Posts Tagged ‘old german furniture’

MODERNISM
CHAIRS
AS FURNITURE PRODUCTION steadily
shifted emphasis from craft-based manufacturing to industrial methods, so the look of the chair changed dramatically Ornament was doggedly erased from designs as structure became more important to the aesthetic look. Solid wood began to fall from favour (too expensive and inflexible) as moulded plywood and tubular steel stepped into the spotlight.
Just as the notion of open-plan space was creeping into Western architecture, so furniture was freed from fulfilling just one function. Chairs became
increasingly ambiguous, with some made for indoor and outdoor use, and others equally at home in an office or dining room. Chairs became lighter, too, as they were frequently moved around the house.
With mass production in mind, designers began to concentrate their efforts on fixtures. The aim became
to produce a chair made of a minimum number of components that fitted together easily and quickly It’s no surprise, then, that the cantilever chair became so popular, as the continuous loop of legs and base eradicated the need for numerous nuts and bolts.
While the structure of the chair became increasingly celebrated in its design, as opposed to any stylistic conceits, so the designer as an
individual receded into the background. Industry became more important than art, as designers sought to express nothing more romantic than the manufacturing process.
The reason the chair dominated the focus of designers’ effort`_ is because a person’s emotional attachment is far greater to a chair than to, say, a shelving unit. If Modernist designers wanted to alter their audience’s emotional and intellectual outlook, it was through the chair that they tried to do so.
The slender armrests display a use of cushioning that is rare fora chair by Marcel Breuer.
The steel struts beneath the seat have been bowed so they cannot be felt by the sitter.
The chair is made from non-reinforced tubular steel, thereby making it less rigid.
B34 CHAIR WITH ARMS
The frame of this cantilever chair is made from one continuous loop of tubular steel. Although the base looks as though it is all in contact with the floor, the side pieces bend slightly so that only the corners touch the floor — the idea
being that most floors are slightly uneven and the smallest change in level would make the chair wobble. This chair has arms with elbow supports, and a blue canvas seat and back. Designed by Marcel Breuer and produced by Thonet. 1928. H:85cm (33Vzin); W.57.5cm (22Vain); D:63cm (24-Xin), Qu I
This armchair was inspired by a model made by Alvar Aalto. The chair’s seat and back are made from a single sheet of laminated wood and sit within an oak open-arm frame. H:76cm (30in) CA
LANDI CHAIR
This easy chair comprises a series of square-section planks of pine, joined by wooden dowels. It has a slatted section on both seat and chair back. Designed by Hein Stolle. c.1930. BonBay 2
SIDE CHAIR
The seat and back of this early cantilevered chair are made of ebonized moulded plywood and sit on a chrome-plated tubular-steel frame. The armrests are ebonized beech. Mart Stam for Thonet. c.1930. BonBay 2
ZIG-ZAG CHAIR
One of a pair, this chair has a tubular-steel frame reminiscent of Rietveld’s Zig-Zag chair. The wooden seat is supported on steel rods and has a later vinyl cover. H: 82.5cm (321in); W.41.5cm (161in); D:63.5cm (25in). Qu I
