian mahogany Pembroke table painted with a floral
border and on turned and fluted legs Georgian mahogany Pembroke table with folding flaps and
single drawer, inlaid with satinwood lines and fan motifs, on
tapering legs, 3 ft 2 in wide
Tables—Refectory
Seventeenth-century oak refectory table of slender plain form, the base having square ends united by a single stretcher, 7 ft 3 in long
Oak refectory table on bulbous end supports with central
stretcher, 7 ft 7 in by 3 ft wide 130 0
An exceptionally long oak refectory table with triple curving
supports, 18 ft 6 in long, 3 ft 3 in wide 90 0
Tables—Side
Queen Anne banded walnut side table with two deep and two
shallow drawers on square legs, 3 ft 3 in wide 170 0
Chinese-Chippendale mahogany side table, the frieze carved with
blind fret. Moulded legs, 3 ft wide 88 0
Oak side table with drawer, on turned legs, 3 ft wide 64 0
Walnutwood side table with cabriole legs carved with acanthus
leaves 31 0
Tables—Sofa
George III satinwood sofa table cross-banded with acacia, fitted with two drawers and false drawers opposite on trestle supports with splayed curved feet and brass castors, 2 ft 10 in wide        750 0
Regency banded mahogany sofa table with tulipwood stringing with two drawers on end supports and central stretcher with brass claw feet, 5 ft 10 in extended 380 0
Late George III mahogany sofa table with two drawers in frieze and raised on flat trestle supports with out-curved legs, 3 ft 2 in wide 270 0
George III mahogany sofa table banded in rosewood and with two drawers. It has trestle supports with tripod splayed legs and brass feet, 3 ft wide 250 0
Tables—Sutherland
Mahogany Sutherland table on turned underframe, 2 ft 9 in
wide 42 0
Victorian walnut-veneered Sutherland table on turned supports,
2 ft 6 in wide 36 0
Tables—Tea
Regency mahogany tea table with folding top on a turned pillar and four curved legs, the whole inlaid with brass stringing, 3 ft wide 120 0
Late George II mahogany tea table, the top with a border of flowerheads and ribbon and the frieze and chamfered legs carved with Chinese blind fret, 3 ft wide 60 0
George III mahogany tea table with folding top, a drawer in
the frieze and square tapering legs, 3 ft 8 in wide 38 0
Tables—Wine
Hepplewhite mahogany wine table, the inlaid octagonal top
supported on triple concave curving legs 105 0
Victorian mahogany wine table on pillar and tripod base, 21 in
diameter 10 0
Tables—Writing
George III mahogany pedestal writing table, the gilt tooled leather top with three drawers at each side of the frieze and
the pedestals with cupboards and drawers at either end, 4 ft wide
Early eighteenth-century banded fruitwood writing table, fitted
with three drawers, a shaped apron and on cabriole legs with
pad feet, 2 ft 4 in wide Victorian lady’s mahogany writing table with two short drawers
on lyre end supports, 3 ft wide Carved mahogany writing table with fitted drawer, the top lined
with leather, on cabriole legs, 2 ft 5 in wide
Tallboys and Lowboys
George II walnut tallboy, the top with reeded and canted corners and three small and three long drawers. The base having three long drawers and bracket feet
Queen Anne small walnut tallboy of mellow colour, the upper chest fitted with two small and three long drawers over a brushing slide, and three long graduated drawers
William and Mary lowboy inlaid with scrolls and motifs. The top fitted with two small and two long drawers and two long drawers to the base, 4 ft 3 in high
Georgian mahogany tallboy with dentil cornice and two small and three long drawers to the top and tliree long drawers to the base which is supported on bracket feet
Georgian mahogany tallboy with dentil cornice, the top fitted with two small and three long drawers, the base with three long drawers and supported on bracket feet, 6 ft 1 in high
Waiters
Mid-Georgian mahogany dumb waiter with turned and carved columns supporting three trays. The whole on cabriole tripod feet, 4 ft high
George III mahogany dumb waiter with two revolving tiers and baluster centre on three curved and moulded legs and castor feet applied with roundels, 3 ft 2 in high
George II mahogany dumb waiter with three graduated revolving tiers and spiral fluting on turned central support. Plain cabriole legs, 3 ft 6 in high
Wardrobes
Mahogany breakfront wardrobe fitted with sliding trays, four
drawers and panelled cupboards Small Georgian mahogany wardrobe enclosed by two panelled
doors with three drawers in the base, 3 ft 9 in wide George III mahogany gents wardrobe with pierced swan-neck
cresting, a pair of doors banded in satinwood and two short
and two long drawers below, 7 ft high by 4 ft 4 in wide Regency mahogany wardrobe the upper part with sliding trays
with four drawers under on splay feet, 3 ft 11 in wide
Washstands
Late George III mahogany washstand, the top hinged and opening to form a back, the front with a pair of cupboard doors above one small drawer, on square splayed legs, 2 ft wide
Edwardian three-tier corner washstand with basin 18 0 George III mahogany corner washstand, the slender legs joined
by a stretcher with a drawer, 2 ft wide                                      14 0
Wine Coolers
Georgian inlaid mahogany sarcophagus wine cooler with lion
mask and ring handle on paw feet 65 0
Georgian mahogany octagonal wine cooler with lifting top and
short square moulded legs, 18 in wide 55 0

SOME AUCTION ROOM PRICES

FURNITURE
Bookcases, Bureau-Bookcases and Bookshelves
Sheraton mahogany bureau-bookcase, swan-neck pediment, 3 ft
3 in wide 1,650 0
George II walnut bureau-bookcase 650 0
Georgian mahogany breakfront bookcase, 7 ft  10 in wide,
7 ft 8 in high 450 0
Regency rosewood cylindrical swivel bookcase with shallow
pierced gilt metal gallery, 25 in diameter, 38 in high 284 0
Large Regency mahogany bookcase with dentil cornice, the upper part enclosed by four glazed astragal doors; the cupboards in the base enclosed by four doors with indented panels 160 0
Edwardian mahogany bureau-bookcase inlaid with ribbon, shell and urn motifs in satinwood. The top with swan-neck pediment with double-glazed astragal doors. The fall flap opening to reveal drawers and recesses.

Four long drawers below on bracket feet, 7 ft 5 in high 132 0
Georgian mahogany secretaire-bookcase, fitted adjustable shelving enclosed by glazed barred doors and cupboard below drawer, 2 ft 6 in wide 120 0
Georgian figured mahogany inlaid secretaire-bookcase, the upper part fitted with adjustable shelving, enclosed by glazed barred doors and fitted with two short drawers enclosed by panelled doors below, 4 ft wide 100
Small oak bureau-bookcase, the top with glazed astragal doors, the base fitted with a single drawer and double panelled doors, 5 ft 7 in high 95 0
A nineteenth-century mahogany bureau-bookcase with satin-wood lines. Top having glazed doors. Fall flap to base, which has four long drawers and is supported on bracket feet 56 0
Bureaux and Writing Cabinets
Early nineteenth-century marquetry inlaid cylinder-front bureau with pierced ormolu gallery, mounts and beading, having interior fittings, writing slide and three drawers, on taper legs, 3 ft 2 in wide 475 0
George III mahogany secretaire cabinet, the upper lancet panelled glazed doors above secretaire and panelled cupboard doors, 8 ft 4 in high, 4 ft 2 in wide 250 0
George II walnut bureau inlaid with boxwood lines. Interior having central well, drawers and recesses. Two small and two long drawers in base, on bracket feet 210 0
Eighteenth-century fruitwood bureau with three long graduated
drawers below the fall, on bracket feet, 3 ft wide 140 0
Georgian mahogany secretaire cabinet, the top drawer opening to reveal eight drawers and recesses inlaid with shell motif and a green baize writing panel. Three long graduated drawers to the base. The upper part

enclosed by panelled doors 95 0
Georgian  mahogany fall-front bureau having four drawers
under and on bracket feet, 3 ft 2 in high 70 0
Edwardian mahogany bureau-cabinet with pierced swan-neck pediment over glazed doors, sloping fall front over four drawers, bracket feet 66 0
George II oak bureau with fall flap and small drawers, two small and two long drawers below and supported on bracket feet, 2 ft 10 in high 60 0
Victorian mahogany bureau with sloping fall front over four
long graduated drawers, on bracket feet 58 0
Cabinets
Georgian mahogany bookcase cabinet with arched pediment surmounting astragal double doors. The base with double doors supported on bracket feet, 6 ft 6 in high 470 0
French display cabinet of Louis XVI design, mounted with ormolu female caryatids, the base with panels in the style of Vernis Martin, 3 ft 9 in wide 410 0
Regency mahogany display cabinet, the upper part enclosed by brass grilled and latticed doors, panelled cupboards to the base and supported on bold paw feet 290 0
Victorian walnut display cabinet in the Louis XVI manner, mounted with ormolu and inset with Sevres porcelain panels, two serpentine glass doors to the side and a door to the centre, 5 ft 1 in wide 126 0
Mahogany display cabinet of Chippendale-style with two glazed astragal doors below a swan-neck pediment and supported on cabriole legs and claw and ball feet, 5 ft 3 in wide 80 0
Canterburys
George III mahogany Canterbury with drawer in frieze on
tapering legs, 1 ft 7 in wide 130 0
George III mahogany Canterbury with turned legs 115 0
Georgian mahogany four-section music Canterbury with drawer
in base 85 0
George III mahogany Canterbury with slatted sides and ringed
legs, 1 ft 4 in wide 60 0
Chairs—Open Arm and Elbow
George II mahogany open arm chair in the French manner. Rectangular back and serpentine fronted seat. Arm supports and cabriole legs carved with rococo foliage and with scroll feet 150 0
George III mahogany open arm chair forming library steps,
the arm supports and curved stretchers with rope twist 150 0
Two early stick-back Windsor elbow chairs
Edwardian inlaid rosewood open arm chair with pierced splats
Chair—Dining Sets
Ten Sheraton-period mahogany dining chairs with cross rail backs and satinwood crestings on turned and reeded legs. Two carvers
Eleven Regency rosewood dining chairs with carved and reeded back rails, caned seats and on reeded sabre legs
Set of eight Regency mahogany dining chairs with padded backs, sabre legs. All are strung with brass, with brass carrying handles on the cresting rails
Set of two carving and six single Hepplewhite mahogany chairs with shield backs and pierced vase splats carved with wheat ears, on tapering legs
Set of six single and one carving Hepplewhite mahogany chairs with shield backs and pierced vase splats, supported on tapering legs
A composite set of eight eighteenth-century Dutch walnut dining chairs, inlaid with marquetry depicting floral bouquets, urns, scrolls and birds. Comprising one carving and seven single chairs
Set of six Sheraton inlaid mahogany single chairs with triple splat backs and stuff-over seats, on tapering legs
Set of nine mahogany dining chairs, one carver, in the Hepplewhite style with triple vase splats and drop-in seats
Set of two carving and six single Chippendale style mahogany ladder-back dining chairs with pierced serpentine splats and moulded legs
Set of six Regency mahogany reeded frame single chairs on sabre legs
Set of six William IV single dining chairs with leather seats and sabre legs
Set of two carving and four single Chippendale style mahogany chairs with carved and pierced splats and loose stuffed leather seats, supported on cabriole legs and claw and ball feet
Set of six Victorian walnut single chairs on slender curving legs
Set of six small Victorian walnutwood single chairs with oval backs and pierced scroll splats, on curved legs
Set of four Georgian reeded mahogany wooden seat hall chairs, crested
Set of six elm rush seat chairs with spindle backs Set of six Victorian single chairs with slender curving legs and damask seats
Set of four Edwardian mahogany shield-back single chairs inlaid
with satinwood lines and a fan Set of six Victorian mahogany balloon-back dining chairs on
turned legs
Chairs—Dining Single
Pair of George III mahogany dining chairs with moulded and rounded arched backs and pierced splats carved with foliage
and husk pendants. Upholstered curved seats on square legs
with block toes 50 0
Sheraton mahogany chair with stuff-over seat 17 0
Three early Victorian yew wood standard chairs 17 0
Pair of Victorian rosewood chairs on turned carved legs 5 0
Regency mahogany standard chair on reeded sabre legs 5 0
Chairs—Easy
George III mahogany wing armchair with an arched back,
shaped sides and chamfered legs 140 0
Early Victorian mahogany frame wing easy chair 50 0
Papier m&chi nursing chair with cane scat and inlaid with
mother-of-pearl 30 0
Victorian button-back nursing chair 29 0
Chests of Drawers and Commodes
Chippendale mahogany serpentine chest with reeded and canted corners and with four graduated drawers, on wide bracket feet, 3 ft wide 980 0
Chippendale mahogany serpentine chest, the canted corners pendant with clusters of fruit and flowers in bold relief, 3 ft 3 in wide, 2 ft 8 in high 620 0
Georgian walnut bachelor’s chest with folding top and four long drawers having brass handles and lockplates; supported on bracket feet, 29 in wide, 13 in deep, 32 in high 165 0
Eighteenth-century walnut chest of three short and three long drawers with tulip wood stringing on stand fitted with two short and one long drawer with cabriole legs and claw and ball feet, 3 ft wide 105 0
Small Georgian mahogany commode with fluted and canted
corners and fitted with two small and three long drawers 66 0
George III mahogany chest of two short and three long drawers,
3 ft 2 in wide 28 0
Chiffoniers
Regency mahogany chiffonier with three stepped shelves above with gilt metal sides pierced in the Chinese style, the fronts with rope twist mouldings. The lower section enclosed by two doors panelled with radiating

pink silk, 3 ft 10 in wide        150 0
Regency rosewood chiffonier, the single shelf at the top with acanthus supports. The single drawer to the front containing writing panel and fitted compartments. The whole with double brass rail and flanked by scrolled

acanthus supports        110 0
Coffers and Chests
Early Charles II oak chest of four panelled drawers with
panelled sides and bun feet, 3 ft 1 in wide 65 0
Late seventeenth-century carved oak coffer with a domed lid. The front carved with four arches and surrounded by stylised carving of leaves, strapwork and birds’ heads, 3 ft high, 5 ft 3 in wide 60 0
Early seventeenth-century carved oak dower chest, 3 ft 6 in wide
Seventeenth-century oak coffer with lifting top, the front panelled and carved in low relief with strapwork and foliage and the initials ‘HP,’ 4 ft 2 in wide
Cu pboards—Corner
Hepplewhite free-standing, serpentine-fronted mahogany corner cupboaid. Double glazed doors at the top enclose three display shelves. Base on square feet with double doors
Mahogany bow-fronted corner cupboard with glazed door enclosing shelves
Georgian standing corner cupboard with four panel doors enclosing shelves
George I blue japanned hanging corner cupboard with small open shelves above a pair of bowed doors. Decorated with chinoiseries, 3 ft 9 in high by 1 ft 11 in wide
Lacquer bow-fronted corner cupboard decorated in gilt with Chinese figures and buildings on a scarlet ground. The whole on cabriole-legged stand {not matching), 1 ft 10 in wide
Bow-fronted hanging corner cupboard with the door painted with King Solomon and the Queen of Sheba, 1 ft 11 in wide
Black lacquer bow-fronted corner cupboard with doors decorated with gilt Chinese landscapes, 1 ft 10 in wide
Davenports and Desks
Eighteenth-century partner’s desk in sabicu with tooled green leather top and fitted with eighteen drawers to the kneehole frieze, with rococo gilt metal handles; circa 1780
Queen Anne walnut kneehole desk crossbanded with fruitwood, with one long drawer and two tiers of three small drawers, 2 ft 5 in wide
George III mahogany tambour desk, the shutter enclosing fitted interior with leather-lined slope, pigeon-holes and drawers with two drawers below on square tapering legs with brass castors, 3 ft 1 in wide
Mahogany pedestal desk with leather-lined top and nine drawers around kneehole, 4 ft 8 in wide
Georgian mahogany Davenport with drawers and slide and with leather-lined fall and brass gallery, 1 ft 8 in
Victorian figured walnut Davenport with carved front supports
Dressers
Eighteenth-century oak dresser with three small drawers with brass handles and lockplates and cabriole legs ending in pad feet, 6 ft 2 in wide
Eighteenth-century oak dresser with three small drawers with brass handles over a waved apron, with cabriole legs on pad feet, 6 ft 2 in wide
Stuart-design oak dresser, the cupboards and drawers with geometrical raised panels with gilt metal drop handles
Oak dresser, the top with a shaped frieze, two cupboard doors
and three ihelvet over three moulded drawers to the base,
with cabriole legs, 5 ft 6 in wide, 6 ft 8 in high 105 0

