Posts Tagged ‘oval’

Dishes
Pair of George III oval meat dishes by Frederick Kandler, London, 1765, 73 oz 2 dwt Pair of Victorian octagonal entree dishes and covers with
vegetable dividers for each and ball finials, Sheffield, 1880,
120 oz 14 dwt 450 0
George III circular vegetable dish with ivory grips, pierced sides and four scroll and foliate feet, by W.S., London, 1809, 80 oz 2 dwt 360 0
William IV shaped oblong entree dish and cover with engraved armorials and foliate ring handle, by J. C. Eddington, London, 1835, 61 oz 5 dwt 260 0
George III muffin dish and cover, the domed cover with urn
shaped finial, by Henry Chawner, London, 1791, 15 oz 1 dwt        210 0
Jugs—Cream and Milk
George III helmet-shaped cream jug with ‘bright-cut’ engraving, loop handle and square pedestal foot, by George Smith, London, 1790, 3 oz 7 dwt 80 0
George II cream jug of conch shell type with serpent handle and
three coral-like supports. Circa 1755, 3 oz 5 dwt 80 0
George III oblong milk jug engraved with crests and with gadroon lip and scroll handle, by R. and S. Hennell, London, 1808, 6 oz 2 dwt 70 0
Victorian baluster milk jug chased with flowers and scrolls and on three feet. Possibly by William Brawn, London, 1845, 5 oz 7 dwt 52 0
Jugs—Water
George III pear-shaped hot-water jug, stand and lamp, the jug with rams’ masks and laurel festoons, the stand on three claw feet with female bust terminals, by Andrew Fogelberg. The jug 1776, the stand 1775, 40 oz