Lightweight and durable, this stacking chair is made from pressed and bent aluminium. Each armrest and pair of legs is from one piece of aluminium. Hans Coray. 1938. H: 76cm (290); W.51cm (19in); D:55cm (21in). BonBay 2
CLUB CHAIR
AALTO-INSPIRED CHAIR
EASY CHAIR
The rectilinear frame is made from stained pearwood secured with brass fittings. The chair is upholstered in hand-woven woolen fabric. Peter Keler, Bauhaus Weimar. 1925. H:69cm (27in); W.62cm (24V:ln); D:68cm (26%0). WKA
LOUNGE CHAIR
CANTILEVERED ARMCHAIR
One of a pair, this armchair has a tubular-chrome frame and seat with cushions upholstered in a dark brown, brushed fabric with red trim. The armrests are black-enamelled. H:86.5cm (34in). SDR I
Designed by Gilbert Rohde, this cantilevered armchair has a bright chrome base and black laminated armrests. The cushions are upholstered in ivory leather with a black trim. H:94cm (37in). SDR 1
THE STACKING CHAIR
STILL FOUND IN CAFES WORLDWIDE, THIS ICONIC DESIGN IS PERHAPS THE FIRST STACKING CHAIR, AND CERTAINLY THE FIRST WIDESPREAD DESIGN, OF ITS KIND.
The so-called Bistro chairs These have a pressed-steel frame and are painted red; with plywood seats. c.1926. H:82cm (32Vin). DOR 3
The origins of this chair, despite the efforts of numerous historians, have proved murky at best. The design is most likely to have been developed in France some time around 1925, specifically for the country’s booming cafe culture. The chair bears a strong, albeit rather crude, resemblance to chairs designed by Emile Jacques Ruhlmann, although it’s doubtful whether the French high-society designer ever had a hand in its conception.
What is perhaps most impressive about the chair, apart from its stackability, is its economy of materials. The steel used is incredibly thin and, to give the legs rigidity, the steel has been subtly curved. To save further on metal, holes have been cut from the seat back. While the perfect low-cost, space-saving chair was to become something of a holy grail for 20th-century furniture designers, few ever bettered the chair design that first set the ball rolling.
FREE SWINGER ARMCHAIR
The base of this chromed-steel cantilevered armchair from Austria is the only part of the structure that is exposed. The chair seat and back are filled with down and upholstered in sand-coloured velour. H:84cm (331in). DOR 3
LAMINATED LOUNGE CHAIR
This chair has been made from one sheet of cut and moulded laminated birch and resembles the Gerald Summers classic (see p.438). The arms are fixed to the back with metal brackets. Hans Pieck. 1944. H:76cm (30in). Bon Bay 4
BAUHAUS ARMCHAIR
This chair was designed by Erich Dieckmann for the Weimer Bauhaus, in collaboration with Ernst Mayo. Made from solid beech, it has a bowed back and slatted seat. c.1930. H:81.5cm (321:in); W.52.5cm (21in). WKA
DINING CHAIR
This is one of a pair of stacking birch plywood dining chairs that were produced by Artek. The chair has a circular wooden seat and a pierced plywood back, supported on L-shaped plywood uprights. c.1930s.
DIAGONAL CHAIR
This chrome-plated, tubular steel chair is named after the supports between the seat back and legs. The arms, seat, and back are of laminated wood. W.H. Gispen. c.1927. H:82.5cm (321-in); W-54cm (2111n): D:60cm (23,Xln). QU 2
SLATTED CHAIR
This Viennese chair has a tubular-steel frame and solid, stained-beech wooden slats for the seat and back. The arms have wooden armrests. One of a set of four. 1925. H:84.5cm (33V4in). DOR 3