The Regency style of cutting can be
regarded as the classical standard of
British cut glass. It was not long to survive,
however, for in the new designs of 1825-30
there was a change from mitre-cutting to
flat-cutting or surface slicing in a vertical
pattern, as opposed to the horizontal
patterns of previous years. Horizontal
bands of diamonds were replaced as
decoration by a vertical arrangement of
broad hollow flutes, ‘pillared’ flutes, or flat
vertical facets. The essentials of this new
style can be seen in the pattern drawings
of about 1830 of Samuel Miller, foreman
cutter at the Watcrford glass-works in
Ireland. The style may have started in the
cutting shops of Birmingham. Apsley
Pellatt at the Falcon Glasshouse in South-
wark, London, was producing vessels with
vertical arrangements of fine diamond
panels about 1820. The decanter illus-
trated shows pillar-cutting of about the
toco’s.
The broad-fluted style of cutting was
international, with overtones of the early
18th century, and was especially associated
with the Budermeter glass of Central
Europe. About the same time as this style
of cutting appeared in England, the shape
of glass became more angular and straight-
sided, which was suitable for the new form
of decoration. Decanters, particularly,
changed from the barrel shape to a
cylindrical shape with vertical sides. This
remained the characteristic style of the
1830’s and the early 1840’s. Some elabora-
tion on the style took place on the better
pieces so that flutes would have multiple
profiles and would alternate with panels of
mitre-cutting. Arched patterns became
fashionable around 1840; often complex
in detail, they still retained the strongly
vertical tendency of style. The decanter
illustrated is a good example of the arched
decoration of the 1840’s, with mitre-
cutting enclosed by the arches.
CUT-GLASS DECANTER
By Apsley Pellatl, England, 1851
Ht. 311 mm (12-25 11,1
During the 1830’sand 1840’s glass-makers
in England began to appreciate once more
the curves and rounded shapes one could
attain with glass. Water carafes and
decanters began to have spherical bodies,
and champagne glasses with the new-
hemispherical bowl were introduced.
Wine-glasses now had ogee-shaped and
bill-shaped bowls, and cutting consisted
of plain facets running through from the
bowl to the stem. The spherical carafes and
decanters were often cut with ‘printies’ or
rows of large shallow facets. The decanter
illustrated, made by Apsley Pellatt in
London in 1851, has these rounded
hollows on the body of the vessel. Occas-
ionally heavy mitrc-cutting was used, but
the tendency was to decorate these boldly
curving shapes with engraving as opposed
to cutting. The period of common use for
these shapes in England coincided with the
eclipse of the technique of cutting in the
1860’s and 1870’s.
CUT-GLASS DECANTER
England, about 1850. lit. 381 mm (15 in.)
The Glass Excise in England was removed,
after much agitation, in 1845. Glass could
now be made to any thickness without fear
of taxation. One result was a revival in
interest in deep mitre-cutting, where the
glass was thicker and the cutting deeper
than ever before. The decanter illustrated
is a good example of this. Large-scale
mitre-cutting was to be a feature of this
mid-ioth century work. Intricate curvi-
linear designs became more common, and
the actual shapes of the vessels were freer
and had more variety. Contemporary
engravings illustrated much of the intri-
cately cut glass on display at the Great
Exhibition of 1851. Objects that have
survived to the present day show that the
glasses were not quite the ‘prickly mon-
strosities’ they appeared to be in 19th-
century engravings. Mention should be
made of the firm of F. & C. Osier of
Birmingham, who produced enormous
cut-glass centrepieces for this and other
exhibitions, and for eastern potentates
CUT-GLASS BOWL.
Decorated by E. Hammond, Stevens & Williams,
England, about 1895. Diam. 419 mm (16-5 in.)
After the 1851 Exhibition, cut glass was
largely disregarded for many years in
England. During the later 1850’s, 1860’s
and 1870’s, spherical vessels with en-
graved decoration were the fashion. Some
cut glass was always made in this period,
but without any great originality of
thought so far as the design was concerned.
Pressed glass imitations of cut glass also
spurred the reaction against real cut glass.
The intellectual set were against it on
aesthetic grounds from the middle of the
century. In John Ruskin’s words ‘all cut
glass is barbaric’ (Stones of Venice Vol. II
(1853)). Glass fashions at this period were
more or less international, so the eclipse of
cut glass also took place in Central Europe,
France and the U.S.A. at the same time.
However, it came internationally to the
fore again in the 1880’s and 1890’s. In the
pattern books of British manufacturers for
that period the new designs show cutting
as elaborate as was technically possible.
CUT-GLASS BASKET
Stevens & Williams, England, about 1880
Ht. 175 mm (688 in.)
Glass-cutters in England in the 1880’s and
1890’s aimed at a mathematical precision
in their work. Technical improvements
helped them to achieve this, so that even
shapes that were difficult to decorate with
cutting, such as the cut-glass basket
illustrated, became a commercial proposi-
tion. Cut-glass objects that aspired to lesser
heights were square-section toilet bottles
and whisky decanters with ball stoppers,
which were decorated all over with dia-
mond mitre-cutting. Cut glass was looked
upon as the ‘old legitimate trade’ by glass-
makers, and tended to a conservatism in
design, yet the variety of new shapes in
these years was in line with the freedom
of the fancy-coloured glassware that was
being produced, This decoration became
once more the symbol of social and
material success, and was much patronised
by the middle and upper classes. Pressed
glass imitations were no longer the threat
they had been.
DECANTER IN CLEAR COLOURLESS GLASS WITH CUT
DECORATION
Bakewell, Page & Bakewell, Piltsburgh, U.S.A., 1825
The earliest known specimens of American
cut glass date from 1824, although evi-
dence does exist to indicate that cutting
may have been practised even earlier than
this date. Motifs that were used exten-
sively were flutes, panels, stars and plain
geometric bands. The cut decoration was
hand-polished on wooden wheels, which
gave it a softer lustre than that given by the
later high-speed wheel polishing or acid
bath. North American glass factories that
produced cut glass in the early 19th
century were the Bakewell (Company of
Pittsburgh, the New England Glass Com-
pany, and the Boston and Sandwich Glass
Company. By 1830, the American glass
factories were producing enough glass to
encourage the government to stop foreign
imports, and in that year a high Federal
tariff was levied against imports from
Europe. The Baldwin Bill severely limited
imports, resulting in a boom in the
American glass industry.
COVERED VASE IN CLEAR COLOURLESS GLASS WITH RED
FLASHING AND CUT DECORATION
Probably the New England Glass Company, U.S.A.,
about 1845. Ht. 756 mm (2975 in.)
The new tariff laws of 1830 made the
manufacture of fine tableware in America
especially profitable, and by 1840 at least
81 glass-houses were in operation. In West
Virginia, in 1864, a new glass metal was
developed. Instead of the expensive and
brilliant lead glass, a less costly soda-lime
glass was developed, which although it did
not have the ring or rich appearance of lead
glass, was admirably suited to the great
variety demanded by the American public.
With the introduction of this new metal,
American cut glass was even more threat-
ened by cheaper pressed glass imitations.
Cut glass manufacturers were driven to
using the pressed techniques, or else to
producing cut-glass items that could not
be duplicated on the pressing machine. In
this middle period of American glass-
making (1830-80) cutting continued the
use of the flute, cross-hatching, fan, and
diamond motifs, though with a greater
profusion than in the earlier period. All the
glass, however, subordinated decoration
to the shape of the glass.
SEGMENT OE PI-ATE IN CLEAR COLOURLESS GLASS
WITH CUT DECORATION
T. G. Hawkes& Co., U.S.A.
The ‘brilliant’ period of American glass-
making (c. 1880-1915) was so called be-
cause of the fashion for brilliant cut glass,
which became a symbol of social prestige,
its opulence admirably suited to the
formality of the age. The deep-cut patterns
favoured motifs such as the mitre, the fan,
the notched prism, the single star and the
‘hob-star’. A very brilliant lead glass was
used which, in conjunction with the deep
cutting, produced an effect of extreme
richness and crackling brightness which
has to be seen to be fully appreciated. From
the beginning the glass-cutters tended to
cover most of the’surface of the piece with
their decoration. After the turn of the
century the embellishment became even
more elaborate, and the many firms vied
with each other in creating complicated
patterns, completely subjugating form to
ornament. Social and economic factors led
to the manufacturers pricing themselves
out of existence after World War I.
VASE WITH CUT DECORATION IN BLUE-GREEN GLASS
CASED WITH COLOURLESS GLASS
Use Schargc-Ncbel, Germany, 1064
Ht. 208 mm (82 in.)
The heavy, clear colourless glass that was
created in the Bohemian-Silesian area in
the late 17th century provided the stimulus
for a spectacular development in the art of
cutting as well as engraving. Glass so
decorated was soon being produced in all
the German-speaking countries, and by
the 18th century was being exported all
over the world. In the 19th century the
Bohemian factories adopted the English
style of heavy cutting with great success,
and even today cut wares form a large part
of their export wares. Bohemia has pro-
vided the finest cutters and engravers for
countries which have a less firm tradition
in glass-making. Modern German glass
shows the same quest for simplicity which
is noticeable in Finland, Sweden and
Denmark, and the glass-makers have
returned to the basic qualities of glass and
glass-blowing. This is reflected in the
simple lines and sensitive cutting of the
vase illustrated. It is in bluish-green glass
with a clear, colourless casing, the cut
decoration forming a window-like pattern.
VASE WITH  DECORATION
By Pavel lllava, Czechoslovakia, 1959
A fresh stylistic impulse reached the glass
factories of Bohemia in the first decade of
the twentieth century, which was to change
their traditional attitudes to decoration.
The impulse came from Vienna, where the
architect and designer Josef Hoffmann
(born 1870) had become a powerful influ-
ence. He was an early pioneer of a Func-
tionalist style in decoration and advocated
the use of basic geometric figures like the
square and circle for designs. Through his
work at the Wiener Kunstgewerbeschule
(Viennese School for Applied Arts) where
he taught, he popularised heavy, angular
forms. His style of purely geometric
ornament was transmitted to the Bohemian
glass industry by way of the schools for
glass-making and decoration in Haida and
Steinschonau. After the political revolu-
tion in 1948 the tradition for Bohemian cut
crystal continued, though softer patterns
were favoured over the old rigid cut-glass
designs. Pavel Hlava (born 1924) is best
known for his cut and engraved glass.
The Techniques of Taking Away
DISH WITH FACET-CUTTING AND ‘DIAMOND-POINT-
ENGRAVING
Germany (exported from Egypt ?), 2nd century A.D.
Ht. 6t mm (25 in.)
Dxamnnd-Potnl Engraving: Kngraving
glass with a diamond point was a technique
practised in Italy from before the middle
of the 16th century. Centuries earlier than
this, during the period of the Roman
Empire, engraving in the same style was
being produced. Some sharp instrument
not unlike a diamond point must have been
used; the results arc rather rougher, but
the similarities in technique cannot be
denied. ‘The first instance of this type of
engraved bowl was found in a grave of the
late 1st century A.D. on Siphnos in the
Aegean. However, it is not until the later
2nd century A.D. that a school of such
work can be recognised. The pieces are
colourless, clear glass bowls bearing myth-
ological and genre scenes in facet-cutting
with ‘diamond-point’ engraving for the
details. Many of the bowls have Greek
inscriptions giving the names of the
persons depicted, and all have a curvilinear
engraved band, usually just below the rim.
SEGMENT OE PLATE ENGRAVED IN DIAMOND-POINT
Willi GILDED AND FILIGREE DECORATION
Venice, mid-ihthcentury, Diam. 275 mm(10s in.)
Venetian cristallo glass, with its brittle
soda-lime constitution, was particularly
suited to the technique of diamond-point
engraving. When the diamond point was
pressed against the glass, this took the
impress with precision, yet still allowed
much treedom of movement to the en-
graver. However, although the technique
was practised in Italy, it was never as
popular there as on the glass of Venetian
type (Jacon de Vemse) found in other
European countries, notably in Holland
and also Hall-in-the-Tyrol. The diamond-
point engraving was usually used in con-
junction with gilded decoration. Dishes
with fantastic birds and long-tailed mon-
sters, as in the dish illustrated, were
produced, as well as those with coiled
foliage and coats of arms. The dish shown
is in clear, colourless glass with granular
gilding and a filigree network, as well as
diamond-point engraving. Dragons, birds
confronting a mask and crossed Papal
Keys form part of the engraved decoration.
GOBI II WITH DIAMOND-POINT INGKWING
Attributed to Jacopo Verzelini, Km/land, 1581
iii 210 mm (8-ag in.)
A group ol diamond-point-engraved glas-
ses has commonly been attributed to
Jacopo Verzelini (1522-1606), a Venetian
who came to England from Antwerp in
1571. In 1575 he obtained a privilege from
Queen Elizabeth I for a period of twenty-
one years which gave him the sole right to
make glasses after the Venetian style in
England, and forbade the importation of
foreign glass. In 1592, when he was
seventy, he gave up glass-making and
retired to Downe in Kent, where he died
at the age of 84. All the glasses ascribed to
him are large goblets of various proportions
with hollow moulded or gadrooned knops
on the stems. The goblet illustrated is in
clear, colourless glass with a slight greenish
tinge and diamond-point engraving on the
straight-sided bowl. The engraving on
Verzelini glasses has been attributed to
Anthony de Lysle, an engraver of pewter
and glass who is thought to have come
from France.
BOUQUET  IN DARK BLUE GLASS ENGRAVED WITH
11II DIAMOND POINT AND GILDED
Hall-in-the-Tyrol,
Ht. 202 mm (7-95 in.)
Diamond-point engraving was a charac-
teristic form of decoration at an important
glass-house at Hall-in-the-Tyrol. This
was started in 1534 and flourished in the
third quarter of the 16th century. It was
under the direction of Sebastian Hoch-
stetter, an Augsburg merchant, and event-
ually came under the patronage of the
Archduke Ferdinand. The articles pro-
duced by this works were in blue, green,
and clear and colourless glass, with dia-
mond-point engraving and (often dam-
aged) lacquer painting and lacquer gilding.
In the last third of the 16th century most
European glass-making countries were
producing glasses similarly decorated and
diamond-point engraved. Scrolled arab-
esque foliage, borders of chain or guilloche
pattern, hatched ‘ladder-borders’, and
borders of single formal leaves or of crest-
ing are usually found on all these glasses.
Obviously, these could not all be the work
of the same hand, but more probably the
work of a craftsman from Hall and his
pupils.
‘ROYAL OAK GOBLET’, ENGRAVED IN DIAMOND POINT
England, 1663. Ht. 143 mm (5-63 in.)
Few glasses survive from the period when
the Duke of Buckingham (1628-87) to°k
over from Sir Robert Mansell the making
of fine glass in the Venetian style in
England. The most important glass to
survive is this goblet, engraved in diamond
point with a portrait of Charles II
surrounded by engraved oak branches
with the inscription ‘Royal Oak’. There
are also portraits of Charles and his wife,
Catherine of Braganza and the Royal Coat
of Arms on the reverse, with the date 1663.
The metal is greenish-brown and the style
is facon de Venise. The glass was probably
made to commemorate the marriage of
Charles and Catherine in 1663. Another
famous glass of the same period is the
‘Exeter Flute’, probably made for the
coronation of Charles II. It stands 17
inches high, with a portrait of Charles II,
a sprouting oak stump and the inscription
‘God Bless King Charles the Second’ in
diamond point on the fluted bowl.
HOWL, DIAMOND-POINT-ENGRAED
Probably Savoy Glass-house, England, c. 1676
Hi. 98 mm (1-85 in.)
GOBI.r.T ENGRAVED IN DIAMOND POINT, SIGNED
‘WM. VAN HEEMSKERK’
Netherlands, 1686. Ht. 200 mm (788 in.)
(See alio colour photograph 22)
The bowl illustrated is one of a pair found
in 1037 aI Tring. They are known as the
‘Buggins’ Bowls’, since they depict the
arms of Butler Buggin of North Cray,
Kent, and his wife Winifred Burnett of
Leys, Aberdeen. They were married in
1676, the year that George Ravenscroft of
the Savoy Glass-house in London estab-
lished his glass-of-lead. However, it was
not until the following year that the Glass
Sellers’ Company allowed him to seal his
glasses with a raven’s head seal, so the
Buggins’ Bowls must have been made
prior to this. These heavy lead-glass bowls
have an almost modern look to them, due
to the absence of the intricate cutting that
was to become so characteristic of later
English lead glass. The diamond engrav-
ing on the bowls belongs to the tradition of
the past, since the technique is more
suited to the earlier thin-walled vessels of
the soda-lime type of glass.
In 17th-century Holland diamond-point
engraving was especially fashionable as a
pastime amongst amateurs, many of whom
became very skilled. Two famous names
are Anna Roemcrs Visschcr (1583-1651)
who decorated green glass Romers with
(lowers, fruit and insects, calligraphy and
inscriptions in Roman capital and Greek
letters, and Willcm Jacobsz van Hecms-
kerk (1613-92), a cloth merchant, poet and
dramatist of Leiden, who practised calli-
graphy on glass, mainly bottles, usuall\
adding his signature and the date. Exam-
ples of his work date from between 1648
and 1690. It is thought that much of the
diamond-point engraving found on Eng-
lish glasses of this period is probably
Dutch work. Up to this time Holland had
been producing Venetian-type cristallo
glass, but towards the end of the 17th
century she began to make ‘flint glass
ranglaise’. Possibly as a result, by the
1690’s wheel-engraving replaced diamond-
point engraving as the popular form of
decoration.
WINE-GLASS, ENGRAVED IN DIAMOND
POINT
England, mid-i8ih century
The group of vessels engraved in diamond
point known as ‘Amen’ glasses forms a
sub-division of the type called Jacobite
glasses. These were used to toast ‘The
Cause’ by the clubs and societies which
fostered Jacobite sentiments in England in
the 18th century. ‘Amen’ glasses arc
engraved in diamond point with a royal
crown, the cipher IR and RI entwined, and
the figure 8, together with either two or
four verses of the Jacobite anthem, ending
with the word ‘Amen’. They are essentially
private glasses, used for expressions of
loyalty to James and Prince Charles
Edward, and occasionally Prince Henry.
Some arc dated, like the Dunvegan Castle
glass, 1747, and the Mesham and the
Drummond Castle glasses, 1749. In the
1930’s some good forgeries of ‘Amen’
glasses were put on the market. Jacobite
glasses have been in such demand that all
the various types have been reproduced by
forgers.
GOBLET, STIPPLE-ENGRAVED BY FRAN.N GREENWOOD
Glass, English; engraving, Dutch, dated 1728
Ht. 210 mm (8-25 in.)
Stipple Engraving: For the technique of
stippling, grouped and graded dots were
engraved with a diamond point on the
surface of a glass object, the dots repre-
senting the highlights of the design. The
diamond point was set in a handle which
may have been gently struck with a small
hammer to produce a single dot on the
glass. In the better examples of stippling
the decoration can be compared to a deli-
cate film breathed upon the glass. Frans
Greenwood, a native of Rotterdam,
brought the art of stippling to its greatest
heights in the first half of the 18th century.
Born in 1680, he died in 1762, and was
apparently of English descent. He was
actually an amateur glass-engraver, who
from 1726 held an official post in Dor-
drecht. Nevertheless, he produced a quan-
tity of stippled glasses, often signed and
dated, and usually copying prints after
contemporary paintings. A typical example
is the light baluster glass illustrated, which
depicts a man holding a Rotner signed
‘F. Greenwood 1728′.
Glass, Knglish; engraving, Dutch, about 1790
Laurence Whistler, England, H15-;
Olhcr artists contemporary with Green-
wood also practised the art of stippling.
The best-known names are Aert Schou-
man, G. H. Hoolart and J. van den Blijk.
In the last forty years of the 18th century
stipple-engraving was done by numerous
artists, the most famous of them being
David Wolff in Holland, whose name has
become synonymous with the technique.
He was born in 1732 at ’s-Hcrtogcnbosch
and married in 1762 at The Hague, living
there until his death in 1708. The glass
illustrated shows the portraits of William
V of Orange and his wife, Fredcrica
Wilhelmina Sophia of Prussia. In the 19th
century Andries Melort of Holland (1779-
1849) copied in stipple on to Hat sheets of
glass the work of Dutch painters. D. H. de
Castro (d.1863), a chemist of Amsterdam,
revived the technique of stippling in the
Wolff manner in the mid-19th century,
and more recently E. Voet and others in
I lolland have used the technique.
Since the last World War Laurence Whist-
ler (b.1912) of England has concentrated
upon the art of stippling glass. His designs
are highly personal and imaginative. I le
started his engraving in an unusual way,
for during the 1930’s he used to amuse his
friends and himself by scratching lines of
poetry on windows in the Elizabethan
manner. Later he developed his skill to
engrave wine-glasses, each design being
specially made for a rich and aristocratic
person. At this stage he was employing
diamond-point engraving, frequently us-
ing genuine eighteenth-century wine-
glasses on which to practise his art. His
designs were of the Baroque tradition,
with emblems and allegorical allusions as
favourite themes. In his later work Whis-
tler has also designed the glasses them-
selves, which he decorates so that form and
decor become as one. Most of these glasses
are made for him at Whitefriars.