780 0
George III vase-shaped hot-water jug, plain with wood handle and on circular foot, by William Fountain, London, 1801, 25 oz 11 dwt 460 0
George II baluster hot-water jug chased with scrolls, leaves and flowers, raffia-covered handle and rim foot, by Gurney and Cook, London, 1755, 19 oz 15 dwt 270 0
Jugs—Wine and Ale
Queen Anne ale jug, die ground embossed with foliage and flowers and a satyr spout, by John Wisdom, London, 1712, 35 oz 280 0
Victorian wine ewer with baluster body and engraved with Grecian figures and leaves, entwined snake handle and butterfly finial, by E. and J. Barnard, London, 1862, 27 oz 11 dwt        170 0
Marrow Scoops
Queen Anne scoop of typical form by Charles Jackson, 1713,
1 oz 10 dwt 68 0
Early George III scoop, the larger bowl engraved with initials,
probably by William Tuite, London, 1767, 1 oz 12 dwt 20 0
Mustard Pots
George III drum mustard with moulded borders, flat hinged lid and simple scroll handle, with spoon of earlier date. Pot by Ernes and Barnard, London, 1813, 5 oz 10 dwt 165 0
some auction room prices : 1968-69
William IV mustard with ribbed baluster body and hinged domed lid with floral finial, scroll handle and shell thumbpiece and spoon of same date but different maker. Pot by C.G., London, 1830, 6 oz 17 dwt
George III oblong mustard with domed cover, urn finial and angular handle on four bun feet, London, 1813, 3 oz 11 dwt
Salts
Four George I plain oval trencher salts with incurved sides, by
Mary Rood, 1723, 6 oz 15 dwt Pair of George III boat-shaped salts, reeded at the lips and
pedestal feet, gilt interiors, by Peter and Ann Bateman, 1792,
4 oz 6 dwt
Pair of George II compressed circular salts, with plain engraved bodies below gadroon lips each on three shell-headed hoof supports, possibly by Isaac Cookson, Newcastle, 1747, 8 oz 1 dwt
Salvers
George II large circular salver on four lions’ mask and shell bracket feet, the shaped border pierced and chased, by George Wickes, 1744, 137 oz
George I plain circular salver on central foot with moulded border, by W.P., 1720, 13 oz 12 dwt
George III circular salver, engraved with initials, chased wave border and gadroon rim, on three claw and ball feet, by Robert Rcw or Rugg, 1766, 24 oz 3 dwt
Victorian salver engraved in the centre with an initial and also with scrolls and foliage, moulded border, by J. and J. Angell, London, 1845, 25 oz 14 dwt
Sauceboats
Pair of George II plain sauceboats each on three shell and scroll feet with gadrooned rims and double scroll handles, by Peter Archambo and Peter Meure, 1754, 29 oz
George II two-handled plain double-lipped sauceboat on collet foot, with double scroll handles and waved rim, with a moulded drop beneath the spout, by Peter Archambo, 1732, 17 oz 5 dwt
Pair of George III sauceboats, each on fluted shaped lozenge foot, with gadrooned borders and double scroll handles, by William Sampcl, 1766, 25 oz
Snuff Boxes—See Small Decorative Antiques Sugar Basins—See Baskets—Sugar Tapersticks—See Candlesticks Tankards
William and Mary tankard on three lion couchant feet, scroll handle, cylindrical body and moulded base, by Robert Cooper, 1692, 31 oz
George II baluster tankard with domed cover, openwork thumb-piece and double-scroll handle, on moulded spreading foot, by William Grundy, 1755, 34 oz 5 dwt 650 0
George III baluster tankard, with domed moulded cover and heart-shaped lower terminal to the scrolling handle, by William Caldecott or Gripps, 1765, 27 oz 15 dwt 570 0
Tea Caddies
George III oval caddy, the body with two bands of bright-cut engraving in beaded borders and the plain hinged lid with urn finial, by Hester Bateman, 1781, 14 oz 10 dwt 900 0
George III shaped oval caddy, the body fluted at intervals, decorated with bright-cut engraving, hinged domed cover with wood finial, by Robert Hennell, 1787, 14 oz 17 dwt 480 0
Teapots and Stands
George II bullet teapot with engraved shoulder decoration of satyr masks, leaves and flowers, straight spout, loose lid, ivory handle and finial, by Isaac Liger, 1729, 15 oz 1 dwt 2,100 0
George III teapot stand on four fluted panel supports, by Hester
Bateman, 1789, 4 oz 15 dwt 280 0
George III oval teapot with moulded girdles and a matching stand, supported on four feet, by Crespin Fuller, London, 1800, 16 oz 15 dwt 270 0
George III oval, semi-lobed teapot, with swan-neck spout, ivory handle and finial, by P. A. and W. Bateman, 1799, 17 oz 3 dwt 170 0
George IV teapot, compressed circular body, ivory handle and
finial, curved spout, by Eley and Fearn, 1823, 25 oz 16 dwt        150 0
William IV compressed circular teapot with moulded girdle, wood finial and similar wood handle, by E. E. J. and W. Barnard, 1830, 14 oz 2 dwt 135 0
Early Victorian bullet-shaped teapot with engraved body, Edinburgh, 1840, 24 oz 82 0
George III oval teapot stand, gadroon border on four panel
supports, but George Fenwick, Edinburgh, 1806, 5 oz 14 dwt 80 0
William IV small melon-shaped teapot, with slightly domed cover and ivory finial, scroll handle and curved spout, London, 1833, 13 oz 18 dwt 60 0
Tea and Coffee Services
Victorian tea and coffee service of compressed circular form, decorated with embossed flowers and foliate handles and on scrolled feet with shell motifs, by Rawlins and Sumner, London, 1838, 72 oz 600 0
George IV three-piece melon-shaped tea service with scroll handles and shell decorated panel supports, by E. E. J. and W. Barnard, London, 1829, 44 oz 7 dwt 500 0
George III circular three-piece tea service with curved lobes, gadroon rims and leaf decorated handles, on paw supports, the pot with rose finial, by John Angell, 1819, 41 oz 6 dwt 380 0
Victorian three-piece tea service of compressed circular form,
the plain ground richly chased, by I. J. Keith, London, 1840, 48 oz
Vinaigrettes—See Small Decorative Antiques Waiters
Pair of George III plain oval waiters each on four shell and beaded bracket feet, beaded rims, by John Scofield, London, 1777, 27 oz
George II plain shaped square waiter on four hoof feet, moulded border, by Thomas Farren, London, 1734, 6 oz 17 dwt
Early George II square waiter with raised border incurved at the angles, 1727, 3 oz 18 dwt
SHEFFIELD PLATE Candelabra and Candlesticks
Pair of candelabra, each for three lights, with reeded scrolling arms, gadroon bordered knops, detachable nozzles and circular bases, 17i in high to centres
Pair of three-light candelabra, the tapering vase stems, circular bases and campana-shaped sconces decorated with chased borders, each fitted with two detachable scrolling branches, one converting to form a