The Exotic: the 1860s and 1870s
In the 18 6os hair went up again and earrings returned to favour. Their comeback was marked by a great variety of types and styles. Size fluctuated throughout the period, but grew to enormous proportions in the late i 86os and early 18’70s, when earrings almost rested on the shoulder. This fashion, although started in France and England, spread throughout Europe, and we also learn from an article in the trade-paper Watchmaker, Jeweller and Silversmith of 187 5 that: ‘long pendent earrings are coming into fashion again in America.’
It was the great age of novelty. Women suspended from their ears any unusual and bizarre object they could think of. Among the favourite shapes for earring pendants
were windmills, buckets, shovels, hammers, hens brooding in baskets, and hum P. 78 ming birds. Even exotic creatures such as Brazilian beetles were suspended from ears
in the place of gemstones. Goldfish swimming in bowls were simulated by tinted in P 03 taglios. The Chinese-inspired ‘willow pattern’ is seen on many plate-shape gold earrings from 1870, enamelled in blue and white with the traditional pagoda, willow tree and figures on a bridge. Arrow earrings also appear to have been in great favour, P 79 either simply attached to the earlobe or designed in two sections so as to appear to transfix it.
Earrings of these types were not products of ‘haute joaillerie’ and not intended to be particularly artistic-, they were meant to be amusing and decorative, ‘novelty’jewellery to be worn for a season and then discarded. This explains firstly why they are always of little intrinsic value, being made of thin gold leaf decorated with enamel rather than gemstones, and secondly why few of them survive. They were certainly not the type of jewel to pass down in the family as an heirloom.
Interest in travel and advances in scientific knowledge together with the development of new industrial techniques, all affected the design of earrings around the middle of the century. New materials such as ‘Blue John’ or Derbyshire spar, lava from Vesuvius, colourful feathers of hummingbirds from Mexico, and beetles from Brazil, whose hard and green iridescent shell proved a successful and unusual sub-
stitute for gemstones, all made their appearance. The beetles were either simply at P. 107 tached to a gold hook to be inserted through the pierced earlobe or grouped more 126 elaborately in girandole arrangements. There were also exotic flowers, such as cas- P. roe
cades of stained ivory fuchsia blossoms; bunches of bulrushes set with turquoises baskets of flowers held by a hand, and acorns. The popularity of the latter is demon-
1o6 strated by its appearance among the drawings of Mellerio and by the firm’s ad-
vertisement in the magazine La Femme et la Famille et le Journal des Jeunes Personnel. p. 102, Animals were also favourite subjects; among the most amusing are frogs ready to
103 spring from bulrushes, nesting birds, brooding hens and coiled serpents entwined
with a vine spray. Hammers, ladders and well-pulleys with buckets reflect an interest P. 78 in industry. Although the fashion for novelty earrings appears to have started in
France, it assumed its most bizarre forms in England.
Classical revival
Another leitmotiv of i 9th-century jewellery is revivalism, a means of enriching the present by looking at the past. This had developed in the I 830S when designers such as Pugin in England and soon after Froment Meurice in France turned to Gothic art as a source of inspiration. Few examples of earrings in Gothic style are known, and those are usually made from Berlin iron, a material particularly well suited to reproducing Gothic tracery. The full bloom of revivalism occurs in the 18 6os and I 870s and this is particularly true of jewellery. The styles to be revived were mainly pre-Classical and Classical, Italian and French Renaissance and the period of Louis XVI.
Contemporary archaeological discoveries in Etruria and in the Greek Islands such as Knossos, Melos and Rhodes were bringing to light large quantities of exceptional ancient jewellery. The importance and popularity of earrings in antiquity was in some ways comparable to the 18 6os and 18 70s- It was natural, therefore, that antique shapes, designs and techniques were copied or reinterpreted in this period.
Among the leaders in this style were the Castellanis in Rome and Naples; they not only copied and reinterpreted the examples of the past but also set antique fragments such as engraved gemstones and coins as part of their interpretation of ancient jewellery. This is particularly evident in works like the gold and cornelian earrings set with Roman intaglios depicting a trophy of arms and a hunting scene.
P 97 Ernesto Pierret was another famous jeweller in Rome who produced earrings of Etrusco-Roman inspiration. A good example is the pair designed as a triangular panel decorated with bead-work and corded wire typical of Greek and Etruscan goldsmithwork flanked by baton motifs with spherical drop terminals probably inspired by the Roman crotalia which Pliny describes as ornaments designed to tinkle at every movement. This was a favourite motif for earrings and many examples survive where the baton-shaped drops are combined with various surmounts such as the Athenian owl with spread wings perched on a pediment.