Stools, Chairs and Settees
Early forms of stools—development of the chair—scarcity of chairs before the 17th century—etiquette of the joined stool—upholstered farthingale chairs—”monk seats” and Commonwealth chairs—Restoration chair design—characteristics of William and Mary chairs—Queen Anne cabriole legs and the fiddle splat—wing chairs—Chippendale chair designs—chair backs of Hepplewhite—Adam’s classical shapes—Sheraton elegance—Regency and early Victorian chairs—the mystery of the Windsor chair—harlequin sets—the emergence of the settle—love seats and the development of the settee two tiered tables .
On a marble panel in Athens which dates from around 400 B serving tray antique tea table for sale .c antique butler type ashtrays . a woman is to be seen seated on a chair which has all the characteristics of a British chair of the Regency period antiquing furniture . The designers of Regency furniture, like Thomas Hope and Henry Moses, went to the ancient civilisations for their inspiration and this chair in the Athenian sculpture is an interesting case of “it has all happened before” 6 legged table antique .
After the disorders of the Dark Ages when so much of art and craftsmanship was lost, the way of making beautiful and serviceable things had to be rediscovered or reinvented antique regency revival sideboard . At the beginning of the early Tudor period it can be said that in any house, even of the greatest importance, most people had to be content to sit on stools blacks, meissen, porcelain . Sometimes these were of the planked type as illustrated in Chapter 1, but more often they were made of turned wood with triangular shaped seats women brass lamps . This type of stool was common throughout northern Europe and when they are encountered it is difficult to say what may have been their country of origin painted romer glass .
Small chests were also used as seats in early times and formed one of the sources from which the chair developed, the other being the triangular-seated stool japanese black lacquer round tea table . In both these instances the need to provide additional support for the body brought about the addition of backs and arms to the stools antique french office chair . The first box or chest chairs were very heavy and cumbersome and it became evident that there was little advantage in constructing chairs in this way antique half circle dropleaf table . For a short while this type of chair was made without the lower side and back panels but with the front panel still included staffordshire figure lovers couple . By the middle of the 16th century the oak armchair, without any lower panels in the framework, was to be found in most houses of the reasonably well-to-do antique porcelain +swan +painted .
A custom, lasting for many years, delayed the employment of the chair for general use black stinkwood table sale . During the second half of the 16th and for the greater part of the 17th century it was commonly accepted that only the head of the family or the master of the house should occupy a chair 2 tier adams style table lid . In some homes a thoughtful husband might provide a chair for his wife but as for the rest of the household, they had to use stools or remain standing wiener werkstatte chair . The modern word chairman, to denote the head of a committee, is probably derived from this ancient practice earthenware mixing bowls antique with handles . On a point of etiquette, observed in Britain during the 17th century, a host and his wife would vacate their chairs when entertaining an important guest and would sit on joined stools, as a mark of deference, while the guest occupied a chair american spoonback armchair .
The heavy oak arm-chair of the late Elizabethan and the early Stuart periods was of very much the same pattern with turned legs and a carved or inlaid panel in the chair-back candlestick 17th century church . The only marked difference in construction was in the top rail of the back antique display cabinet half round . While the Elizabethan chair had the top rail jointed between the uprights, the Stuart version had the uprights jointed into the top rail which projected at the sides and was supported by “ears” or small brackets 18th century card table .
The joined stool must have been made in considerable numbers during the 17th century as it was frequently referred to in bequests and inventories empire pier table . Nowadays, it is sometimes called a coffin stool which is rather a misnomer breakfast serving tables . It is true that in many old churches joined stools are to be found carrying piles of hymn books or collecting boxes and occasionally they may have been used for supporting a coffin during a burial service, but they were certainly not designed for that purpose european porcelain marks 1742 . A joined stool was the average person’s seat in the 17th-century household, either at the dining table or around the fire kidney shaped tables antique . It is likely that those found in old churches today were banished there from the vicarage when custom and funds permitted the parson to provide himself with the more comfortable chairs botanical antique ceramics collectors .
While chairs with wooden seats were in use throughout the 17th century and also during the 18th in the houses of country-folk, upholstereed chairs did appear in the early Stuart period antique extend side table . These, like the farthingale chairs, have already been mentioned in a previous chapter but during the Commonwealth somewhat heavy oak dining chairs were taken into use about the same time as the gate-leg table appeared thomas sheraton games table . These were similar to the farthingale chairs but had lower seats and higher backs which were upholstered in thick leather and edged with large brass round-headed nails antique empire pier table .
An interesting, dual-purpose piece of furniture was developed about this time satsuma pottery thousand flower . Known as a table-chair, it was constructed so that when the table-top was tilted to a vertical position it formed the back of a chair kidney shape dressing table . It is sometimes referred to as a monk’s seat, but the Dissolution of the Monasteries and the consequent banishment of the monks from the British way of life had occurred over a hundred years before the table-chair was invented 19th century tables .
The chief characteristic of Restoration chair design was the spiral twist for legs and backs english refectory table . A favourite motif of the wood-carver for chair decoration was the device of two cherubs, or amorini, supporting a royal crown c 1840 antique pedestal card table . This was inspired by the return of the monarchy after the Commonwealth and remained in popular favour until the close of the century antique secretaire . Chairs of the better quality were usually made in walnut but in the provinces many dining chairs were produced in oak 18th century chamber pots . Two varieties of these are usually referred to as Yorkshire and Lancashire chairs antique chair tall skinny back . They were quite heavily made and the former had two shaped and rounded back-rails, decorated with carving and bearing a small bearded mask century hepplewhite walnut card table . Traditionally, this was said to represent the death mask of the martyred Charles I and earned for this Yorkshire type the name of mortuary chair antique soup terrines . The Lancashire chairs, on the other hand, have panelled backs and I have an example in my possession on which the carving is very similar to that on a set in the ancient Chetham’s School, Manchester, which dates from the mid-17th century royal sheffield candlesticks . The finials on the uprights of my chair are the same as those on a settle which appears in Brueghel’s painting The Village Wedding meissen scattered flowers tea sets . The Brueghel picture was painted about 1530 and so we realise the slow movement of continental influence showing itself in the north of England over a hundred years later 16th century japanese tables .
Portuguese and Spanish characteristics, entering England directly through royal marriages or more deviously through France and the Netherlands, considerably affected the design of William and Mary chairs scriptoire . Here is found the tall, narrow back and the scrolled foot which during the reign of Queen Anne was to develop into thy, cabriole leg art deco polished matte lost-wax castings o nude women in bronze by viennese artisans . On these chairs the design of the upper back rail is often repeated in the lower front rail antique chippendale dining chairs with bronze leg decoration .
The type of chair which evolved during the first decade
of the 18th century was very pleasing to the eye antique brown staffordshire . The first cabriole legs were quite plain but the chair-makers of the lime did not consider that the chair legs were sufficiently strong to be made without connecting stretchers antique dining room with bulbous legs . However, by introducing a deeper seat rail it became possible to make a stronger joint at the top of the chair leg and eventually the stretchers were dispensed with altogether antique dresser names . The chair-backs of the Queen Anne period were of a pleasantly rounded appearance with a fiddle-shaped central splat, curved to support the sitter’s back meissen figures .
During the early Georgian period the cabriole leg remained in favour and without the stretchers was more sturdily fashioned than the finer Queen Anne shape 17th century writing desk . Moreover, it became the custom in the better class of chair to ornament the knees of the cabriole legs with carved shells, acanthus leaves or satyr masks american art deco bar furniture . Instead of a simple pad at the bottom of the leg, the ball and claw foot was adopted 19th century pennsylvania furniture prices . This was a pattern derived from a Chinese dragon motif which clasped in its claw a celestial pearl 19th century antique hall table . All-over upholstery of chair backs now became fashionable, but it was a vogue which died out when Chippendale and his contemporaries introduced the elaborately carved chair backs of the mid-18th century duncan phyfe table and buffet .
Chippendale included a straight, square sectioned leg among the designs for his chairs and when made in the Chinese taste these were covered in low-relief carving to simulate lattice work edward round drum tables . As if there was some doubt as to the structural efficiency of these legs, the use of stretchers was re-introduced art deco round glass chinese painted coffee table value . Chair backs were generally rectangular, whether the style was Gothic, Chinese or one of the many rococo patterns which decorated the pierced splats antique bedside toilet . Some of these complicated designs from Chippendale’s Director were rather pleasingly simplified by country craftsmen, e antique silver fish knives ivory handle .g english knife box . the well-known rush-seated ladder-back chair early american wall mirror .
Around the beginning of the 18th century the wing-wardly curving upholstered arms and cabriole feet antique german breakfast table . Later in the century the arms were made more upright and the side wings larger victorian cherry drop leaf table . The wing-chair is deceptive both in size and comfort small antique dressing table with cabriole legs . It often looks smaller than it really is and care should be taken before buying one to ensure that it will really fit in wherever it is intended to go early 19th century mahogany desks with lion feet . Although the winged chair marked a great advance in human comfort at the time, the unsprung seating feels hard compared with the resilience of 20th-century upholstery antique inlaid marquetry dutch chairs .
While George Hepplewhite was known to have made a considerable quantity of furniture to the designs of Robert Adam, he himself was probably responsible for many well-known types of chair such as the shield-back, the oval-back and the feathers pattern sofa table mahogany antique . The backs of Hepplewhite’s chairs were more rounded than those of his predecessors and he also favoured tapered legs which were often fluted utensils used in britain for cooking . His furniture generally was of a lighter appearance than that which had gone before occasional tables painted india . Sets of dining chairs usually consisted of ten or twelve single chairs and two arm-chairs or carvers antique rectangular drop leaf dining table . These latter were designed to accommodate the broad figures and full frock coats of the l8th-century gentlemen and the seats were made proportionately wide rue la la . The curve and sweep of the arms is also noteworthy for they were cut from solid blocks of mahogany of a size which would make it uneconomic to employ in modern reproductions “myott, son & co” .
Robert Adam designed his chairs to match the classical interior decoration of the houses he built vintage wooden card table . They had turned and fluted or tapered legs and the lyre-back pattern was typical 19th century glass fronted cabinet . He contrived some elegant gilded chairs whose backs were adorned with small painted medallions on which appeared figures from Greek and Roman mythology georgian dressing tables . These were painted by contemporary artists like Angelica Kauffmann and Zucchi lenci mermaid figurines . Adam also introduced the fashion for painted beechwood furniture, and chairs in this style were often finished in black or white paint, neatly lined with gilding kem weber furniture designer prices .
For some time previously gilded furniture had enjoyed considerable popularity art deco reproductions clock . It is said that it was first introduced according to the wishes of the wives of those Georgian gentlemen who were filling their Palladian mansions with the rich but somewhat sombre mahogany furniture rare antique drop leaf . Quite a large proportion of this gilded furniture was imported from France and it is very difficult to identify English made chairs from the French originals german antique work tables . French chairs are believed to have upholstered pads on the arms and small peg-like ends to the scrolled feet while English gilded chairs are supposed not to have had any upholstery on the arms while the scrolls reached right down to the end of the legs bauhaus style furniture +scale . 1 have, however, seen both English and French chairs with variations of all these characteristics oriental writing bureau cabinet .
The rectangular chair-back returned with Thomas Sheraton, who of all the 18th-century designers could probably claim to have the greatest delicacy of taste antique chamber cabinets . He owed this success to a lightness of construction, hitherto unattained, and to his use of the natural beauty of the mahogany and satinwood grain directoire sofa . This he left without embellishment except for a slight amount of inlay and some boxwood stringing along the edges antique 18th century cedar chest . Sheraton was very close to the 20th century in his chair designs and I have seen dining chairs produced by well-known designers of the present day where the influence of Thomas Sheraton has been very strong indeed andre delatte .
Regency chairs have a distinctive elegance of their own, and although they could be bought quite cheaply in sets before the 1939-45 War, today they are very much in demand nest of 20 drawers . They are rather simply shaped with slender, turned legs and attractively scrolled backs antique art deco fixture . The back rails are often inlaid with ebony or brass and the lower rail is sometimes found carved like a rope length silver forks made in london . It was during this period that the top back rail was constructed so that it protruded on either side of the uprights, this design often being associated with the so-called sabre-shaped leg small sterling silver clocks .
The Restoration spiral twist now re-appeared in the Abbotsford furniture of the early Victorian period antique kayseri silk carpet pictoral niche . These chairs were usually made of walnut or rosewood but could never be mistaken for late 17th-century pieces antique oakchamber pot chair with hinged top . In spite of their rather fussy character and beadwork upholstery they are attractive and well worth acquiring bone handled fork converted to knive . About 1860 the cabriole leg returned to favour and many sets of attractive chairs, designed for the drawing room or parlour, were produced walnut escutcheons . Country-made rush-seated chairs with turned spindle backs and club legs date from the early 19th century and are still made in some northern counties french table stretcher draw leaf .
The origin of the Windsor chair is shrouded in mystery, as is also the name antique dresser with drawers stamped 54 . The tale that George III discovered this turned-wood type of chair at a house in the Chilterns and found it so to his liking that he had it sent to Windsor for his personal use may be accepted with that degree of credulity accorded to many fables concerning antiques cabinet makers antique work bench . Some authorities date the Windsor chair from the late 17th century and others from the mid-18th edwardian wardrobes . It is more than likely that in areas such as the Chilterns, where there are extensive beech forests, turned-wood stools and chairs have been produced for a very long time, even as far back as the 16th century desk boulle style . The Windsor chair as it is known today was really a product of the 18th century and it was probably during that time that it reached that very high degree of functional design for which it has become famous william kent eagle console table . Traditionally, these chairs have legs and spindles of beech which until a short time ago were shaped on crude lathes in the beechwoods by turners known as bodgers antique draw leaf dining table . The hooped backs and arms were made of ash which could be easily steamed and bent to shape while the seats were of elm because they could be cut in one piece from the broad elm boards silverware sets real fake . Some Windsor chairs have yew-wood arms, backs and spindles but are rather more rare and consequently more expensive to acquire italian provincial furniture . Those which have a shaped central splat in the back with a small wheel-like figure incorporated in the design are usually referred to as wheel-back chairs german antique sideboards and buffets fluted .
I have already mentioned sets of Georgian dining chairs and these command a high price, even when country-made russian porcelain antique . Due to a 19th-century custom of dividing sets of chairs among the beneficiaries of the will on the death of the owner, it is quite common to find single specimens or pairs of chairs of almost any period in sale-rooms and antique shops 18th century victorian toilet in dining room . Accordingly, it is not a difficult matter to collect what is sometimes referred to by the antique trade as a harlequin set of different chairs, either of the same or various periods empire curved bureau . In my dining room I have a very pleasant example of the Hepplewhite period, a pair and one single chair of Sheraton design, and two Regency carvers song dynasty bluish green glazed earthenware . None of these cost more than £5 and some much less countries that art deco was very popular .
High-backed oak settles look cosy and attractive before an open fire in a country inn but they are not really very comfortable and seldom fit in with a modest collection of antique furniture 18th century king george red velvet arm chair value . They often have a chest beneath with a hinged lid in the seat and sometimes shaped wings at the sides to combat the draughts pilaster bookstand price . The low-back settle or panelled settee with cabriole legs and a long overlaid cushioned seat are a better proposition and can be bought for under E10 antique cherry drop leaf table claw foot .
Of much rarer vintage is the double seated settee or love seat, designed according to tradition for the use of courting couples “desk”+”antique” . I believe that this is just another fable as these seats are not infrequently found in pairs, the second one provided, perhaps, for the chaperone simple design dressing table . More likely these love seats were merely part of the seating accommodation provided in a large salon or ballroom for the assem-blies and routs so much beloved by the Georgians ornate antique silver roast serving platter .
Longer settees with cabriole or square Chippendale type legs, and with padded arms and upholstered seats and backs, made an appearance in the second half of the 18th century francaise antique . Apparently they did not develop in popularity as there are comparatively few about and their places were taken by the sofa and couch swansea duck egg .