five-light and bearing flame finial, 20 in high
Pair of table candlesticks with V-shaped stems, gadroon shoulders, circular bases and detachable nozzles, llj in high
Pair of table candlesticks with circular bases, vase-shaped stems and gadroon borders, detachable nozzles, 11 in high
Coffee Pots
Vase-shaped coffee pot on pedestal foot with reeded borders, ball finial and wood handle, 13 in high
An oval coffee pot on pedestal base, with reeded shoulder, gadroon borders and angular wood handle, 9] in high
Urn-shaped coffee pot, body semi-lobed between ribbed panels, on pedestal base, ball finial and wood handle, 27 in high
Coasters—Wine
Four circular wine coasters with lobed sides below gadroon lips, the wood bases centred by crested bosses, 5J in diameter
Pair of circular coasters with beaded and ovolo rims, wood bases, 6 in diameter
Caddies—Tea
Two caddies of bombd form embossed with shell motifs Serpentined caddy with hinged lid and beaded borders
Dishes
Set of four entree dishes and covers on heater bases, oblong with scrolling foliate borders, 14 in wide over handles
Pair of entree dishes and covers with gadroon borders and
detachable foliate handles, 11 in wide 22 0
A rectangular entree dish and cover complete with liner, gadroon and leaf borders, wood end handles, on four supports, 141 in wide 20 0
Teapots
An oblong teapot, body semi-Iobed between gadrooned borders, short spout, ivory finial and angular wooden handles, 5J in high 25 0
A compressed circular teapot engraved with swirling leafage,
fruit finial and scroll handle, 5J in high 18 0
Tea and Coffee Services
Oval three-piece coffee service with vase-shaped pot, oval jug and basin decorated with bands of sprays and foliage, 10 in high the pot 160 0
Three-piece tea set with compressed circular bodies, fluted,
foliate collars, scroll handles and foliate panel supports 38 0
Tea Trays
Oblong two-handled tray, engraved with armorials within a chased surround of scrolls and floral sprays, gadroon border, 30 in wide 220 0
An oblong tray, gadroon bordered and reeded end handles
springing from chased foliage, 28 in wide 95 0
Tea Urns
An inverted compressed pear-shaped urn, the body engraved
with a crest, foliate handles and flower finial, 16 in high 75 0
An oviform urn with an applied plain shield, the cover with vase finial, reeded loop handles, on square base with ball feet, 221 in high 45 0
Tureens
Large shaped oval sauce tureen on four feet below heavily
chased floral motifs, detachable liner, 16J in wide 230 0
Pair of oval sauce tureens and domed covers with gadrooned rims, decorated with acorns and oak leaves at the handles, 8Ј in wide (end handles missing from one tureen) 120 0
Wine Coolers
Set of four coolers, the campana-shaped bodies engraved with contemporary armorials above lobing reeded handles and gadroon borders, on pedestal bases, 9i in high 520 0
Pair of coolers with campana-shaped bodies, reeded handles and
on pedestal bases, 9J in high 200 0
NON-PRECIOUS METALS
Brass
Pair of eighteenth-century andirons, with spherical finials, and
masks, 29 in high 100 0
SOME AUCTION ROOM PRICES ! 1968-69
A club fender
A Corinthian column floor standard
An embossed fire kerb
A two-handled log tub on paw feet
An alms dish with lobed centre and inscription border, the rim
with punched rosettes, 15} in diameter Pair of spirally-turned candlesticks on domed feet, 20J in high A hanging oil lamp Pair of chambersticks, with snuffers A heavy log tub with lion mask handles on paw feet Brass