The taste for Classical designs was widespread throughout Europe. Similar examples were produced by firms such as Robert Phillips in England and Eugene Fonte-
P 109 nay in France. Fontenay made great use of bead-work and corded wire in the mounts of his earrings, which were frequently set with carvings or enamel miniatures of scenes from Pompeian frescoes and had fringed drops and palmette or rosette surmounts.
Gold and pearl earring in archaeological revival style, circa 1870, inspired by the ancient Roman `crotalia’.
This archaeological fad was such that as early as 18 59 it became the target of satirical sketches. In ‘A Young Lady on the High Classical School of Ornament’, Punch (15 July 1859) depicted a devotee of the Antique style with an excess of jewels, tiara, hair ornaments, necklaces, bracelets, pendants and long earrings, all of Greek and Etruscan inspiration.
Some revivalist earrings derive specifically from well known antique prototypes while others are merely pastiches of different archaeological motifs. A good example
of the first type is the Etruscan a baule earring of 6th/5th century BC pedigree, which p. io, reappears, almost identical, in the late i 86os. It has one closed side, with a decoration of applied stylized flowerheads, rosettes and wirework typical of ancient examples. The enamel decoration is undoubtedly prompted by close examination of ancient a baule earrings, where inlays of glass paste, which unfortunately have barely survived, were used to enliven the decoration. This represents an attempt by the 19th-century jeweller to reproduce in its entirety the ancient prototype and stresses the past importance of polychrome work.
Subjects such as rams’ heads, miniature Eros figures riding birds, amphorae of p. 99, various shapes and blackamoors’ heads popular in late Classical Greek, Hellenistic and Etruscan earrings were revived in abundance. Not only were the forms derived from Antiquity but also the techniques: granulation was largely used — although never reaching the finesse of Antiquity — with wirework and beading to pick out details, and, as in the past, enamels were preferred to gemstones.
Other popular shapes of Antiquity which had never been related to ear ornaments were now converted into earrings, e.g., Carlo Giuliano’s miniature oil lamps decorated with black enamel, modelled on lamps used for votive offerings in temples and sanctuary precincts.
Even 19th-century ‘novelty’ materials such as lava from Vesuvius, Wedgwood jasper-ware and tortoiseshell were adapted to earrings inspired by the Antique. Somehow the frilliness typical of the 19th century creeps through the severe and linear shapes of archaeological Classicism, so that they could never be mistaken for
the real thing. This is particularly true of two pairs of earrings where Roman gold p. 98 low-relief and Greek amphorae are suspended from circular surmounts decorated with frivolous 19th-century flower motifs.
The typical fitting of all these earrings is a thin S-shaped gold hook inserted in the ear from front to back, at times secured, like many ancient examples, by an additional semicircular catch at the back.
Notable as a successful reinterpretation of Classical ideals is the emerald and diamond parure commissioned by Napoleon III from Mellerio; although its overall design is definitely archaeological, its pendent earrings of sober, sculptural shape p. 8o have no strict connection with any ancient prototype.
Besides Greek, Roman and Etruscan art, Egypt provided an important source of inspiration, not only in terms of shapes and designs but also of colour choice and com-bination. Interest in ancient Egypt was stimulated by the completion of the Suez Canal in 1869 and by the contemporary excavations in the Nile Valley carried out and
P 96, published by Auguste Marlette. Falcons, papyri, mosaic or gold Pharaoh masks and
113 scarabs were soon fashionable motifs to adorn the ears, and dramatic combinations of bright colours such as lapis or turquoise blue, deep red and opaque white typical of Egyptian art gained favour throughout Europe.
Renaissance and 18th-century revival
The Renaissance revival, with its interest in sculptural and figurative shapes and enamel-work, began in the 1840s in France but did not affect earrings until the 18 6os and 18 70s. Among the influential jewellers working in this style was Carlo Giuliano, an Italian who spent most of his working life in England. Among his most
P. striking works is a pair of earrings in gold and polychrome enamel, opaque and translucent, each in the form of a stork devouring a serpent. In this case not only does the enamel technique and the bold sculptural shape remind us of the famous Renaissance figurative pendants, but the symbolism too is Renaissance; the stork devouring a snake standing for the soul overcoming carnal pleasure derives from a well known Renaissance emblem.
Fantastic creatures such as dragons and griffins with pronounced sculptural quality and the widespread use of polychrome enamels were typical of the French Renaissance revival. What gives away the fact that these belong to the 19th and not the 16th century is their passion for ornate and frilly detail, which always tends to creep in and
P. detract from the boldness of the sculptural effect. This is particularly evident in the
fringe of pearls and rosette surmount of the griffin earrings reproduced.