Tables, Dressers and Sideboards
Medieval boards and trestles—survival of the term “board”—the Tudor refectory table—pull-out or draw-leaf tables—the cre• dence and origin of the gate-leg table—long period of the gate-leg—occasional joined tables-18th-century patterns with club legs—the composite “D” end table—tripod tea tables with dished and pie-crust tops—dating by shape of feet—early games tables-18thcentury card tables–Sheraton quartette or nest tables—variations of the Pembroke style—sofa tables and early 19th-century folding tables—early dressers—dressers developed from side tables—Welsh dressers—appearance of the sideboard—Victorian chiffoniers mason’s patent ironstone china .
In the communal life of medieval times the servant ate with his master and his place at the table was a kind of status symbol regency revival furniture . The master would sit at the head with his guests and family; next would come the retainers of importance such as the steward and the priest and finally the servants expensive antique plates . Accordingly the table was a very long one and as the great hall was also used for recreation and even for sleeping the table had to be constructed so that, in spite of its size, it could be easily dismantled and put to one side when not required furniture+scallop+wheat .
Tables of the Gothic period were referred to as boards and trestles and were made in a variety of styles edwardian c19th construction buildings . Sometimes the supports were as those illustrated in the Luttrell Psalter and later they took the form of pedestals french words for dinner stand . Until the middle of the 16th century the table top consisted of a massive board of oak or elm boards nailed together 1600 century scroll back chair . When laid over the trestles or pedestals the very weight preserved its stability table consoul antiques caried or gold “rococo” . Even to this day, landladies advertise “board and lodging” and we still speak of a board of directors, a board room and a board of governors flemish trestle table . It is interesting to note how this term, used to describe a council of men and women meeting around a table, is a survival in our language from a very distant past catherine the great of russia plates .
By 1550 the communal life of the hall had begun to disappear john bell, porcelain, value . Houses were being built with a greater number of rooms and master and man took their meals apart kent silversmiths bread basket . There was no longer a need for the long trestle table and so a smaller table with a permanent underframe and legs was taken into general use writing cabinet officers antique . It was probably a smaller adaptation of the joined tables used in the abbey refectories and nowadays the term, refectory table, is used to describe it, although it was a purely domestic piece of furniture types of bureaux .
The refectory table, which was in everyday use from about 1550 to 1660, was usually 8 to 12 feet in length art deco brass stool . It was stoutly constructed with four, six or eight legs with bottom rails between them, and the top permanently fixed 19th century chairs’ . The underframing was made of oak but the top was often of elmwood, because of the wide boards which could be obtained from that tree antique neoclassical .
During the reign of Elizabeth I a variant of the refectory table, known as a draw-leaf table, appeared on the scene earthenware mixing bowls antique with handles . It enabled a comparatively short table to be extended to nearly twice its length by pulling out under-leaves from both ends dinnerware silver tureen . It was a design introduced from Flanders and France and it enjoyed an equal popularity with the refectory table botanical whimsies are considered some of the finest examples of art nouveau glass . Both of these types were displaced by the gate-leg table after the Restoration but the draw-leaf table has been revived during the 20th century and many modern homes possess similar, but lighter versions of the Elizabethan prototype steel dining table germany .
During the second half of the 16th and the early years
of the 17th centuries, table legs were massively made and often took the form of heavy bulbous turnings english creamware marks . On Flemish tables these swollen shapes are often spherical, like a melon, but the English versions were considerably more elongated with rounded tops and bottoms dresden german antiques . It has been said that these bulbous legs were functional in that they were designed to prevent rats climbing on to the table tops ant cherry antique dictionary tables . I have it on good authority from a biologist friend that any self-respecting rat could easily leap on to a table without any climbing aids 19th century gothic bedside tables .
Between 1600 and 1630, a small but sturdily constructed kind of side table was developed antique chippendale “solid mahogany” dining table lions paw . It must be considered a somewhat rare example of early Stuart furniture as examples these days are seldom encountered ernst archibald furniture . The tabletop was of the folding type, that is, it consisted of two halves hinged together and normally kept closed cherry ladies writing desk by pennsylvania house . When required for use, the upper leaf would be opened outwards and this would be supported by a fifth leg, which could be swung out as in a gate-leg table serpentine pembroke table . Actually, this small table was the forerunner of the gate-leg pattern turkish style sideboards uk . It is sometimes referred to as a credence table, which was placed at the side of the altar in the churches and on which the wine vessels and plate were arranged for use in the Communion service antique “trestle table” kent .
The gate-leg table, as already mentioned in Chapter 1, became generally fashionable after the Restoration and, in one form or another it is the one type of table which has been in continuous service ever since art deco polished matte lost-wax castings o nude women in bronze by viennese artisans . Usually made with a gate on each side, some larger tables are to be found with quadruple gates “art deco dresser” and “marble top” . These were of the period when spiral twist legs were in vogue and were made of walnut or, occasionally, of oak louis xv antique french commode .
A small type of side table, with a drawer and bobbin turned or baluster legs, must have been made in large numbers towards the end of the 17th century as they are frequently to be found in sale-rooms and antique shops antique music cabinete with mirror at the top . The finer versions are sometimes veneered and have curved stretchers as illustrated in Chapter 2 federal style table with brass paws . A more common and probably country-made variety is the so-called tavern table with its top overhanging the ends to a more than usual degree trent potteries designs by george jones . The drawers of these tables are sometimes found with joiner’s slides on the sides porcelain wincanton .
After being generally adopted as a dining table during the Restoration period, the gate-leg table was given a variety of leg shapes over the next hundred years rene lalique nude woman art deco lamp . Baluster and spiral twists gave place to scrolled legs and eventually to a type of cabriole shape known as the club leg italian,furniture,maker,address . Except for use on extending card tables, the cabriole leg was not ideally suited to larger table design, but the club leg variation remained in vogue until the introduction of the Chippendale square leg and the tapered legs of the Adam and Hepplewhite eras deco style dressing table .
It was customary during the late Stuart and William and Mary periods for a host to seat his guests at several gate-leg dining tables if the company was a large one sheffield rote iron . By the mid-18th century, however, long mahogany dining tables at which all the company could be seated, began to appear in the more important households antique wood cutlery urns . For over fifty years, these long dining tables consisted of one or several gate-leg tables, with rectangular side-leaves, which were joined together and semi-circular “D” end tables were placed at each end to make up the piece ruhimann table . The wide mahogany boards, introduced during the previous decades, rendered the construction of the broad table-tops a relatively simple matter antiques antique oak sideboards dutch style .
When only a few people were at dinner, the “D” ends would be placed against the wall to serve as side tables and only the gate-leg would be in use new york antiques light art deco . These “D” end tables are quite often to be seen in antique shops, either singly or in pairs, and it is not always realised that they have originally been part of a long Georgian dining table antique mahogany handkerchief table . When placed together, a pair of these tables make a very attractive circular dining table, which would be admirably suited to a present-day flat or smaller modern house http://antcollectors.com . The long “D” end tables continued in use well into the 19th century but the tapered legs were in time replaced by centre pedestals, each supported on four long curved feet antique furniture spanish art nouveaux . These were usually reeded and had brass-capped ends with castors or brass leopard-paw ends wheat antique dresser .
Designed during the closing years of the 17th century, but not becoming generally popular until fifty years later, the small, snap-top, tripod table with a circular top is probably one of the commonest pieces of antique furniture to be found today walnut escutcheons . The hinged top of the simpler country-made examples is usually flat but a tea table with a dished or slightly hollow top is not uncommon reproduced oval shaped dinnig table with lion’s paw . The dished top was designed to prevent spilt tea or milk running over on to the carpet campaign furniture pottery furniture . A more elaborate type of the dished top was known as a pie crust early 19th century mahogany desks with lion feet . Here the edge was carved into a series of scallop shapes, but genuine pie-crust tops are rare and there are many reproductions about value of george iii english mahogany gateleg card table? . Some tripod tea tables have an open, box-like structure fitted underneath, known as a birdcage and into which the single, central pillar is made to fit dutch silver 17th century . With this device, the table top not only folds upwards but can also be rotated so that any dish upon the table may be brought within reach of the guests period antique mahonany dining table with lions paw pedestal legs .
It is possible to date a tripod table, to within twenty years, by the shape of the feet tilt-top birdcage tea table . As illustrated on p small antique pembroke table fold-over . 63, the feet of around 1750 to 1770 have a flatter curve with a wider spread, while those of 1770 to 1790 have a more pronounced hump at the knee antique imari porcelain . From 1790 to 1810 approximately, the curve of the feet was reversed and by the time of the Regency, slender, concave shaped feet had been introduced toilet habits during 1800th century . The early Victorian period saw the revival of the “S” shape, but this was usually rather thick in proportion and decorated with elaborate carving bassano maiolica .
Tables which were specially designed for playing games were rare during the 17th century but an interesting piece, known as a shuffleboard table, is sometimes to be found in the long galleries of our greater country houses 18th century antique american gateleg . The long galleries were built for leisure and relaxation so that during the winter months, while the gentlemen went hunting, the ladies could take more gentle exercise indoors dressing table with small tables . The shuffleboard table can best be compared with a shove-ha’penny board, save that large brass discs were used instead of coins and the table top was often very long rh vase austria . There is one at Astley Hall in Lancashire which has twenty stout legs and is 2712 feet long jennens and bettridge . It must have been prefabricated and then assembled in the long gallery as it is far too large ever to have been brought up the staircase in one piece botanical antique ceramics collectors .
During the reign of Queen Anne and the Georgian period, card games were extremely popular and folding top tables with cabriole legs were in general use during that time finmar alvar aalto stool . These tables were, mostly made of walnut and had small recesses near the edges of the top to hold the guineas or counters while small circular platforms were provided at each corner to hold candlesticks for the night’s play fashion in the 16th century netherlands .
Card tables and tea tables, particularly the folding, semi-circular variety with tapered legs, were made to an almost identical pattern, the only difference being that the games tables had inset baize tops while the tea tables were of polished wood how a goldsmith made a candlestick . The early 19th century saw the production of many small games tables with tops inlaid for chess and backgammon and with drawers beneath to hold the apparatus for the games end tables lions head table with brass eagle claws on legs .
To Sheraton must be given the credit of designing the nest of tables, the idea for which appeared in his Cabinet Directory in 1803 antique kidney shaped dressing table . The nest comprises four small, separate tables which all fit one under another splay leg sofa table . They were originally referred to as quartette tables and being very lightly con-structed and somewhat fragile, it is uncommon to find an original, complete set of four istoriato china . Luckily, I have such a set in my possession which I believe was made by Gillow of Lancaster old gateleg wooden drop leaf tables . It was salvaged from a second-hand furniture shop, the tables being scattered around among the jumble and the shopkeeper having no idea, apparently, that they formed a unique set kakiemon bow price .
Small Pembroke tables with side flaps supported by hinged brackets and said to have been designed originally at the request of the Duchess of Pembroke for occasional use, appeared about 1775 mahogany french dining chairs . They were common in late Georgian homes and in the early part of the 19th century a larger version was made to serve as a supper or breakfast table rectangular drop leaf table antique .
Sofa tables were designed to stand behind a sofa and to carry such things as reading and writing matter, trays of refreshments and candelabras rococo display cabinet . A few years ago, they were fairly common but are now in such great demand as bedroom dressing tables, that they have become a somewhat rare and expensive item pop up cigarette deco dispenser .
The Regency and early Victorian periods saw a vast number of tables with folding tops, made to stand on a central pedestal with three or four feet value of clawfoot cabriole legged dressing table? . In this type, the double top, when opened out, could be rotated so that it was supported by a rectangular underframing odiot tureen . These tables were used for games, writing, serving tea and a whole host of leisure activites french scrolling art nouveau style chairs .
A necessary adjunct to every dining room is a sideboard and to every kitchen or living room, a dresser trestle draw leaf table . The sideboard, as its name implies, was a small side table in those far off days when a dining table was referred to as a board gateleg drop leaf table 19th century . As the piece of furniture we know, it did not appear until the second half of the 18th century 18th century french fashion . The dresser, on the other hand, is of far more ancient lineage and in the painting of the More family by Holbein, referred to in Chapter there is shown in the background a high-backed, canopied Gothic dresser, or, as it was called in that period, a dressoir dutch rococo walnut cupboard . These dressers were really related to the cupboard or buffet and further reference will be made to them in the chapter on Cupboards vintage porcelain plate with brass pedestal .
Dressers with a high back were out of fashion during the early Stuart and Commonwealth times but there were two simpler types in general use aaron burr antique furniture . One was made in the form of a long, narrow side table with three or four deep drawers refectory tables trestle . It stood on four or six legs and had an under shelf, as wide as the dresser top, near the floor level antique epergne glass . This was, no doubt, used for the display of brass and copper ware what were wood tables with porcelain tops used for . The other type was a development of the chest and presented a more solid appearance, the entire front being filled with drawers and small cupboards demilune chiffonier . This second kind of dresser was not generally adopted until after the Restoration but both types were used then until the end of the 17th century drop leaf table with lion claw feet .
By the beginning of the Georgian period most dressers were fitted with a set of plate shelves which stood at the rear of the dresser top poole pottery est. 1873 . This version was usually referred to as a Welsh dresser and while it may have been popular in the Welsh farmhouse kitchen, it was undoubtedly made throughout Britain during the 18th and 19th centuries drop leaf table with spiral turned legs . Occasionally dressers are found made in walnut but more frequently in oak with the edges of the drawer fronts and the cupboard doors cross-banded in walnut or mahogany antique cabinets coat of arms .
Long sidetables were normally used as sideboards in early Georgian dining rooms and on these would be placed the knife and fork boxes with the cellaret for wines underneath antique french ormulu furniture . It was about 1775 that the first sideboards were designed with drawers for the silver and cutlery and deep cupboards on either side to hold the wines boulle table . Sheraton is supposed to have added the low brass rail with a small silk curtain at the back to the designs for bow-fronted sideboards, which had originated during the Hepplewhite period goldscheider staffordshire myott .
In Victorian times, some monstrous sideboards were created with the addition of the most elaborate carving chamber pot cabinet . In the great dining room at Charlecote Park, near Stratford upon Avon, there is installed such a piece of furniture with carved effigies of every variety of edible fish, animal and fowl hanging in great swags from every point and corner chestnut tables antique . This monument to the questionable good taste of the Victorians is all meticulously worked in varnished oak, a spectacle which must have made the shade of Grinling Gibbons sadly shake its head turn a silver tray into a table .
On the other hand, it was during the mid-Victorian period that a very attractive little sideboard, known as a chiffonier, made its appearance antique claw foot table . It was equally useful as a sideboard for a small dining room or as a cabinet for a drawing room fish tail knife 16th century fruit knife 15th . Made in mahogany or veneered with burr walnut, it was certainly one of the more commendable inspirations of the designers during the Victorian era american antique slant front desk .