and steel semi-circular fender
An oval fire insurance plate with a crest of a stag, dated 1774 Pair of carriage lamps A helmet coal-scuttle
A warming-pan with turned wood handle Pair of baluster candlesticks, 9 in high
Bronze
Figure of a racehorse and jockey after Isadore Bonhcur, I0j in
high
The Capture of Alexander by G. Halse. Two warriors hold a
struggling youth. Signed and dated 1860, 24 in high Eighteenth-century Italian figure The Dying Gladiator signed
Canova
Figure of a dancing fawn, holding up a bunch of grapes and
balanced on his left foot, 14 in high Figure of an infant satyr playing a set of pipes, 9j in high Pair of busts of Henry IV and Sully, three-quarter length, both
wearing ruffs and decorations, on rouge marble socles, 20} in
high
Pair of Art Nouveau winged figures stamped A. Moreau, 9J in
high
Pair of five-light candelabra on bulbous stems Italian figure of Venus, 7 in high
Copper
Early nineteenth-century tea urn on a square base
A street lamp
Three large saucepans (one with lid) Two coal scuttles A large kettle
Coal helmet with swing handle
Large two-handled urn and cover
A copper and brass tea urn with tap
A long turned wooden-handled warming-pan
Iron and Steel
Steel and brass basket grate with pierced frieze and baluster
uprights, 20 in wide Seventeenth-century Sussex wrought-iron fireback, 2 ft 10 in
by 1 ft 8 in and a log fork Wrought-iron shaped fire-back Regency iron and brass stick stand on paw feet
Victorian cast-iron corner stick stand 5 10
Victorian cast-iron oil heater 3 10
Pewter
A charger with secondary touch of Thomas Lanyon, circa 1730,
20 in diameter 36 0
Five quart tankards 35 0
A four-branch candelabrum, 24 in high 22 0
Eighteenth-century circular charger, 20 in diameter 22 0 Pair of altar candlesticks, baluster-shaped stems on triangular
bases, 20 in high 16 0
Pair of baluster and cup candlesticks, 18 in high 15 0
A hot-water meat dish with two handles and a grill, 22 in wide 15 0
A travelling chamber-pot, stamped Jas. Dixon 14 0
Two tankards and a mug 6 0

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

BIEDERMEIER FURNITURE

THE TERM “BIEDERMEIER” covers the wide spectrum of simple, Classical, handcrafted, functional furniture made between 1805 and 1850, which was made at the same time as furniture in the Empire style (see p.212). While the nobility furnished their formal rooms with Empire furniture, the more
private parts of their houses and mansions were furnished in the Biedermeier style, which was favoured by the wealthy middle classes in Germany, Austria, Switzerland, and Scandinavia.
Political unrest in the German states in the early 19th century created a general feeling of uncertainty and increasing poverty. As a result, people withdrew into the privacy of their own homes, and the middle classes in particular began to take an increasing interest in furnishings.
MODEST STYLE
Biedermeier furniture typically had straight lines and lacked decorative carvings. Motifs inspired by Classical designs, such as columns, gables, egg and dart, and bead and reel details
were all popular.
The cupboard door is decorated with an arched panel.
From about 1830, designs incorporated scrolled forms: chairs often had splayed legs, sofas had arched backs, and moulded cornices were used as ornament for writing cabinets.
POPULAR WOODS
The most fashionable woods for Biedermeier furniture were mahogany which was imported and, therefore, rather too expensive for this essentially middle-class style, and also less costly local woods such as walnut, cherry,
pear, birch, and ash, combined with dark elm and thuyawood. The grain of the wood was the most important decorative feature. The natural grain of the veneer was emphasized with various pyramidal or fountain-like shapes. Root veneers of acorn, burr-walnut, and elm were also popular because of their varied colour and attractive markings. Darker woods were frequently used as borders around diamond-shaped keyholes, block feet, or cornices.
RESTRAINED INTERIORS Biedermeier interiors were modestly furnished, and the emphasis was on practicality and comfort, rather than decoration. The furniture was moderate in size, rounded in shape, comfortable, and homely.