P 79 The gold, polychrome enamel and hardstone cameo earrings, each set with a cameo mask holding a floral festoon suspended from a tree-headed mask surmount, which the London jeweller John Brogden exhibited at the Paris Universal Exhibition oft867, although imbued with a certain Renaissance feeling, are closer to late i 8th-century Neoclassicism. The choice of differently coloured agate for the two cameos of Classical Dionysus masks is a rather unusual feature for the period. It is interesting that in this case both the original design and the finished jewels survive.
P. 74, In France, among other revivals, that of the Louis XVI style was particularly
77 favoured by the Empress Eug6me who, anxious to emulate Marie Antoinette in establishing in France a ‘grand’ monarchic tradition, revived, together with the crinoline, all the girandoles, bows and ribbon motifs of French 18th-century jewellery. She commissioned J. -E. Bapst, the famous French jeweller, to remount part of the crown jewels in Louis XVI style. The great majority of pendeloque and girandole earrings revived at this time in France were set with pearls and diamonds, but Eugenie’s favourite stone was the emerald, and it quickly became the most popular coloured gemstone in France.
Fin de sihle
As a consequence of the opening up of Japan to trade with Europe in the 18 5os and of the revolution there in 1866, Japanese art, until then little known in the West, started to exert considerable influence on the evolution of ornament and decoration. In the mid- i 870s it became popular in Europe to mount small pieces of Japanese metalwork as jewellery. Shakudo and shibuichi, the metal inlay techniques developed by Samurai swordmakers for the decoration of sword mounts and guards, entered the world of jewellery. Shibuichi and shakudo plaques and miniature fans decorated with flowers, butterflies, insects, birds and bamboo provided with a small suspension hook became very fashionable earrings and the Europeans soon began to imitate them in chased gold and silver. A good example is the pair of pendent earrings in the shape of a rectangular plaque decorated with fan-shaped motifs.
The increasing ease of travel in Europe encouraged interest in foreign countries and people liked to bring home souvenirs of the localities they visited. Italy with its sights and monuments was amongst the favourite destinations. Souvenir earrings are usually made of materials which are typical of a certain location: Roman mosaics, or micromosaic, made of minute glass tesserae depicting sights of Rome or scenes from the Campagna, and Florentine mosaic made of larger pieces of variously coloured inlaid semiprecious hardstone, usually in floral patterns, were extremely popular. Roman and Florentine mosaics had in fact been used in jewellery since the early i 800s; the earliest form of mosaic earrings consisted of a simple oval plaque connected to a smaller panel surmount with fine gold chains. Later examples dating from the i 86os and 187os are much more varied in shape and often reminiscent of archaeological revival designs. Early examples of Roman mosaic earrings have almost unbelievably tiny glass tesserae, producing a precision of detail which matches that of painting. Later examples are much coarser.
Among the plethora of 18 6os and 18 7os earrings another type can be clearly distinguished, known as the ‘fringe’ earring. This usually consists of a circular or oval surmount above a fringe of articulated pointed drops. It was popular throughout Europe but especially fashionable in England around 1870 where the drops tight-
Three earring designs in pencil and gouache of the late i 870s, from the archives of Mellerio, Paris. Note the fringe ornament typical of the time.
ened up to form a compact fringe of tapered gold chains in contrast to their Continental counterparts where the pendent elements are frequently fewer and well spaced. The distinction is clear if one compares the French designs illustrated in Mellerio’s archives with English examples set with carbuncles, Wedgwood jasperware plaques
P. 123 or decorated with white and royal blue or turquoise coloured enamel. The inset of small pearls or diamonds in a starshaped motif at the centre of the gemstone or enamelled boss surmount is another typical feature of jewellery of the time. Archaeological influence is frequently noticeable on the surmounts of these earrings. Most examples are fairly voluminous and long, measuring approximately 6 to io cms; in spite of this, their weight is negligible since the fringes that constitute a large portion
p. i 1 of the earring are made of hollow gold drops or of light gold chain. More expensive examples of diamond-set fringe earrings, though less common, are well known.
Naturalism in jewellery reached its peak in this period under the spell of the Parisian Oscar Massin, whose naturalistic and botanically accurate creations characterized by tremblant and pampille decoration became a model for jewellers throughout Europe. Cascades of flowerheads, sprays of leaves and flowers and single flowerhead
P. 124, clusters were to be seen on grand occasions. The designs by Mellerio and by the Ger-
125 man Frederick Kreuter reproduced here illustrate the variety of forms fashionable at the time.