Chests, Chests of Drawers and Various Small Boxes
Origins of the chest—cofferers and arkwrights—the carpenter’s planked chest—chip-carving decoration—the panelled chest of the joiner—development of the mule chest—early enclosed chest of drawers—the chest in two stages—the joiner’s slide—veneered chests—chests on stands and tallboys—bachelor, dressing and linen chests with presses—commodes and military chests—later forms—drawer construction and dating by feet and handles—Bible and ruff boxes—knife and candle boxes—tea caddies, cellarets and portable liqueur cases—sewing boxes antique christening shell .
Chests belong to the very beginning of domestic furnishing antique drop leaf painted table 1800 . Blanket chests, hope chests, even treasure chests—they served as wardrobes, as safes, as seats and sometimes even as beds antique french campaign chair . A chest is probably one of the earliest pieces likely to come the way of anyone starting to collect antique furniture in a modest manner porcelain vases czechoslovakia . Those belonging to the early Stuart period are not difficult to find and may be had for under £10 everest patent for two-seater sofa . They are not always large and a length of 3 feet or very little more is fairly common antique porcelain and china clocks .
Very early chests, some of which may date from Saxon times, were primitive but served their purpose well antique occasional table pie crust top . Usually they were made from rough hewn logs which were sawn down the middle and hollowed out classism semicircular arc . Then the two parts were hinged together and encircled with strong iron bands to which locks could be attached small antique dresser with cabriole legs . The French word trove, meaning a collecting box, and the English trunk have the same origin and refer to this tree-bole type of chest china made in czechoslovakia . I have seen one in the church at Llan Eilean, near An-ilwch in Anglesey, with three locks furniture + finmar ltd . It was customary for the keys to be held by the priest and two churchwardens so that the chest could not be opened without all three being present chamber pot chair value .
Medieval chests for transporting money and valuables were known as coffers semichina blue ware . They were comparatively small and often covered with leather and studded with nails warm entree dish . The man who made them was known as a cofferer and another craftsman who made chests was called an arkwright antique bombe commode louis the xv with marble top . He made them with bevelled lids and wooden pins served as hinges mahogany gateleg table . These belong to the Gothic period and are very rare art deco game tables .
The early Tudor chests, made for the smaller household, were known as planked chests silver flatware wood handle . They were made by a carpenter and consisted of a number of boards or planks held together with nails or wooden pins creamware tureen neoclassical acanthus . Planked chests had thick iron wire or wrought-iron strap hinges and were often decorated with chip-carving or architectural motifs in low relief antique italian pottery marks . Some of these planked chests were quite small and make interesting acquisitions for those who like old oak antique drop leaf gateleg dining room table .
The joiner’s panelled chest appeared about 1550 and the
panels were usually decorated like the example shown in
Chapter 1 baltimore neoclassical sideboard . The panelled chest, in various sizes, was an
essential chattel in every Tudor household and the larger
establishments seem to have had a chest in every room japanese imari 18th .
Visitors to Haddon Hall in Derbyshire may care to count
the great number and variety of chests which are to be
seen there chiffonier 19th century . A type of chest, made about this time, which
is now very rare and really a collector’s piece, was one
constructed with fairly long legs, about table height soup turrene . It
was known as a counter and used by house stewards and
clerks for paying out or collecting money 17th century chairs . The modern
word counter, as in a shop, derives from this long obsolete
piece of furniture space saving rectangular drop leaf tables . In a slightly different form, with doors
opening at the front and with the top fastened down, the counter was known as a hutch 1920s draw leaf dining set turned legs . Further details of this are given in Chapter 6 small antique dressers from montgomery wards .
The ordinary planked or panelled chest had one great drawback in that only the contents at the top were readily accessible antique 19th century daybed and brass feet . To reach anything carefully tucked away at the bottom of the chest necessitated the removal of all the other things lying above how high above a sideboard should a mirror be hung . Early in the Stuart period, some ingenious joiner invented the mule chest 1930’s austrian furniture . This was a shallower type of panelled chest, under which were situated two or three drawers brass dolphin triple dining table base . This design was extremely popular and mule chests continued to be made in the country towns and villages until around the year 1800 indian antique tea kettles .
The mule chest proved to be a great improvement in its capacity for storage antique round oak dining table claw and ball feet . Not only were the bottom drawers available for the separation of items, but inside the chest itself it is not unusual to find a small box or till with a lid, situated at one end near the top myott son compagnie . This was used for keeping letters and documents and these little tills often repay a closer examination, for on several occasions I have found that the front of the box will slide upwards to reveal two or three secret drawers beneath antique chinese chamber pot . In some of the larger chests, intended for storing blankets or linen only, the till would be merely a shallow tray on which the good housewife could place a spray of lavender to sweeten her sheets and pillow slips clear glass trinket boxes or powder boxes .
To the student of woodwork history, the mule chest is particularly interesting because there can be little doubt that the chest of drawers developed from it finial silver flatware . This process was not a swift one and for a space of time, roughly between t620 and 1660, there was a type of chest of drawers in use which was really a cupboard full of trays or drawers, surmounted by one large deep drawer creamware bird on pedestal . The cupboard doors with one lock prevented unauthorised access to any of the lower drawers but this must have proved unworkable as this pattern new deco furniture . ceased to be made shortly after 1660 and the chest of drawers assumed the form by which it is known today 17th century trestle table with claw feet .
For ease of removal the first chests of drawers were made in two stages or sections english wedgewood . The upper stage of two small and one long drawer fitted on to four pegs on top of the lower section of two long drawers secretaire desk antique . These early chests in two stages also had drawers with grooves cut in the sides, known as joiner’s slides earliest tilt top tea table . They were designed mainly to prevent wear on the drawer bottoms and also to prevent the drawer from tipping downwards when more than half open inlaid silver black bone china antique . It was found, however, that the slide grooves required disproportionately thicker linings to the drawers so that the cabinet-maker, with his improved ideas of jointing and finer standard of craftsmanship, caused the joiner’s slide to become obsolete about the year 1690 dutch rococo cupboard . Any antique chest of drawers with joiner’s slides may be safely said to be earlier than this date although this ancient construction has been revived in the last few years for modern kitchen units and office furniture milanese ebonized antiques .
Cabinet-maker’s chests with their broad, flat surfaces provided suitable subjects for veneering antique glass top tea table bird . By the end of the Restoration period, chests with marquetry decoration were in fashion and it is not uncommon to find country-made oak chests of this time with panelled oak sides and the top and drawer fronts veneered scottish chest drawers . Smaller chests of drawers, of 3-feet width and under and covered with oystershell veneer, are scarce and in good condition might be worth up to £80 and more antique mahogany french bedside commode .
During the William and Mary period, the chest of drawers on a stand made its appearance and shortly after developed into a chest on a chest or tallboy what are japanese black laquer screen made screen . The chest on a stand did not last long as a furnishing piece but the tallboy remained popular throughout the greater part of the 18th century german antique romer drinking glasses . It is difficult to understand this, as access to the upper drawers of a tallboy is very awkward and necessitates standing on a chair or stool antique west indies console table . Perhaps, for this very reason, they were considered safer for the storage of valuables revolvong bookcase .
Bachelor chests and dressing chests were brought into use during the first half of the 18th century 19th century commode with chamber pot . These were intended primarily for bedrooms, the former having a folding top which opened outwards on lopers, or pull-out supports vintage mahogany drop leaf table 1940 . Sometimes, instead of the folding top, a pullout slide for brushing clothes was included in the construction turkish sofa design . The dressing chest had a top drawer fitted with a toilet set and further reference will be made to it in Chapter 9 antique french drawleaf table .
Another type, adapted for a special purpose, was the linen chest with a press 17th century marquetry bombe commode . It was usually about 3 feet long and had several small drawers near the top art deco writers . Its particular feature was a wooden screw-press, mounted on the top for the purpose of compressing the linen before putting it away in the drawers french 17th century cabinent makers . On several occasions I have come across these chests, with rectangular pieces of wood let into the top at each end to fill the spaces left where the screw-press uprights had been removed antique chippendale display cabinet .
Two other varieties belong to the Chippendale and Sheraton periods 1930s frankart lamps . One was the commode, a very elaborate chest of drawers which was raised on shaped legs engliosh design consoles furniture . It often had a convex or bombe front and later types were embellished with ormolu mounts in the French style value of 18th century dressing table . The other was the military chest, used during the campaigns of the Napoleonic wars in the early 19th century 17th century dining tables . It was made in two stages for ease of transport and is easily recognised by the clean-cut rectangular shape, the addition of brass corner pieces and the sunk handles on the drawers japanese art nouveau desk . A design usually associated with Sheraton was the bow-fronted chest and these continued to be made well into Victorian times portois fix .
Certain details of drawer construction, handle design and feet are invaluable in dating a chest of drawers antiques marks on furniture . Dovetailing of a rather crude nature had been used for the corners of boxes and small chests before the Restoration kidney shaped antique furniture . During the years between 1660 and 1750 the technique of making fine dovetail joints was brought to a high degree of craftsmanship latter carving on pembroke table . Large tails and widely spaced pins are indicative of early or country production roccoccoware . Herring-bone stringing, set in walnut veneer, was used for drawer front decoration during the Queen Anne period but became obsolete soon after 1720 spanish marquetry dining table .
Oak chests of drawers, belonging to the second half of the 17th century and the early years of the 18th, are sometimes found with the corner joints lapped and nailed world market carved brass charger plate . This is, of course, the mark of a poorly made piece georgian sideboards and serving tables . I believe the idea of nailing drawer fronts was adapted from cheap, imported furniture and the practice was undoubtedly followed by our own country joiners, of whom a few were prepared to produce shoddy furniture, even in those days 1940’s decco furniture .
Until the time of Hepplewhite, drawer bottoms consisted of thin boards, fitted into a rebate on the inside of the drawer front and nailed along the under edge of the back lining earth driven electrical clock bentleys . About 1775, a new method of securing the bottom appeared whereby a centre batten running from the front to the back of the drawer held the bottom boards in grooves whilst the boards, instead of being placed from front to back, now ran parallel to the drawer front meissen porcelain blumen design .
Bun feet were the normal means of support for chests until around 1700 when bracket feet were introduced art deco kneeling dancer lamp . At first, bracket feet were high and appeared out of proportion but by 1750 they were made lower and continued so until the end of the century early imperial ming porcelain . Cabinet-makers during the Chippendale era used bracket feet of an ogee shape on the better class of work, but these lent a heavy, baroque appearance to the chest amphora czechoslovakia . A lighter type of foot, known as the French foot and associated with Sheraton furniture, is usually found on the earlier bow-fronted chests antique cabnit barley twist legs . After the Regency, this design was displaced by an uglier, turned foot which remained in use until the mid-Victorian period wooden cylinder pedestal .
The first chests of drawers had brass, drop handles which were pear shaped or flat with split ends 19th century ceramic wooden clock . These handles were fixed to the drawer by means of a split pin, which passed through the drawer front and was then opened out on the inside and the ends driven into the wood louis 16th sofas . Small wooden knobs were also in use at this time but these became obsolete and did not reappear until they were adopted by Hepplewhite for his mahogany chests about 1775 antique paper mache card table . Drop handles were succeeded by a ring type around 1700 and these are sometimes referred to as Dutch drops inlaid wood chinese duncan phyfe occasional table . From these developed loop handles with brass back plates which were first seen from about 1710 meissen porcelain marking . To begin with, back plates were simple butterfly shapes but by 1730 had become very elaborate, in a variety of fretted and saw-pierced patterns art deco lamp globe . By 1750, the back plates to drawer handles had disappeared, being replaced by small circular discs behind the handle mounts antique card table 1920 fold over top . Towards the end of the century knobs of cast brass or wood superseded the loop type of handle and were in use well into the Victorian period regency day bed . Back plates, either round or octagonal in shape and with longer loop handles attached, were revived during the time of the Regency repair antique dresser drawers .
Among the more diminutive chests and boxes which were made during the 17th century was one type, about 20 inches long and 14 inches wide 16th century antique refectory tables . It was used for storing the large, black letter family Bible or for documents antique calamander . Another box, not quite so long and narrower, was used for keeping lace and neck-ruffs victorian cedar drop leaf table . It was really an early form of collar box dinning table carved like an animal . These boxes were usually made in oak with hasp locks and were decorated with chip-carving and gouge-cuts meissen cris de paris . These small chests should not be confused with the sloping topped table desk which will be dealt with in the chapter on desks and bureaux antique octagonal tilt top tea table .
Candle and salt boxes were in everyday use in the kitchens during the 17th and 18th centuries, those for candles being long and comparatively narrow to accommodate tapers as well as candles antique monks chair . Later examples were often made in oak with mahogany cross-banded edges scottish dresser .
Table knives, particularly those with silver handles, were carefully safeguarded in the dining room furniture ornaments ny . In the Chippendale period, beautifully veneered and inlaid knife-boxes were made to stand on the sideboard, while similar boxes were provided for spoons and forks 1930 art deco french armchairs . Servants of the 18th century must have been notoriously dishonest or masters and mistresses of an equally suspicious nature, for it was the practice never to allow the cutlery and silver to be removed from the dining room gate leg table english oak antique . After a meal the knives, forks and spoons would be washed at the sideboard and the butler would then count and lock them away in their respective boxes english ironstone pottery .
Tea was an expensive commodity between 1700 and 1800 and here again a special little box or coffer, which could be kept locked, was used to hold the precious leaves rectangular drop-leaf table . Tea was always made at the tea table and the mistress of the house would keep the key of the tea caddy among the other housewifely belongings which hung on the chatelaine from her waist victorian dome revolving re serving dishes .
Tea caddies usually had two compartments, lined with lead foil to preserve the tea, but those dating from the early years of the 19th century are sometimes found with a cut-glass sugar bowl of Irish glass, situated between the compartments antique draw leaf dining table . A collection of wooden tea caddies is an admirable way of getting together, in a small space, examples of all the different types of wood and the decorative processes used by the cabinet-makers of the 18th century 19th century mechanical desks .
Reference must be made to the wine cellarets and portable liqueur cases, which were in general use between 1775 and 1830 gabriel viardot . The cellaret was a heavy, strongly made coffer about 2 feet square and lined with lead antique pemproke tables . It stood on feet and was placed beneath a side-table in the dining room andrea baccetti . Cellarets were nearly always made of mahogany with large brass ring handles at the sides barocan roll furniture .
The portable liqueur case was essentially a travelling companion and contained four or six square shaped decanters whose contents would fortify the traveller on the long coach journeys of those days sideboards . It was often finely veneered in walnut or mahogany and strengthened, like the military chest, with engraved brass corner pieces enterprise porcelain italy . These, in the finer examples, were sometimes of chased silver northern song dynasty ru ware . I have seen these little chests made in oak, shaped like a trunk and reinforced with wrought-iron bands antique table from a monastery in europe . As these oak types usually contain Liege glass decanters I think they must be of French or Flemish origin 1620 plate british cobalt blue .
Ladies’ sewing and needlework boxes, particularly those of the first half of the 19th century, can still be purchased for a pound or two chenghua foot rims . They are usually veneered in walnut or mahogany with ebony or brass inlay or with rosewood inlaid with ivory carlo zen furniture . A popular form of decoration at this time consisted of a very fine parquetry in various coloured woods, known as Tunbridge ware tables with chamber pots . These work boxes can be included, to advantage, with a collection of tea caddies and other small boxes chippendale drum table 2 drawers .