Many pieces had a counterpart –another piece that was similar in size – to balance the furnishing of the room. The secretaire with a fall front and the blender, which looked like an imitation secretaire, but was
A typical Biedermeier living room, c.1820-30
This simple Saxon living room is typical of a modest townhouse of the period. The living room was the social centre of the home, and great care was taken with the arrangement of the furniture.
designed for use as a linen press or wardrobe, were very common styles.
An overall colour scheme was a prominent feature of Biedermeier interiors and frequently light-coloured upholstery, curtains, and woods were chosen to create a homely interior with an integrated sense of design.
The advances in manufacturing that occurred during this period did not have much impact until the second half of the century, so early Biedermeier furniture was visibly hand-made. Upholstery was generally flat and square, made of silk or horsehair, and wooden surfaces were simply planed and polished with oil.
By the mid 19th century, the style was seen as comfortable but rather dowdy, and was given the name Biedertmeier, a satirical term that meant “the decent common man”. The name was originally used in a German publication for a fictional middle-class character, and was not intended to be particularly flattering.
The style gradually began to decline in popularity and it was only at the beginning of the 20th century that this negative evaluation began to fade, and Biedermeier-style furniture once again became much sought after. This led in turn to the style being widely copied.
BIEDERMEIER DINING CHAIRS
These chairs are made of solid walnut wood and walnut veneer. The backs are balloon-shaped and have double baluster splats and a shaped top rail. The tapered, upholstered seats are typical of the period and sit above sabre
legs. The chairs are upholstered with a Neoclassical-style striped fabric, probably the original fabric, that is decorated with flowers. 1820
BIEDERMEIER WRITING CABINET
Covered entirely in cherry-wood veneer, this impressive writing cabinet has a fall front that opens to reveal a fitted interior. The inner compartment consists of 11 small drawers flanking a central tabernacle. The lower portion
of the cabinet consists of three large drawers set on simple bracket feet. This practical piece embodies the Biedermeier ethos of comfort and convenience and would have been used in the sitting room, which was the focal point of the home. c.1820.
Pigeonholes provide storage space for letters.
The interior drawers have Ivory handles.
The fall front opens to forma writing surface.
The bottom part of the cabinet is made up of three drawers.
BIEDERMEIER SOFA
The frame of this elegant sofa is scroll-shaped with a slightly raised back. The shape takes its inspiration from Classical pieces, and is typical of the simple, geometric design that was favoured by Biedermeier designers. Ornate carvings and
decoration were not part of the Biedermeier style. The sofa is veneered in cherry wood, which has been blackened in places, using a simple inlay of ebony to accent the flat surface of the wood. The upholstered seat
is coil-sprung for comfort. c.1825.
BIEDERMEIER WALL MIRROR
This mirror frame is architectural in style and is decorated with cherry veneer. The ebonized columns are edged by gilded bases and capitals, which support a Classical-style cornice and pediment. The central mount shows the goddess Diana. 1820 30
BIEDERMEIER WALNUT-VENEERED COMMODE
This commode has a top with an ebonized border above a frieze drawer. A further two recessed drawers are flanked by turned, ebonized columns with gilded Corinthian capitals and feet. The middle drawer is decorated with floral and figural details. 1820 30.
BIEDERMEIER GLAZED CABINET
This birch-veneered cabinet was made in Berlin and has a stepped pediment with a flat top. The oval glazed door panel is decorated with fine wooden spokes emanating from a central sun motif. At the base of the cabinet there is a single drawer with a lock. c.1820.
BIEDERMEIER DINING TABLE
Made in southern Germany, this simple dining table is veneered in cherry wood with a star pattern on the table top. Some of the veneer is blackened to add visual interest. The single pedestal terminates in a tripartite base.
c.1830.