The star motif had been popular in jewellery since the 18 6os. At first its design was exploited mainly for brooches, and only in the late 18 6os was it introduced into earring design. Typical of this date are earrings mounted with large carbuncles, amethyst cabochons or enamelled gold bosses inlaid at the centre with a pearl or diamond
p. 116, star-shaped motif. In other examples the whole earring takes on the shape of a star
117 suspended by a simple hook from the ear. The basic six-pointed star offered scope for many variations: the points could multiply up to eighteen, of different lengths and widths. In the late 18 8os and 189os knife-wire settings came into favour and this, together with a taste for light and less symmetrical shapes, prompted the creation of elaborate earrings in the form of off-centre stars, comets and shooting stars. The favourite gemstones for this type of ornament were diamonds since they could best suggest real stars; less expensive versions were set with half pearls and very pale opals. Many sets were made in this style, comprising earrings, a brooch, and a necklace which could also be worn as a tiara; a design by Mellerio commissioned by Queen Isabella II of Spain is a good example.
Towards the end of the century the fashion for large and varied earrings subsided in favour of smaller and more sober ear ornaments, either clusters or single gemstones, simply claw- or collet-set in very unobtrusive, delicate mounts provided at the back with a flattened hoop fitting. The fashionable design for daywear in the 18 gos consisted simply of a single pearl embellished with small diamonds. At night the favourite earring would be a single diamond of varying size. The change towards smaller earrings was this time dictated not so much by hairstyles, since the ears were
Four ink designs for pendent earrings by Kreuter, Germany, 1867-70. The top one is star shaped; the second and fourth decorated with star and fringe motifs; and the third with a fringe only.
A collection of North Italian gold
pendent earrings, circa i 800. Their large size, linearity and two-dimensional, geometrical quality are typical of early t9th-century earrings in Europe. Many include a central plaque in relief stamped out of a thin sheet of gold, to simulate a cameo with a profile of a Classical warrior, a type of imagery which had become popular at the time of the Napoleonic campaign in Northern Italy Of 1796-97. Note the contrast between the austere profiles and the delicate lace-like filigree border decorated with typical hollow hemispherical motifs.
still left uncovered, as by the fashion for high frilled collars during the day and for the ‘collier de Chien’, or dog collar, at night, both of which dressed the neck and filled in the space between ears and shoulders. Long pendent earrings which visually interfered with high collars and neck ornaments disappeared almost completely. The few pendent earrings of the 189os were of moderate size, in the shape of very delicate pearl and diamond articulated drops which moved and reflected light.
The discovery of the Cape diamond mines in South Africa brought a plentiful supply of fine stones onto the market. A single, large, flawless, white diamond of high quality was now usually preferred to a fussy arrangement of small stones. The new abundance of diamonds also led to new ways of cutting: cushion-shaped diamonds, fat and bulky in order to retain the maximum carat weight of precious material, became thinner and circular in shape, with the culet or back facet reduced to a pin-point, thus exploiting to the maximum the exceptional optical quality of diamonds to reflect and disperse light. The new brilliant cut involved a waste of up to 5o% of the rough crystal but the final result was thought to be worth it.
Apart from diamonds, a variety of other stones were set in cluster earrings; often a larger coloured stone would be mounted within a border of smaller diamonds. Black Australian opals, together with pale and metallic sapphires from Montana, appeared on the market in the 189os; amethysts and peridots were great favourites and with their purple and lime green colours well complemented the pastel tints of contemporary dresses. In the 189os pearls and half-pearls were the preferred alternative to the more expensive diamond borders and with their delicate sheen particularly suited the soft silks in fashion during the last decade of the century.
The Art Nouveau movement, which reacted against the repetitiveness and lack of imagination in the decorative arts and jewellery and challenged the excessive emphasis placed on intrinsic value, promoted many new, original and daring designs — but not for earrings. There are hardly any Art Nouveau earrings, and the few that survive must be considered exceptions. An extraordinary pair created by Rene Lalique is definitely a ‘one off’. They are typical in their choice of less expensive materials (large milky opals, translucent enamels echoing the colour of the opals, richly coloured matt gold) and in the flowing line of the decorative thistle motif rendered in enamel at the front and engraved at the back. But they are unique in their unconventionally large size and their detachable clip fitting, a feature which became normal only in the I 930s. It is possible that such clip fittings were devised to allow the earrings to be worn as necklace pendants.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mission, Oak, 2 Doors, Glass Sides ~illus