FRENCH FURNITURE
Louis XIV, 1643-1715
T is desirable for the man interested in English furniture
to have at least a working knowledge of the French styles,
if for no other reason than that of appreciating their influence on English work seventeenth century english stoneware . To understand them thoroughly is a study equally as wide and intricate as that of English furniture (if not more so) and to do justice to the subject would call for a separate volume as large as the present one antique porcelain tea pot made in france . In these few pages one can hope to do little more than point out the salient features 19th century floral paintings .
Historically speaking the subject goes back farther than our own, for the continental craftsmen were far more advanced than the English, and have left more and better examples of their work to posterity antique table 8 legs with brass feet . For the present purpose, however, the reigns of the three Louis, XIV, XV, and XVI are all that we are concerned with, for when speaking of French furniture it is the work produced during the period of these monarchs that one invariably calls to mind antique blue and white earthenware jug with zigzag pattern .
Louis XIV came to the throne in 1643, a time when the French Renaissance had lost much of its Italian origin and had developed a strong individual character lenci wall masks . Whatever his merits or demerits as a king may have been, the world of art certainly owes much to him for the encouragement he gave to all arts and crafts antique french tier table . He was a man of most extravagant tastes, and, living in a time when France was one of the strongest and wealthiest of European Powers, he was able to give full play to his fancies antique drop-leaf end tables . His court was probably the most magnificent that Europe has ever known, and the daily extravagant ceremonial called for a setting for which nothing but the costliest and richest would do napoleonic campaign chairs . Fortunately, this great impetus to fine work came at a time when men of considerable talent were seeking expression, and it required only this talent on the one hand and the wealth and encouragement on the other to produce a style which (in its own particular way) has never been excelled theodore haviland 1958 pattern .
Period of Louis XIV
Of the capable craftsmen whose names are outstanding probably the greatest was Andr6 Charles Boulle who was born in 1642 and died in 1732 dresser accessories . He had experimented with a form of marquetry which had originated in Italy, and when the great tide of building and furnishing came he took it at its flood, and developed this marquetry into a distinctive kind which for sheer exquisite workmanship, coupled with fine design, stands unique antique card table with one flap . It is often termed ” Buhl,” and was carried out in brass or copper, and tortoiseshell, ebony, and horn drop leaf table wall semi circle .
A brief explanation of how marquetry was produced was given in Chapter V chamber pot in cabinet . Two sheets of dissimilar materials were fixed together temporarily and the design cut through both with a fine saw gillows three hinge . The two sheets were then separated and the parts interchanged so that in the one there would be a design of, say, brass on a background of tortoiseshell, and in the other the exact reverse antique “la granja” glass . Thus it was possible to produce two cabinets of precisely the same outline and design, but the one the reverse of the other in the material of the design and background designer extending round dining tables in kent . The one was the (4 counter ” of the other, hence the terms ” Buhl ” and if counter black lacquer dining chairs .”
A typical Boulle cabinet is shown in Fig silver fish slice . 165, in which this rich marquetry work is an outstanding feature figural silver antique candlesticks . In addition to the scrolling design of the inlay itself the whole of the brasswork is richly engraved, producing an effect which almost approaches the work of the jeweller rather than that of the cabinet maker antique english dressing table . A point to note is that wood carving is almost entirely absent, the decorative effect, apart from the marquetry, being obtained entirely with rich brass mounts antique mirror back sideboard 1920’s . Some of the leading artist-craftsmen of the time were engaged in the production of these mounts wooden arm chair pedestal castor antique oak .
It was for the decoration and furnishing of the Palace of Versailles that the finest and richest work was produced, and the Palace, even as it stands to-day after the ravages of the Revolution, leaves one gasping at its sheer extravagant splendour origins and development of arts . One has to remember that the furniture maker then was regarded as an artist, and certainly the results seem to justify such a status edgard brandt . It is with something like a shock that one realises that the cabinet in Fig antique table round drop leaf claw foot . 165 was produced at the same time as the simple early walnut furniture in England art nouveau . It is true that a colossal amount of money was spent on the production of such pieces, but it has to be admitted that the French cabinet makers were far in advance of our own staffordshire figures of royalty . It is points like this that help one to realise why it was that a revolution of ideas took place when Charles II came to reign in England after years of exile spent in France georgian telescopic silver candlestick .
The famous Gobelins factory for the production of tapestry was purchased by Louis XIV, and cabinet-making workshops were established in it art deco upholstery . Charles Le Brun became the director, and the world of art owes a great deal to his energetic leadership perpetual calendar 18th century . :Much of the finest work at Versailles was produced at the factory carlo bugatti furniture antiques .
In general form the surfaces of cabinets were flat—at any rate early in the period west indies antique paintings . This is mentioned in particular because we shall see that in the next phase curved surfaces were introduced everywhere art nouveau origins . The general decoration took the form of Boulle marquetry of brass or copper on a background of ebony or tortoiseshell, the design consisting of elaborate scroll work richly chased, allegorical figures, fruit and floral motifs, swags of husks, and acanthus leafage, the whole in a somewhat free interpretation of the Renaissance daniel quare 1674 tortoiseshell case pocket watches . Bold ormolu mounts heavily gilded were fitted, these taking the form of lion masks, scrolled consoles, acanthus scrolls, human masks, and deep nullings royal sheffield silver . Both straight and curved legs were used, the last named becoming more popular towards the end of the period in harmony with the tendency towards shaped work generally william kent console table .
COMMODE IN KINGWOOD WITH INLAYS queen ann gate leg table .
Laois XV antique prohibition table example .
This cabinet, made for the King’s chamber at Versailles, is a design of SIodtz and was made by Antoine Robert
Gaudreau In 1738 antique fluted gateleg table legs . The gilt bronze mounts were by Jacques Caffiere booths pearlware marks .
FRENCH FURNITURE
Louis XV, 1715-1774
T0 appreciate the underlying causes of the changes in the type of furniture produced in Louis XV’s reign
it is necessary to know something of the historical events of the period 18th century forks . Louis XIV had died in 1715 when his heir «as but five years old, and it became necessary to appoint a regent antique decorative motif . The Duke of Orleans took the office, and he was virtually monarch until his death in 1723 directoire consulat empire . There was thus a break in the extravagant court grandeur which was so essentially a feature of the reign of the late king art deco antique furniture makers . The wild expenditure of the seventy odd years of le Grand i1lonarque, too, had left its mark on the finances of the court and aristocracy antique pouch table . No country, no matter how powerful and prosperous, could continue for an unlimited time to spend money on pure aggrandisement to such an extent, and as a result there were but two alternatives : to live in a quieter way, or to find fresh sources of income mid 17th century foods france . In the event a sort of compromise was effected 17th century french fashion . The aristocracy began to contract marriages with humbler but wealthy classes, bankers, merchants, and so on ; and in place of the grandeur of the great salon so beloved by Louis XIV came the rise of the smaller boudoir photos of antique chambersticks . In fact the two periods are often referred to respectively as the periods of the salon and the boudoir jupe table mechanism .
Its effect on the furniture was that it was in its way equally rich, but was on a smaller scale how much is a claw foot table worth . Then, too, the masculine grandeur gave way to an effeminate prettiness, a change quite in keeping with the general conduct of life emile galle furniture . People began to look for elegance rather than grandeur, and to use ornament purely for its own sake boulle console table with marble tops with elaborate friezes .
We have had occasion to note in earlier chapters in this book that an idea, once it takes root, frequently is carried to extremes, and it thus happened that the tendency to introduce shaped work towards the end of Louis XIV’s reign reached such a height in the succeeding reign that many cabinets were made with scarcely a straight line or a flat surface in them regency antique mahogany dining table styles . This extraordinary use of curves is the keynote of Louis XV furniture when was art deco furniture stated in france . The skill shown in overcoming the difficulties that such work presented is amazing octagonal brass & silver table . One may’ or may not admire this flamboyant phase of French furniture, but no one can but admire the excellence of the workmanship augsburg marquetry table cabinet . The fronts and sides of cabinets, bureaux, and so on were curved in both plan and elevation, and some idea of the difficulty of veneering over such a surface can be obtained by trying to lay a flat sheet of paper around a ball barrel leg oak dining table . Added to this was the fact that the whole was usually elaborately inlaid or given a decorative effect by the use of designs in which the varying, direction of the grain of the wood was made to play a part round rosewood breakfast table .
So far as furniture was concerned the preference for gilded mounts in place of wood carving continued, and the workmanship of these was of an extremely high order table octagon marquetry drawer . One may not care for the effect as a whole—it frequently appears restless and overdone, but regarded individually the work was extremely fine i.i.e. exclusive capodimonte . The love of curves developed to an extraordinary extent, resulting in its fulness in what is known as the Rococo decoration thonet rocking chair . The term comes from two French words meaning rocks and shells, to which the ornament bears a certain resemblance antique porcelain czechoslovakia wall face . It is exemplified in Fig austrian mirrored tables . 166—in which the elaborate scrolls and acanthus leafage can be seen antique collector’s cabinet . The chief exponents of the rococo were Meissonier and Slodtz palissy patterns .
The French version of the cabriole leg reached its zenith during this period side table black hand painted birds and flowers made in italy . It was essentially suited to the general and wide use of shapes antique metal tables with drop leaves . In a limited sense it bore a resemblance to the English version, but it had an entirely different spirit telescopic glass tables . The English leg at its best had a high, well-pronounced knee running abruptly into a square at the top, and terminating at the bottom with one or other varieties of the club or claw and ball foot can antique dressers pair with modern furniture . An example was given in Fig flemish refectory table . 116 at E meissen figures . The French variety was of a more flowing shape steuben stemware deco . There was no square at the top, the shape either flowing naturally into shaped rails at the sides, or continuing with a concave curve upwards antique english dressing table . At the bottom the foot was usually scrolled italian buffet decorations . The cabinet in Fig antique english rhenish ware . 166 shows the typical French shape black lacquer china cabinet .
A great many varieties of woods were used ; mahogany,amboyna, tulipwood, boxwood, rosewood, sycamore, ebony, and amaranth are amongst the commonest antique cabinets coat of arms . Satinwood too was used towards the end of the reign, though this is more usually associated with the following reign of Louis XVI antique console table carved wood . Gilding and lacquering were popular meisen hand painted plates 1920 allegorical . At first the lacquer work was imported from the East, or panels were prepared and sent to China to be lacquered, but later it was imitated in the French factories, though the detail in it was often faulty, western motifs being introduced in a somewhat incongruous manner brislington delftware . A firm of the name of Martin paid special attention to this lacquer work and produced a preparation known as Vernis-Martin towards the middle of the century 1945 mahogany desk . In its final stage this originally Oriental decoration became almost wholly westernised, the decorative artists painting allegorical subjects in natural settings on a lacquered background patent imperial dining table gillows .
Towards the end of the reign a reaction against the elaborate Rococo work set in, and there came a revival of the classical spirit which was the keynote of the work in the Following reign canterbury music stand .
FRENCH FURNITURE
Louts XVI, 1774–1793
THE financial difficulties of the reign of Louis XV have already been noted reproduction 18th century tea bowl . They still existed, in fact
were increased, when the ill-starred Louis XVI came to the throne in 1774 hand blown romer glass . The clouds were already gathering for the storm which was to break close on twenty years later antique empire and biedermeier periods 1800 to 1848 . This, combined with the reaction against the Rococo work of the middle of the 18th century, produced a type of furniture in which the shaped work was largely, if not wholly, eliminated daniel quare 1674 tortoiseshell case pocket watches . Design became altogether more refined and returned again to the classical spirit, prompted largely by the excavations of Herculaneum which had been begun seriously in the middle of the century table paw feet antique .
Then again the Queen of Louis XVI, Marie Antoinette, favoured simple country life ; the elaboration of the preceding reign made no appeal to her, and although the movement towards simpler lines began before she was Queen, her influence undoubtedly encouraged the new feeling mirrors antique british chevron . It should be realised, however, that the term ” simple ” is used relatively antique neoclassical . Compared with the English, French cabinet work of Louis XVI was vastly more ornate hunt roskell silver auction . French furniture always was, It was just the natural national expression, but when it is compared with the full shaped work of the preceding reign the simpler and more refined feeling is apparent small dressing table cupboard .
The chief characteristics of Louis XVI are the use of straight lines and flat surfaces with a delicate and refined treatment of the detail floral ornaments art nouveau . Mouldings are small and the carving light and delicate old cantagalli pottery . Gilded mounts are widely used (they were still largely preferred to wood carving) and the quality is of a very high order reverse serpentine sideboard . The subjects take the form of rural, natural, and conventional objects ; scythes, spades, lutes, pipes, birds, cupids, torches, ribbons, swags of husks, flowers, medallions, and acanthus scrolls ormolou decoration . The last named are altogether less flamboyant than the ornament of Louis XV
time antique card table flaps . The woods used were the same as those of the previous reign with an increasing popularity for satinwood 18th century wine cooler brass feet . Lacquer work was also still widely used, and was often bounded by gilded mouldings antique mahogany drop leaf work table .
With the disappearance of the shaped work the cabriole leg lost much of its popularity, especially for cabinets and commodes, though it still was used for small bureaux and console tables in a lighter form cantagalli pottery . The light turned and square tapered leg was used largely, the last named often being recessed on its faces and decorated with gilded mounts fixed in the recessed panels 1930s antique square table . The chief designers were Riesener, Gouthiere, and Roentgen slant front desk antique .
All design is largely a matter of personal taste, but it is usually conceded that the work of Louis XVI shows French design and workmanship at its best 17th century oak side table . The furniture of Louis XIV had a certain grandeur tending to heaviness at its worst, this developing into an overdone elaboration in the following reign antique bombe commodes for sale . In the last of the three reigns there was a reaction against the worst features, and the result shows a welcome restraint scotish chest of drawers .
Readers wishing to study French furniture at first hand should examine the fine specimens at the Wallace collection, and the Jones bequest at the Victoria and Albert Museum, South Kensington oak art deco scandinavian furniture . Those who are able to visit France should see the magnificent collection at the Palace of Versailles cheverton machine .
UPHOLSTERED CHAIR WITH BRASS MOUNTS josef maria olbrich furniture . French Empire gustavian chairs pierced splats,fluted legs .
The chair was made in about 1810 column empire style bedside tables . The wings of the beasts are in brass
and are screwed beneath the seat rails provincial furniture number drawers . The feet too are brass, being
socketed to fit over the stub legs antique french saxon china flowers with gold .
FRENCH FURNITURE
EMPIRE
THE period of the French Revolution during which Louis XVI and large numbers of the French aristo-
cracy were executed was scarcely a time in which cabinet making could be expected to flourish antique bedside toilet . Wealthy people went into hiding or fled the country, and there was nobody left to order the fine quality and expensive furniture one usually associates with France of the second half of the eighteenth century gateleg table antique . In fact, some of the famous ebenistes themselves were prosecuted for their close connection with the royalty and aristocracy george serving table fluted . It was not until conditions had settled down under the forceful government of Napoleon that any revival of the making of fine furniture was possible makers of silver table ware in late 1800’s .
It was then that was evolved the style which has become known as Empire chair 18th queen rococo revival . If Louis XIV furniture be characterised as solid magnificent grandeur, Louis XV as flamboyant elegance, all shapes and curves, Louis XVI as delicate refinement, sometimes verging on the effeminate, then the Empire can be reckoned as stately and dignified with a strong influence of the Greek, Roman, and Egyptian dutch silver octagon trinket box . Compared with the elegant style preceding it, Empire furniture is considerably more restrained, mostly with straight lines, usually in mahogany, and invariably mounted with brass or gilt ornaments meissen/cabinet plate/19th century . These ornaments took the form of the Greek honeysuckle and vases, laurel wreaths, caryatid figures, martial helmets, torches, winged animals, and so on english furniture toilet chest .
Presumably the style was a tribute to the leadership of Napoleon, the Emperor who had marched through Europe and beyond antique tray table white . It scarcely outlasted his final downfall in 184, though its influence continued to be felt in this country during the Regency period antique enamel top table .
UPHOLSTERED CHAIR WITH BRASS MOUNTS new england antique dining tables .
‘The chair was made in about 1810 1920s draw leaf dining set turned legs . The wings of the beasts are in brass
and are screwed beneath the seat rails 3 leaf antique extending dining table . The feet too are brass, being
socketed to fit over the stub legs scandinavian octagon dining table .

FIRST HALF OF NINETEENTH CENTURY
1800-1850
THE year i800 is a convenient date in the history of furniture only in the sense that it marked the begin-
ning of a new century antique hexagon ladles . Apart from that it showed no sudden change in style any more than the start of any other century countries that art deco was very popular . The same king was on the throne and was to live for another twenty years, although for the last ten the Prince of Wales was to act as regent lion feet table . Furthermore, Sheraton, who published his first furniture book in the last decade of the eighteenth century (see p jennens and bettridge . 181), brought out his Cabinet Dictionary in 1803, and lived until 18o6 elephant mahogany antq . Change was taking place, but no more quickly than at any previous period j s henry furniture .
At the same time, the period 1800-1850 is momentous in that it saw the beginning of the industrial age in which the machine began to replace hand labour hinges leaves antique table . At first its effect was scarcely felt, for the machines themselves were crude and unreliable and had not stood the test of time “holland & sons” cabinet . Furthermore, no one had had sufficient experience in their use to use them to the best advantage hammered flatware crest urn . In any case, their early use was largely confined to Government departments such as shipyards 18th century rococo copper candlesticks . Being individually built, they were necessarily expensive 4 foot walnut drop leaf table .
The use of machines speeds up work and reduces costs, and that was largely the reason for their introduction scottish art nouveau inlay furniture . There was, however, another and, in the long run, a deeper-reaching effect 18th century soup urn . This was the influence on design itself circular extending dining table . When you install a machine its first use is invariably to quicken and ease the more back-breaking jobs, such as converting logs, ripping out parts, rough planing them, and so on wileman ironstone coffee pot . Very soon, however, other possibilities are realised, and you see that it can be used for other work which would be difficult or at least expensive by hand craftsman for wooden vitrine . Then comes the idea of adapting the machine for other operations, so that more and more handwork is avoided sheffield plate candelabra . At last hand work becomes a thing to be avoided, and then is born that insidious idea of making the design to suit the machine silver candlestick dated 1750 . In a broad sense this is inevitable because any change in technique of
FIG french drop front desk . 156 antique table porcelain top . MAHOGANY CHAIR WITH BRASS INLAY pre war veneer antique bureau . 18io-i815-
This is of special Interest in that the back legs are not set square with
the front but line up with the slope of the side rails (see plan) brass frame girandole images . This is a
feature not found in chairs of earlier date anglo-chinese furniture . See also F in Fig first antique table de chevet . 157 decorating with a pie crust antique table . Owing
to the pronounced side curvature this results in the bottoms of the legs
converging value of mahogany marble side table .
manufacture is bound to have its repercussions on design, but the evil comes when sound construction and form are sacrificed to suit the limitations of a machine poole pottery streamline coffee sets .
However, up to 1850 there had not been any serious sacrifice in this sense, and during the fifty years we are speaking about there was a great deal of sound and delightful furniture made, especially in the first twenty years of the century brass sideboard gallery .
For those interested in the subject the following few notes
FIG identifying furniture makers bookcase oak . 158 cassone with pastiglia . BLACK JAPANNED CHAIR WITH INLAY two tier rectangular victorian table . Mid antique square to round drop leaf table . i9th century mahogany tea caddy tripod leg .
The entire back is in papier mficU screwed to the
lower framing early tables . The back, legs, and seat rail are
inlaid with mother of pearl dresser with kneehole .
on early machines may be of value antique wood trestle table with leaves . It should be realised, however, that machines were not of necessity power driven black bone inlay dressing tables . Many of them required human labour to turn them aimone mfg co furniture . Even in 1914 some circular saws and bandsaws were still being made which were fitted with handles, and sometimes pedals, which either the operator or an assistant had to work antique maple desks . Some-times larger saws were propelled by horse labour, the animal being yoked to bar which revolved a centre pillar, which in its turn was geared to the saw rh vase austria . Water and wind power too were used antique sideboard with desk .
As early as the fifteenth and sixteenth centuries machine saws had been devised, these generally being reciprocating saws worked by cranks antique gate leg tables . They were exceptional, however, most cutting being done by pairs of sawyers over a saw pit italian 18th century cabinet makers .
FIG satin birch bow chest . 160 jacobean antique furniture . FULLY UPHOLSTERED COUCH sheraton period cutlery urn . About i85o marquetry tray brass handles .
This sketch was taken from a small model made about the middle
of the 19th century, and is typical of the period 18th century amboyna card table .
No doubt the reason for the development of woodworking machines in the nineteenth century was largely due to the tremendous importance of wood as a basic material for all purposes was there a change in arts in italy between 1920 and 1940 . It was needed for ships, vehicles, houses, some bridges, engineering, agricultural appliances, furniture, and so on antique continental porcelain . It was in fact in Government shipyards that the first serious and really practical machines were made american 19th century side boards .
Samuel Bentham developed the rotary system of cutting as distinct from the reciprocating, and designed saws, planers, boring machines, tenoners, and veneer-cutting machines antique swedish armchairs . These were mostly patented between 1791 and 1793, but it would have been many years after that such machines became generally available to the woodworking industry generally art deco harlequin fine china . Marc Isambard Brunel had also much to do with early machines, and had in fact patents on circular saws in 1805 and i8o8 czechoslovakia vases . A bandsaw was patented by Newberry in 1808, but its success was hampered by poor quality saws, and it did not become really practicable until 1850 when reliable saws were made round oak table dragon legs . Many planing machines were invented in the first fifty years of the nineteenth century, some in U antique gateleg table small .S antique divans .A pictures of expensive antiques . Most early machines had wood frames chinese qing porcelains . It was, in fact, not until the turn of the mid-century that all-metal frames were made 18th century marquetry bow front commode .
The refined and somewhat delicate style as exemplified in Sheraton’s works continued during the opening years of the century craftsman for wooden vitrine . The deterioration in his last designs, as shown in his Encyclopedia, 1804-1807, mentioned in Chapter X, was little more than a pandering to a passing fashion, and it is fortunate that the more grotesque items were not made in greater numbers antique william and mary oak dining room sets .
Other influences were at work, however, and to trace these we have to turn to France, where the Consulate and Empire periods in which Napoleon was the dominant figure was producing a marked style known as Empire russian chair lion . This is dealt with more fully in Chapter XV, but it had its counterpart here in a style sometimes known as English Empire wedgewook stonewear white . Its chief exponent was Thomas Hope, who published his Household Furniture and Interior Decoration in 1807 19th century lion claw pedestal table . This, like the French Empire, went back to Greek and Roman forms for its inspiration, and produced some rather severe designs, mostly in mahogany with brass mounts in the form of vases, laurel wreaths, helmets, honeysuckle, lyres, and so on antique oak draw leaf table . The style owed little to tradition, however, and, although much of it was well made and of good proportions, it seems to strike a foreign and somewhat jarring note antique writing box . Many of the shapes, especially chair and settee legs, seem curiously unsuitable for making in wood antique refectory tables .
An attractive chair of about 1810 is that in Fig french word for chasing . 155, and shows a high degree of skill in its manufacture pedestal dumb waiter . The shaping of the members at the back, which necessarily have compound curvature owing to the plan curving combined with the elevation shaping, is beautifully worked out gate leg vintage drop leaf tables . The back-ward curve of the front legs is characteristic of the period and suggests Hope influence biedermeier antique de .
Another chair of about ten years later in date and of somewhat similar style is that in Fig aristide colotte . 156 and is given because it embodies a feature not found in chairs of earlier date drop leaf table rectangle vintage . If any of the earlier chairs are examined, it will be seen that if a section is taken through the back legs at seat level the wood from which they are cut is invariably square with the front king george iv side board .