see also biedermeier art  deco desk kidney shape
biedermeier art deco desk bureau
biedermeier bedside commode chest
biedermeier furniture swedish drop front desk
biedermeier glass kaendler
biedermeier love seat sweden
biedermeier reproduction desk
biedermeier style doors
biedermeir interiors

authentic biedermeier mouldings

antiques clock index vienna biedermeier

EARLY 19TH CENTURY
BRITISH EXOTICISM
A RICH MIX OF BOTH FOREIGN AND HOME-GROWN INFLUENCES AFFECTED THE DESIGN OF BRITISH FURNITURE DURING THE REGENCY PERIOD.
FROM MOGUL DOMES to Islamic arches, Regency designers drew on a wide variety of exotic sources. When Napoleon invaded Egypt in July 1798, his invasion force included not only soldiers, but artists and poets, botanists, zoologists, and cartographers. The ensuing publication of Descriptions de I’Egypt established a vogue in France for all things Egyptian.
ANCIENT EGYPT
The Egyptian craze surfaced in Britain following Nelson’s subsequent defeat of Napoleon in 1798 at the Battle of the Nile. Sphinx heads appeared on the pilasters of bookcases and side cabinets and lotus leaves were carved on chair splats and printed on textiles and wallpaper designs.
Thomas Hope designed furniture based on the engravings of the French Egyptologist, Baron Denon, and Thomas Chippendale the Younger, who had inherited his father’s famous workshop, created a suite of furniture for Stourhead in 1805, resplendent with sphinx masks. These pieces were made in mahogany, but the foreign motifs of the period were often complemented by the use of highly polished, unusual, imported timbers: streaky salamander, dark ebony, or flecked amboyna.
CHINOISERIE REVIVAL
An integral part of the Rococo repertoire in Britain during the mid 18th century, Chinoiserie enjoyed a revival in the early 19th century. The Royal architect,
A DWARF GOTHIC CABINET
This lacquered cabinet has a crenellated
Lipper section with octagonal corner
towers. A deeper base with a pierced
quatrefoil gallery sits above a pair of
tracery panelled doors flanked by
clasping buttresses. The cabinet
stands on a plinth base. Early 19th
century.
REGENCY TORCHERE STAND This stand is made, of bronzed and gilded wood. Below the top is a guilloche moulded frieze and three gilt supports, with lion masks, joined by Cross supports with applied rosettes. The concave base rests on gilt paw feet.
A CHINESE EXPORT BUREAU This bureau has u fall front above three drawers, a shaped apron, and is raised on cabriole legs. All the surfaces are black and gilt lacquered with lake scenery and flowers.
19th century.
Henry Holland. was profoundly influenced by Sir
George Stauntons An Authentic Account of an Embassy
“M the King of Great Britain to the Emperor of China n 1797: and interest in the Far East increased after Napoleon’s defeat in 1815, when further British envoys ere sent to the new emperor of China, Chia-Ch’ing.
Furniture was japanned black with gilt to simulate lacquer – as in the late 17th century – while lacquer cabinets (or lacquer panels reused from early screens) were incorporated into British cabinet work. Oriental bamboo was also echoed in the ring turnings on late Regency chairs. Many pieces of furniture were made out of genuine bamboo, while others were turned
and painted to simulate it.
The Prince Regent gave the royal seal of approval to this trend when he furnished several rooms at the Brighton Pavilion with bamboo furniture imported from China. Indeed, this architectural folly became the most famous mixing pot of all the exotic styles of the Regency period.
Western styles of lacquer and bamboo furniture were also imported from Canton. The trade in goods from China to Britain had been established since the early 17th century, but the scale of Chinese imports in the 19th century was unprecedented. As well as imported, Chinoiserie-style furniture, Oriental motifs such as dragons appeared on the crestings of convex mirrors, while latticework and Chinese panelling were applied to chair backs, commode friezes, or brass grills on side cabinets or chiffoniers.
STYLES FROM THE SUBCONTINENT
India, as well as China, influenced the decoration of the Brighton Pavilion. Nash was inspired by William and Thomas Daniell’s book, Oriental Scenery, and included pierced screens, copied from Indian jails (perforated stone screens from Madhya Pradesh), in his designs. The interest in India manifested itself more in the importation of Western-style furniture, than in the application of Indian motifs to British furniture. Exotic ivory-inlaid rosewood furniture and boxes came from Vizagapatam, and ebony chairs of Regency form were shipped from Ceylon.
HISTORICISM
Towards the end of the Regency period, designers and furniture-makers turned away from exoticism and towards their own traditions for inspiration. The Napoleonic wars and their subsequent victories spawned a surge in nationalist feeling. This, along with the historic novels of Walter Scott, inspired designers such as George Bullock and Richard Bridgens to include Elizabethan and Jacobean motifs in furniture for Abbotsford and Aston Hall in the late 1810s and early 1820s. Gothic motifs were always prevalent, particularly as tracery in glazing bars and in panels for cabinet doors. Pointed arches appeared as early as 1807 in the backs of hall chairs published by George Smith. This furniture, often commissioned by a new breed of antiquarian collectors such as William Beckford, was usually made in oak or other native timbers.

EARLY 19TH CENTURY ITALIAN FURNITURE.