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

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

Walnut, 3 Vertical Compartments, 3 Drawers, Victorian

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Queen Anne Style, Sliding Doors, C.1920

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Barrister, Oak, 3 Tiers

Barrister, Mission Oak, 5 Tiers, 86 In.

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

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

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

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

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

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

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

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

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

Walnut, Pierced Cornice Set With Gargoyles, 92 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Regency, Mahogany, 4 Graduated Shelves, 57 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pine, Continental, 108 In.

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

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

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

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

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

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

Oak, 4 Shelves, 2 Glass Doors

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

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

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

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

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

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

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

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

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

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

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

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

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

Hepplewhite, Mahogany, Glass Mullioned Doors

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

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

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

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

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

Georgian, Mahogany, 4 Cupboard Doors, 98 In.

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

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

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

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

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

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

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

G. Stickley, Oak, 16 Pane Doors, Safecraft

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

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

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

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

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

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

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

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

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

Empire, Mahogany, Glass Double Doors, 108 In.

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

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

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

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

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

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

Cherry, Revolving, Danner Company

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Duncan Phyfe Style, Eglomise Panes

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

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

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

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

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

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

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

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

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

Victorian, Standing, Fluted Pilasters

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

Sheraton, Mahogany, Turned Legs, 1850

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

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

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

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

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

Queen Anne, Walnut, Seaweed Marquetry, 93 In.

Oak, Victorian, 75 x 37 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Barrister, Oak, Per Section

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

Walnut, Bust Of William Shakespeare On Top, 3 Sections

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

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

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

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

Queen Anne, Walnut, Double Library

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

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

Mission, Oak

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Harvey Ellis Design, Oak, C.1904

Golden Oak, Leaded-glass Doors, 54 In.

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

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

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

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

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

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

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

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

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

G. Stickley, 16 Pane Door, Gallery

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Roycroft, Architectural Form, Applied Columns

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

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

Quartersawn Oak, 3 Doors, Carved Columns, Victorian

Oak, Lift & Roll Doors, 5 Stack

Oak, Lift & Roll Doors, 4 Stack

Oak, Lift & Roll Doors, 3 Stack

Oak, 2 Stained Leaded Glass Doors

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

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

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

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

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

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

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

Limbert, Oak, 4 Shelves

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Empire Revival, Mahogany, 1 Door, Fluted Flanking Columns

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

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

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

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

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

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

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

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

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

Rococo Style, Carved, Pineapple Finial, England

Revolving, Walnut, Victorian

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

Quartersawn Oak, 5 Lions Faces, Glass Door & Pulls

Mission, Oak, 3-paneled Glass Door, Small

Mission, Oak, 2 Glass Doors

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

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

L. & J.g. Stickley, Oak, 2 Doors, No. 645, C.1910, 55 X 52 In.

Hepplewhite, 4 Dovetailed Drawers, Walnut, Country, 84 In.

Gustav Stickley, 2 Doors, 16 Panes

Gustav Stickley, 16 Panes, No. 715, Paper Label, 56 X 35 In.

Gothic, 2 Doors, Carved Heads At Corners, Mahogany, 60 In.

George Iii Style, Mullion Doors, Chinoiserie, Japanned, 79 In.

Empire, Mahogany, 2 Glazed Doors, 19th Century, 57 X 48 In.

Empire, Floral Carved Cornice Over Shelves, Oak, 89 X 52 In.

Empire, Brass Mounted Feet, Bleached Mahogany, 1820s, 70 In.

Eastlake, Walnut, 3 Sections, 1870-1880, 132 In.

Danner, Revolving, Oak, Bucyrus, Ohio

Cylinder Top, Aqua Colored Glass Panels, Adjustable Shelves

Chippendale, Carved Mahogany, 2 Parts, Glazed Doors, C.1780, 98 In.

Chippendale, 3 Lower Drawers, Cherry, C.1800, 86 X 72 X 19 In.

Carved Mahogany, Victorian, 19th Century, 56 X 60 X 18 In.

Art Deco, Stepped Case, Walnut, 64 In., Pair

4 Tiers, Magazine Rack, Black Wood, China, 64 3/4 In.

4 Drawers, 2 Doors Of 8 Panes, Walnut

3 Doors, Carved Pediment Top, Walnut, 110 In.

2 Leaded Glass Doors, Walnut, Carved Winged Griffins, Paw Footed

2 Glass Doors Over 2 Drawers, Walnut, Burl, Carved Pediment

2 Drawers, Block Feet, Cherry, France, 30 1/2 X 78 In.