FIG bambocci antique . 161 drapery designs for dressing table . CIRCULAR DINING TABLE OF ROSEWOOD, BRASS
MOUNTED antique oval dutch table .
1810-1820 antique dealer furniture iron louis xvi .
The lyre motif of the centre pedestal was a common feature of the period egyptian figurine manufacturer in spain .
The ” strings ” are brass rods drop leaf table gate leg . A brass line is inlaid around the top
an inch or so from the edge antiquevenercoffeettableclawfeet . The latter is cross-veneered; also the
framework edging arabesque vertical plate racks - 2 tier .
Thus the chairs in Fig william france furniture maker . 4o are as shown at A, Fig what antique furniture maker marks under drawer front with number . 157 bureau bookcase writing desk display cabinet 1930s . Even when curved as in Figs 18th century plate racks . 77 or 107 they are still set square as at B and C, Fig fiddleback walnut louis xiv reproduction desk . 157, any convergence at the feet being arranged by reducing the length of the seat rail and cutting the shoulders at an angle sauce boats . Much the same applies to the chairs in Fig antique carved trestle table . 142 and to that in Fig neo-rococco cabinet . 155 tulip porcelain chamber pots . The only exception is in some Adam and Hepplewhite chairs, which have either round, oval, or hooped-shaped seats (see Fig antique half round side table mermaid . 132) chiffonier 19th century . In such chairs, owing to the shape, the rails are tenoned into opposite sides of the leg instead of into adjacent sides as in all other examples sheffield plate candelabra . As a consequence the back legs, owing to their backward curvature, are further apart at the bottom than at seat level forks and spoons in the 18th century . This is made clear at E, Fig french dining draw leaf table stretcher . 157 plain serving table .
Turning now to the chair under discussion, Fig colbolt blue plates and antique . 156, note from the plan that the legs are not square with the front, but are parallel with the sloping sides as at F, Fig marquetry roll top desk . 157 antique refrectory trestle table . As a result the legs are closer together at the feet than at the seat,
FIG chamberpot flap . 162 american oak drop leaf table antique . VICTORIAN DINING TABLE IN WALNUT queen anne antique dressing table . Mid johnstone and jupe table . 19th century 18th century metal chamber pot .
The top is veneered with figured walnut arranged in a quartered pattern cage leg antique table .
A huge bolt passes through the centre, Joining the tripod stand to the
pillar and sub-top framework art deco and exotic leather .
this being produced without any side curvature in the leg antique gothic table grotesque . The shape looks more elaborate than it actually is, the shaping being confined to the side elevation of the back iron and wood refectory tables .
The chair in Fig wedgwood keith murray slip two tone . 158 dates from about I85o and is more interesting than beautiful photo antiquities furniture in france . The entire back is in papier mftche, this being compressed to shape and fixed to the back of the seat, probably with screws antique sheffield piece marked “royal sheffield” . There is in fact considerable dishing and shaping in the back and, when it is realised that it is no more than I in scandinavian art deco furniture . to $9 in antique wrought iron candle sticks . thick in parts, it becomes obvious that such a back would be impracticable in wood “art deco” “dining table” french walnut extension . It is, in fact, an early example of a mass-produced chair and bears the marks of deterioration in design four pillar trestle table . As a matter of passing interest, note how the rails are tenoned into opposite sides of the back legs owing to the hooped shape, hence the divergence at the feet (see also E, Fig age of jazz shelley vases . 157) walnut gaming table with pillar legs .
A couch showing the classical influence of Greece is that in Fig antique replica, french victorian mahogany empire desk writing table . 159 napoleon leather and steel campaign chair . It belongs to the Hope period of the early
FIG heal and russell art deco antique furniture . 163 16th century small tables . SOFA TABLE VENEERED WITH AMBOYNA AND
MARQUETRY hongwu copper red .
About 1815 delatte nancy .
The flaps were invariably supported by brackets pivoted on knuckle or
finger joints cut in wood drop leaf table with pembroke leg value . The legs were usually dovetailed to the base,
and it was common practice to strengthen the joints with metal plates
screwed to the underside 19th century regency dwarf parlor cabinet value .
nineteenth century 19th century leather chest . Fig george speight porcelain . 16o shows the rather heavy and stuffy appearance of a fully-upholstered couch in the middle of the century antique serpentine swedish chest of drawers .
An interesting contrast in dining tables made within about thirty to forty years of each other is shown in Figs drop leaf sofa table . 161 and x62 lyre based sheffield candlesticks . The former, of the Regency period, has a certain grace and charm about it empire sideboard antique value . Here again we see the old classical Tables of the Mid-Nineteenth Century
influence in the lyre motif wooton chest . Light though it looks, the table is strongly built since the lyre-shaped pillar is not pierced right through, but is recessed at the surface only antique red stoneware spittoon . The legs are dovetailed to the base john widdicomb desk . The whole top pivots, so that the table takes up little space when not in use longcaseclocks chinoiserie 18.century .
In Fig vintage wooden handled three tined dinner forks . 162 we pass to a typical Victorian table of about 185o which, whatever one may think of the design, is beautifully made ashtray daum nancy france antique . To us it may lack the refinement and grace of the earlier table, but it is an interesting speculation as to what folk of A daniel quare 1674 tortoiseshell case pocket watches .D pilaster bookstand price . 2oo0 may think of it 17 century english stoneware . For years it has been the practice of people to speak of Victorian furniture with something like contempt (though no one really familiar with it would ever deny its soundness of craftsmanship) furniture canape antiques italian . Already, however, it is appearing in antique shops, especially early Victorian pieces, and it is quite on the cards that folk of the future will see beauty in what we now call heaviness and vulgarity 1925 antique floding desk . Fashions change, and nearly all generations are contemptuous of the works of their immediate forbears “myott son & co”+oriental . Presumably the Victorian designers did not intentionally design things they knew to be ugly—and for a matter of that who are we to talk in these middle years of the twentieth century r
A type of table popular during the period under discussion was the sofa table, an example of which is given in Fig antique pier tables . 163 name a piece of furniture that begins with v . It was a type made popular by Sheraton and had hinged flaps at the ends supported by pivoted brackets furniture + finmar ltd . There were invariably drawers beneath the top standing silver mirror candlestick styles . As the table was intended for use away from the wall the ” back ” frequently had dummy drawer fronts small dressing table with cupboard and drawers . Its form during the Regency period is shown in Fig queen mary mother ship tea dish antiques . 163, which shows the Greek influence of the period in the ornament antique 17th century gentleman’s dresser .
The Regency version of the sideboard generally had cellaret pedestals reaching down to the floor and joined by a centre table portion quite open beneath torror in france . There was generally a drawer beneath the top as in Fig small antique french writing cabinet . 164 yabu furniture . Tapered pedestals too were becoming popular, and the scrolled back shows the beginning of a feature which was often to assume quite gigantic proportions in the late Victorian period, and was often surmounted by an elaborate piece of carving, frequently of extremely fine craftsmanship antique wash stands .
Bedsteads in the late eighteenth century were generally of the four-poster type, but by the turn of the century two SIDEBOARD IN ROSEWOOD WITH BRASS INLAY
1810-X820 staffordshire figure home .
The tapered form of pedestal was popular in the Regency period how much is an oak butler’s tray table worth . The relatively large size of room in which
it would have been used is shown by the great depth, which is 29 in greek neoclassical porcelain . over the centre portion, and 251 in richard ginori doccia 1924 platter .
over the pedestals art deco console table black .
Bedsteads of the Nineteenth Century
kinds developed rectangular drop leaf sofa table . In the one the head-posts with abbreviated tester were retained and the foot-posts eliminated early ming porcelain . Frequently head curtains were used, and these could either be drawn right back or pulled a foot or so down the bed antique tilt top dinner table photos 1800 century . The other type owed its origin to the Empire style of France english refectory table . In this the bed was intended to stand with its side to the wall vintage wooden handled three tined dinner forks . There was a head and foot often sloped and having rather the appearance of a couch—the couch in Fig chinese porcelain shards . 159 is in fact suggestive of the general form, though this is necessarily on a smaller scale 19 century inventions . In some cases curtains were carried on to a shaped tester art nouveau origins .
CABINET WITH BOULLE MARQUETRY empire furniture.com .
Louis XIV antique tea table glass serving tray .
The work is carried out in brass and tortoiseshell, and is
decorated with some particularly fine mounts of brass 19th-century swedish table . The
top is of marble antique chippendale breakfast table . The accommodation consists of a centre
cupboard with door and four drawers at each side 19th century, federal mirror .

SHERATON PERIOD
THE last of the eighteenth century designers, Thomas Sheraton, came to London from his native town of
Stockton-on-Tees about 1790 rare antique marble . Although he had undoubtedly been a practical cabinet maker, there is no evidence that he ever made any furniture in London myott son & co from the 1920s . Certainly he never had a prosperous business such as Chippendale and Hepplewhite had had antique gilt wood mirror frame . His fame in the furniture world rests upon his book, The Cabinet Maker and Upholsterer’s Drawing Book, published in 1791-1794, and appearing in further editions in later years antique mahogany tea table with glass tray .
It was essentially different from Chippendale’s book, the purpose of which was mainly that of a catalogue to appeal to wealthy patrons 1700’s trestle table . Sheraton’s drawing book was primarily a trade book intended to help the practical man, not only in providing designs but also in supplying a treatise in geometry, perspective, and drawing eighteenth century tripod table . In the long run it brought him posthumous fame, but as a commercial proposition it was a failure 17th/18th century style, open-rack oak dresser . Probably few practical men were interested in learning to draw in perspective or to know of the problems in geometry (except in the limited way it affected the setting out of their work), and in looking back the whole thing certainly seems an ambitious undertaking wellinton chest of drawers .
So far as the designs were concerned, Sheraton certainly showed originality in many of the mechanical movements he introduced, and in the design of his chairs, but it must be confessed that the general run of furniture was little more than a representation of the general style prevailing at the time antique oak drawleaf trestle table . It was noted in Chapter VIII that Hepplewhite and Sheraton furniture (excepting chairs) had a great deal in common ; so much so that it is often impossible to say to which it belongs for sale louis 16th walnut sideboard cabinet . It will be realised then that in speaking of Sheraton furniture it represents for the most part the work of a school of craftsmen working in a certain style sheraton 18th century dresser .
antiquegames writing table . BEECHWOOD
ARMCHAIR antique tripod tilt table .
About 180 mahogany bow fronted chest of drawers scottish .
The chair is painted In
black and gilt, and the
rails of the back have
small decorative panels
painted with floral and
musical Instrument sub-
jects masons patent ironstone chinese peony .
FIG english antique reproduction dining table round with add on leaves . 142a carved seating . MAHOGANY
ARMCHAIR where can i buy a rennie mackintosh table with brass lion paws .
Late 18th century thonet bentwood rocker .
The backs of Sheraton chairs were usually lower than those of other contemporary work cutlery boxes . The sweep of the arms into the back is a characteristic Sheraton touch central part of the library has a display cabinet .
Details found in Sheraton Chairs
In his chairs, however, he undoubtedly did strike an original note georgian kneehole cabinet . They are lighter than the majority of other late eighteenth century examples, the backs are lower, and instead of the top rail forming a more or less continuous sweep with the uprights (see Fig french console table 1830 . 131) it was frankly a separate item tenoned between the uprights dining tables art deco . The legs were either turned or square tapered (see Fig antique 2-tier pedestal table . 151), and the arms, instead of bowing out sideways, were usually shaped in
FIG antique maple desks . 143 arts and crafts +jupe table . MAHOGANY CHAIR art deco kneeling dancer lamp .
Late 18th century georgian peat bucket .
Sheraton used both square tapered and turned legs horses as allegorical figures in art . The cabriole
type was never used old english pattern forks with four tines .
side elevation only, generally springing from the back in a continuous sweep fine porcelain arc .
A good example is given in Fig smith furniture gateleg drop leaf table . 142 empire hall bench . Note the obvious way in which the back rails fit between the uprights (compare with Fig fake brass antiques . 131), and the sweep of the arms into the uprights spanish lacquered cabinet inlaid . The whole thing is different from anything else being made at the period art deco console and germany . The curve of the arms into the turned uprights, the curved turned legs, and the graceful design of the pierced back are typically Sheraton 19th century american rosewood rococo console table . It is painted all over (something else that no other designers SIDEBOARD DECORATED WITH SATINWOOD INLAY BANDINGS catherine the great of russia plates . Late i8th century charles neo classism boulle .
The bow front sideboard became extremely popular at this time antique trestle refectory table . Sometimes the space between the centre
legs was title in with a cupboard having a tambour front made to slide sideways pottery german weimar art deco .
Tapered Legs in Sheraton Chairs
attempted), and some extremely fine art work is put into the small panels of the back florence lamps giuseppe antique .
Another Sheraton chair, this time with tapered legs, is given in Fig who sells maggiolini furniture . 142a decoration metal bureau table desing . In this case the arms meet the turned uprights more or less at right angles, but they sweep into the back as in the previous example extending glass table with wrought iron legs . The back is practically square, and the uprights which continue down to form
II how drop leaf table evolved .C; antique serving cabinet . 1 a & s smee finsbury .15 round “dining table” “six legs” . WHEEL BACK CHAIR irish cabinet makers antique wine coolers .
About i800 antique porclean handled sheffeld flatware .
The finest chairs of this kind came from Norfolk and Suffolk value of primitive antique work bench . They became popular towards the end of the 18th century, and into the 19th century lowenfink . Earlier models had curved arm supports at the front instead of turnings antique drum shaped table .
the legs are shaped only in side elevation wood furniture legs clawfoot . They are straight when looked at from from the front art glass vases antique . This is another feature invariably found in Sheraton chairs, and never in contemporary work of other designers scriptoire . All these features also appear in the chair in Fig oak table 5 legs built in leaves rectangular antique . 143•
Sheraton died in i8o6, and it is unfortunate that towards the end his designs suffered severely decorative spindle legs from antique card table . Probably no man, no matter how individual, is quite free from extraneous circumstances bread/cake baskets 17th century . Prevailing fashions exert their sway, and designers
146 varguenos . TWO WRITING DESKS IN MAHOGANY WITH SATINWOOD BANDINGS antique pedestal mahogany table .
Late i8th century bauhaus style furniture +scale .
The Importation of Ykirious foreir4n fancy woods, satinwood, am boyna, rosewood, ebony, and so on led to the free use of
these for use in inlay bandint!s art nouveau antique drinking cabinet . Satinwood, too, was freely used in the solid, entire pieces being made up in it antique 17th century dresser .
Deterioration of Late Sheraton Work
are often faced with the choice of either following them or retiring from the scene antique mahogany card table, imperial . Many things were happening in Europe at the close of the eighteenth and beginning of the nineteenth century which were to affect design gilt metal mounted pier table . The French revolution, culminating in the establishment of the First Empire, produced a style in France which rapidly found its counterpart this side of the Channel, and the naval victories of this country had an extraordinary effect on furniture 1800 hundred french mantel and candle clock .
FIG antique art deco furniture black lacquer . 147 maurice adams art deco . MAHOGANY SIDE TABLE WITH BANDED DRAWERS anglo indian cabinets .
Late i8th century vintage buttterfly dropleaf tables .
A prominent feature of the Sheraton school was the very limited use of
carving antique 17th century dresser . Probably it was a reaction from its free use in the Chippendale
period dutch cabinet marquetry 18 .
Just as topical events of thirty or forty years ago were commemorated in fretwork designs, so the furniture of the early nineteenth century showed its reaction to the events then happening gillows bow front mahogany chest drawers .
Sheraton fell into the general line and published his E’?IcYc10P,Tdia of 1804-1807, in which was one of the most extraordinary collections of furniture designs ever put together regency occasional table . Naval emblems of all kinds—anchors, lifebelts, pulley blocks, ropes, and so on—abound, and it is a mercy that more of them were not made up,
To revert to his earlier and happier period, Sheraton’s chief form of decoration was inlay 19th century parian busts . Cross-bandings of fine
MAHOGANY WARDROBE WITH BUILT-UP VENEERED
DOORS
Late i8ti century antique chinese circular revolving bookcase .
The fine mahogany imported at this time led to the revival of the built-up
patterns in veneer as the grain had splendid decorative value 17 century elm gateleg table .
foreign woods, such as satinwood, rosewood, tulip wood, ebony, amboyna, and so on, were inlaid around the edges of drawer fronts and panels, and various built-up patterns in veneer were made use of with great effect period style display cabinets . The bow front sideboard in Fig antique ceramic tambour german mantle clocks . 144 shows the use of this cross-banding italy spoons that might be antiques . Painting also he used considerably, naturalesque floral subjects and panels in the style of Angelica Kauffman being the chief forms it took nicholas sprimont solid silver . Carving he used
E; <
FIG value of an antique pembroke table . 152 antique mahogany french bedside commode . MOULDINGS OF THE SHERATON PERIOD dutch 18th century walnut chest on chest .
Mouldings were invariably small and delicate islamic influence furniture . Occasionally carving and inlay
were introduced, though they were usually plain dining tables with wood inlay work .
sparingly and never in the full scrolling form favoured by Chippendale french console table 1830 .
A small Sheraton side table is given in Fig arts and crafts furniture, antique collectors . 147 flemish refectory table . Here again the drawers have an inlaid cross-banding around the edges antique german breakfast table . The turned legs are reeded down their length dresser accessories . Two other Sheraton pieces are given in Fig russian chippendale trays . 146 silver candleabras made in england . Note the inlay again decorative writing styles . Desks of this kind were often fitted with elaborate secret contrivances in which stationery boxes, drawers, and cupboards rose up at the touch of a spring how common is walnut drop leaf table .
The Sheraton Wardrobe
Fig antique chinese chamber pot . 148 shows a fine inlaid wardrobe in which built-up patterns in veneer are used effectively myott son&co hanley 1880 . The dentils in the cornice and the flutes in the frieze are carried out entirely in inlay american crafts armchair upholstered . The curved bracket feet are a typical feature of the late 18th century 17th century oak side table .
CHAIR WITH SABRE LEGS AND
CANED SEAT rococo style flower arranging .
About i8io pembroke style end tables .
This is an extremely fine example of the chairmaker’s craft 18th century marquetry . Despite the somewhat complicated curvature of the back the construction follows conventional methods, the tops of the back legs being tenoned into the cresting rail and the moulded shaping worked across the joints mark vezzi porcelain . The curved rails fit together with a form of halved joint cylindrical crock eared handles cobalt blue .

BUREAU BOOKCASE AND WRITING TABLE cabinetmakerthomassheraton .
Typical features in the left-hand example are the barred doors and shaped
pediment with fretted detail beneath antique dining table sutherland . The writing table is of a kind that
became popular early In the century scalloped folding antique table .
Gothic was really one of contempt), but it appealed to a passing fancy to pick isolated details here and there and to weave them into the work staffordshire pearlware figures french revolution . At best the result was a mere travesty, and it fell out of favour as quickly as it had come decoupage cabinets .
Our last example of a chair is that in Fig mortlake salt ware stoneware . 112, which shows a small upholstered armchair of about 1755—176o antique spiral leg oak dropleaf table .
Chippendale Period
An interesting feature here are the small fretted corner pieces fitted in the angles of the front legs oval . ‘These were often used on the square leg type of chair and of other pieces having similar legs square walnut and burr elm coffee table .
Settees porcelain table casters .—The Queen Anne settee NN,itb double or triple back has already been mentioned gate leg fold over antique tables . In Fig george i folding card table antique . 113 is its development in the early Chippendale period “biedermeier candelabra” . There is a great deal about it that is strongly reminiscent of the walnut period, especially in the rounded shaping of the back and the arms with their acutely scrolled front corners octagonal oak carved table . The
FIG antique meissen clock . 120 brandt mahogany 2 tier table . SIMPLE MAHOGANY CHEST OF DRAWERS,
1760-,770 collectors of paul frankl .
Although of plain form this simple furniture was thoroughly well made
as a rule gateleg drop leaf table 19th century . It was the sort of thing that the merchant class would have
used spiral legs on drop leaf table .
shell detail, too, is retained in the top rail of the back, and the splats, although pierced, have in their general outline something that can be traced back to the Queen Anne urn shape davenport “pattern numbers” .
It will probably be felt that there is something unsatisfactory about the back marqueterie cabinet . The centre section is well balanced enough, but those at the sides are uneven because the main side uprights are different from the curves of the wide inner uprights identify - shaped pedestal or pillar leg . This difficulty was sometimes overcome, especially in latter Chippendale models, by making the inner uprights double, each part being a replica of the main outer upright refectory wood .
Revival of Veneering
CHIPPENDALE TABLES
We saw in the last chapter that, apart from the William Kent productions, side tables had usually cabriole legs and were often fitted with marble tops antique porceline candle sticks . A tendency was to introduce an elaborate apron piece between the front legs, this being usually pierced right through and carved with acanthus leafNvork intricately scrolled and intertwined art deco inspired bookcase . It rapidly began to grow out of all proportions until the beginning of the Chippendale period why are pier tables called .
Fig kitchen antique furniture deux corps cupboards . 114 shows a small table of simple form, and of special
FIG antique inlaid occasional table . 121 art nouveau porcelain marks . SERPENTINE SHAPED COMMODE telescopic supports for tables .
i76o-1770 antique brass and marble cocktail table 1950 .
This shows strong French influence both in general form and in the detail
of the carving mallard tester bed . It would have been extremely expensive to produce and
be made for only the wealthiest classes antique dressing table 1925 .
interest in that it shows a revival of veneering bernard palissy . In fact it may be mentioned here that a great deal of veneering was done in Chippendale pieces, probably as an economy in the finely-figured woods then being imported century italian provincial cherry bombe armoire . It was, however, usually of a different spirit from that of the Queen Anne period, when the veneer usually hid entirely the construction antique table wooden hinge drop leaf . In Chippendale work no attempt is made as a rule to hide the construction, and any detail is usually subservient to obtaining good strength antique dinner services .
The difference came about in this way antique adams and sons company england ironstone . A Queen Anne cabinet maker would make the framework of, say, a door and would veneer it so that the latter ran right across the joints, concealing them entirely chinese precious stone and laquer cabinets . In Chippendale’s time the
cabinet maker used far thicker veneer (about I in italian nlaid bronze marble table tops .) and 8
generally veneered his parts before jointing and putting them together what is a chamber pot of 1800s . In this way the joints were bound to show, and it involved no practical difficulty because the veneer was thick enough to allow the joints to be levelled with the plane after being put together, a thing which would have been quite impracticable when the veneer was thinner flemish ivory inlay furniture antique .
The table in Fig spode ironstone china . 114 is rather an exception to this general rule in that the top rail was veneered after it had been jointed to the legs george serving table fluted . It is easy to tell this because the veneer runs across both rail and legs what is antique library table worth . Cross-grained veneer is the exception rather than the rule in Chippendale work, though in a case like this advantage was taken of the fine figuring to show it at its best refectorytables . The legs are of the straight moulded type already noted, and are deeply chamfered at the inner corners to lighten the appearance tripod table marble .
Use of Frets black desk curved legs .—Another table showing typical Chippendale features is that in Fig antique crofters cottage antique . 115 antique draw leaf table . It has the square moulded legs with deep chamfer, and the rails are decorated with frets antique cherry dictionary stand . This form of ornament was originally derived from the Chinese style north west antique dresser . In its purely Chinese form it consisted of intersecting straight lines somewhat in the form of lattice work (see the chair back in Fig antique mahogany drum tables library tables writing tables . III), but the idea once prompted soon developed into a purely Western conventional design consisting of curves and scrolls nabeshima antique . On p classic white bombe drawers maker . 157 is given a group of typical Chippendale frets, some still distinctly Chinese in character, and others of the conventional English form empire furniture company .
These frets, where similar positions to that in the table in Fig copper brass tray coffee table . 115, were later applied—that is, they were not carved out of the solid wood, though often enough the ends of scrolls and other small details were touched up with carving tools to give a more realistic appearance of carved work spaanse 17de eeuwse antieke tafel . In some cases the frets had no backing lidded urn with hole underneath . For instance, little galleried edgings were often fitted to small tables george hunzinger chairs . These were pierced right through in the form of a fret meissen whiteware animal . The cabinet makers soon found that these had little strength when cut out of a single thickness because the grain was necessarily short in certain parts small round chippendale center hall table . Consequently they hit upon the idea of glueing together three or more pieces of veener, the grain of the centre layer running at right angles Chippendale Side Tables
to those outside french design desk . Frets cut in this were considerably stronger graduated drawers formula . This is probably the first example of the use of plywood, though of course it had little in common with the large plywood panels produced to-day daghestan prayer rugs .
Side tables, such as that in Fig antique walnut settee chairback . 115, would be placed in

FIG chamber pot . 124 writing table with bookshelf design . CHIPPENDALE FRETS german antique card table .
,760-,775•
A, B and C are conventional patterns of Western form antique book ends . D and E show the Chinese influence dating meissen figures .
the dining-room, and their purpose was to provide a useful standing space for the dishes art nouveau antique drinking cabinet . The day of the sideboard with drawer and cupboard accommodation had yet to come classical column drawing . The reader may care to turn to Fig antique drop dresser with marble top . 116 to see examples of other kinds of legs used in tables of this kind french console table 1830 . The second example is interesting in that it is pierced right through, a detail which came from the Chinese influence what is a chippendale ring . One entirely new form of leg is the fourth example, which is composite, that is, built up of a number of small separate pieces antique gilded table glass . It consists of a series of clusters of turned columns fitted between squares antique chamber pot chair . Quite light tables had this form of leg mallard tester bed .
Many new kinds of occasional tables made their appearance at this time, and amongst them was the small tripod form also shown in Fig chippendale pinecone . I15 regency side chair with brass motif . The simpler examples were quite plain, consisting of three legs (like that at F, Fig antique gateleg table and chairs center drawers . I16), joined to a turned centre upright, and a circular top love seat pietro piffetti . Finer specimens as that in Fig antique vitrine table . 115 had acanthus carving on the knees of the legs and on the turned upright chinese export porcelain wall plaque . The edge of the top, too, was often ” pie-crusted antique book ends .”
BURFAUX AND WRITING TABLES
We saw in Chapter V how the
great increase in writing led to the
introduction of pieces intended
specially for writing antique dressing table w/mirrors . Of these the
bureau (usually with the bookcase
above) and the writing table
remained popular palissy patterns . The secretaire
in its original form, with huge fall
writing top, lapsed, though a certain
number of pieces with compara-
tively small falls were made antique mahogany rent table . These
were similar to the bureau except
that the fall when closed was
upright antique “duncan phyfe side chair” . When opened out flat the
whole writing arrangement was
made so that it could be pulled forward, so giving easy
access to the stationery nest and providing ample knee space harlequin pattern commode for sale .
CHIPPENDALE GRANDFATHER CLOCK checkoslovakian figurines .
1760-1770 red and yellow rose czechoslovakia china .
The domed shape of the hood
with a pediment above was
Invariably used markings on antique candelabra .
Writing ng Bureaux
A simple Chippendale bureau is given in Fig chippendale rosewood table . 117 art deco modern deco antique furniture . It is similar in general form to its predecessor of Queen Anne’s time, though, apart from being in mahogany, the decorative treatment is entirely different tub chair design . Sometimes the sides, drawer fronts, and so on were veneered (about 8 -1 in antique oak table trestle drop leaf . thick), but there was no ruling on the subject duncan phyfe drop leaf buffet table . In any case, when veneer was used the front was simply regarded
as a solid piece with a facing of mahogany ; that is to say, there was no attempt to use the veneer to give a decorative effect as in walnut work collector’s table . No quartering or crossbanding was used lenci artist signature . Drawers were usually surrounded by a cocked bead, as in the present example “lion feet” wardrobes . For interior parts, drawer sides, etc chinese wooden tables with brass leaves inlay ., oak was generally used value susie cooper tea set yellow with blue dots .
Another bureau similar in form, but with bookcase above, is shown in Fig antique jacobean dropleaf desk . iig antique pembrook game tables . The bookcase has many typical features, of which the pediment with carved rosettes and fretted underpart, and the barred doors are the most obvious antique duch east india company plates . These barred doors were a continuation of the Queen Anne type (see Fig elements of art value . 84), whic h probably owed their origin to the comparatively small sizes in which glass was first available fine bohemian china made in czechoslovakia compagnie . All the panes are separate and fit between bars consisting of a moulding, usually an astragal, with a thin flat bar at the back to form rebates for the glass . A few other Chippendale patterns of barred doors are given
in Fig antique upholstered chair curved side . 122 italian wood armchairs . Both these bureaux are Note the use of bracket feet in both flatware 17th century .
almost universally in these pieces, though in finer specimens they were often finely carved chinese influence to rococo . More elaborate specimens had pilasters flanking the doors with fine carving in them, and had altogether more elaborate pediments victorian cherry drop leaf table .
A writing table is shown in Fig antique desks/captain’s davenport . 118 napoleon antique chests . In this we have a variation of the bracket foot, the solid plinth theodore haviland 1958 pattern . Note that POLE
SCREEN parts of chambersticks .
About 1765•
The screen portion was
made so that it could
be adjusted at varying
heights kakiemon bow price .
of simple form delicate trestle table .
certain of the mouldings are carved amakusa candlesticks . This was a revival which took place in the mahogany period recipe for “soft paste porcelain” . In the earlier oak days carving was used to decorate mouldings to a considerable extent, but it lapsed entirely in walnut furniture because in this the mouldings were invariably cross-grained italian inlaid sideboard . This produced a decorative effect in itself, but it was not practical to carve them because the cross-grain was simply a thin layer glued over a solid groundwork spider leg circular dining table . With the return
FIG, 127 15th century chamber pots . TYPICAL MOULDINGS OF THE CHIPPENDALE SCHOOL vizagapatam furniture .
1750-1775•
In his finest work Chippendale invariably used carved mouldings spanish revival walnut console table . It was prob-
ably the result of his being a carver by trade value of 19th century silver apostle spoons .
to the use of solid wood in the first half of the eighteenth century carving was once again possible, though it was on altogether finer lines than that of oak work tambour commode . A smaller writing table with knee hole space is given in Fig vintage wooden handled three tined dinner forks . I ig antique collectors cabinet for sale .
BEDROOM FURNITURE
The chest of drawers, established by Queen Anne’s time, was a recognised part of the furnishing of a Georgian bedroom antique spanish cabinet marble top . In its simplest form it was often severely plain with no decoration 4 foot drop leaf table . The drawers usually had a surrounding French Influence
cocked bead, but even these were primarily utilitarian, since their chief purpose was to protect the edges of the veneer antique walnut writing table with pillar (post) legs . An example of this simple furniture is given in Fig tripod side table . 120 barometre du style directoire . The chamfered front corners are worth noting because, although in this particular example they are quite plain, in better class pieces they were often developed as an important feature, carving, fluting, or frets often being used as decoration antique shop slovakia . A chest of this kind would have been used in the house of one of the middle classes or in one of the lesser bedrooms in an important house burr walnut tallboy with sunburst inlay .
In contrast is the fine chest of drawers or commode shown in Fig marble dining table antique oval modern . 12I antique wooden oval french music stands . A piece of this kind represents the high water mark in cabinet work, and is obviously the product of a first-class workshop silver pillar candlestick . It is distinctly French in character, and is probably taken from a Louis XV commode, except that, whereas the latter would be largely gilded (probably the mountings of the legs would be of metal), in the present example they are entirely in mahogany, showing its natural surface english bone handled knives and silver forks . A feature adding considerably to the difficulty of making such a piece is the fact that it has compound shaping ; that is, in addition to being of serpentine shape in plan, it is shaped in its height antique escritoire desk . This double shaping was often used in Louis XV work for the French were a long way ahead of us in work of this type—possibly because very elaborate work has never specially appealed to us drop leaf walnut table gate legs . Other features in the chest definitely of French origin are the scrolled legs, with their Rococo ornament and the handles daniel quare 1674 tortoiseshell case pocket watches . An enlarged detailed drawing of one of these French type of handles is given on p how much did porcelain cost in the 1500s . 02 antique french drum table .
Bedsteads england biedermeier chest of drawers .—The Queen Anne bedstead was for the most part the four-poster type, entirely covered with soft materials, as in the example given in Fig antique bureau writing desk . 96 candle sticks antique porcelain victorian couple . A few were made with head and foot and no upper tester, these having a typical Queen Anne shaping at the top of the panel and cabriole legs below “jean luce” arzberg . A great many modern reproductions of the type are made to-day 19th century native american pottery . The majority, however, were four-posters, with every part of the woodwork (except possibly the feet) covered entirely up with velvet and other materials 18th century worcester porcelain . It was scarcely a thing fit for everyday use in an average house, though it might be well enough in a palace french chippendale dining table library desk . It was not like a four-poster with curtains only that could be taken down and washed dressoir timber . Once the material became faded Chippendale Bedsteads
or worn nothing short of stripping off the whole would be of the slightest use 18th century french silver makers .
In Georgian times came a return to the all-wood bedsteads burslem yellow trellis ceramics . In a sense these were similar to the four-posters of Jacobean times, but were altogether lighter and were in mahogany instead of oak walnut and glass coffee table, italian . A Chippendale example is given in Fig 19th century. mahogany buffet . io6, P- 136 historismus beakers . In some cases the Chinese character was used entirely writing bureau “sliding” . There stands in the museum at South Kensington a bedstead of this kind, in which the tester follows the form of a pagoda roof, whilst the back is decorated with lattice work drawing furniture by michael thonet . The whole thing is in gold and black lacquer and was probably made in Chippendale’s own workshop name a piece of furniture that begins with v .
The development of the grandfather clock is shown in Fig french/belgian art deco table for sale . 125 where can i buy antique candlesticks in dorset? . Note the scrolled pediment above the rounded heading of the hood door antique coaching table .