LIKE MANY OTHER European states,
the majority of the Italian states and kingdoms followed the lead of Paris. The greatest French-style furniture and interiors were created during the period of Napoleonic patronage, in the first decade of the 19th century. The French Emperor installed his brothers as rulers in Italy: Joseph became King of Naples and Lucian became Prince of Canino. Napoleon’s sisters also created significant interiors in the area: Elisa Baciocchi in Lucca and Florence, Pauline Borghese in Rome, and Caroline Murat in Naples. But it was not just aristocratic patrons who commissioned the cabinet-makers: one of the period’s characteristics was the emergence of middle-class buyers. This widening of the market coincided with the beginnings of mechanization and the gradual organization of the workshop – a trend that continued throughout the 19th century.
ITALIAN EMPIRE
In some ways, the French Empire style did not suit Italian furniture-makers. Its emphasis on large expanses of high-quality timber was a significant problem in an area where this was difficult to find. Also, its rectilinear forms and strict, sober lines seemed antithetical to a furniture tradition that favoured sculptural qualities. However,
symmetry and balance, with few curves and little ornament apart from Neoclassical gilt-bronze mounts, eventually dominated Italian furniture production. To overcome the problem of poor-quality timber, many pieces were painted – white, pale blue, and eau-de-nil were popular colours. Classical architectural forms were favoured, along with motifs from Imperial Rome, such as trophies of instruments or weapons, fasces (banded rods), laurel wreaths, and antique lamps.
FRENCH IMPORTS
The Grand Duchess of Tuscany (one of Napoleon’s sisters) actually brought French ebenistes to Florence to establish workshops and impart their skills and techniques to the Italians. Mounts were also imported from France. Consequently, it is almost impossible to differentiate between the French Empire furniture in the Palazzo Pitti in Florence and the Italian variants. The Empire style remained in fashion after 1815, sometimes combined with French Restauration styles, but the use of mahogany declined in favour of walnut or lighter-coloured timber.
During this period, Italy was made up of a patchwork of small states and kingdoms, dominated by Austro-Hungary in the north. Regional diversity was, therefore, far greater than in Britain or France, and much of the furniture produced echoes the traditions for which they are famous: Classical in Rome, Baroque in Florence, and Rococo in Venice. Lombardy produced some of the greatest innovators of the era, particularly Giocondo Albertolli, who trained at the Accademia di Brera and who published his influential Corso
elementare d’ornamenti architettonici in 1805.
The study of Umberto I This shows a room in the Palazzo Pitti in Florence. Under Elisa Baciocchi, Napoleon’s sister and Grand Duchess of Tuscany, several rooms in the palace were redecorated to reflect Paris fashions.
CARVED MIRROR
This carved and gilded mirror frame is decorated with masks of grotesques at the corners. The pediment is richly decorated with baskets -overflowing with flowers. c.1800.
MURANO MIRROR
This mirror has an applied crystal pediment and a frame with C- and S-scrolls at the corners. The oval mirror is surrounded by mirror sections engraved with leaves and divided with moulding. Early 19th century.
GILTWOOD SIDE CHAIR
two Neoclassical giltwood side chairs
part of a set of six Cardinal Fesch chairs; Fesch. a Corsican cardinal, became French ambassador to Rome in 1804. Each chair has a richly carved, domed back depicting a pair of
carved griffins above a stylized serpentine floral carving on a punched ground. The upright back supports are in the form of fluted pilasters with a frieze of running husks. The padded seats have fluted seat rails and are raised on gilded lion’s-paw legs. c.1810.
MAGGIOLINI
THE MOST FAMOUS NEOCTASSICAL FURNITURE-MAKER OF THE
LATE 18TH AND EARLY 19TH СENTURY, MAGGIOLINI’S NAME
IS ASSOCIATED WITH A PARTICULAR STYLE OF MARQUETRY.
Giuseppe Maggiolini (1738-1814) made furniture that was austere, boxy, and unpretentious in form, with no carving and few mounts. However, its characteristic pictorial marquetry lent his work a brilliant opulence. Maggiolini used many different types and colours of timber to create his marquetry pictures, shunning Stains, artificial colouring, and other tricks to achieve decorative effects. In the tradition of Piranesi and, more recently, the ornamental designer and interior decorator, Giocondo Albertolli, he produced marquetry trophies, still lifes, Chinoiserie and caprici. As a result, his name is used to refer to all work of this type, whether produced in his workshop or not.
Maggiolini started his career as a carpenter in a Cistercian monastery, where he established his first workshop in 1771. He later founded a second workshop in Milan, which was inherited by his son, Carlo Francesco, and Cherubino Mezzanzanica. He crafted some of his most brilliant furniture for the Archduke
Ferdinand of Austria, who was the Governor General of Lombardy, and the King of Poland was also one of his clients.
In keeping with the tastes of his age, Maggiolini’s furniture is simple in design and follows late 18th-century French prototypes. Its defining difference is the intricate marquetry, in Italy this had a long tradition stretching back to Renaissance intarsia works.
Louis XVI commode This rectilinear, marble-topped piece, from the studio of Guiseppe Maggiolini in Milan, is made from rosewood and several exotic woods with inlays of Classical figures in medallions and interlacing festoons. The commode has three drawers with bronze mounts and is supported on square, tapering legs. c.1800.
The frieze drawer is inlaid with a row of interlaced festoons.
The top is not made of marble, unlike French commodes.
The two case drawers are inlaid sans traverse with a symmetrical diagonal pattern centred by a medallion containing Classical figures.
The complicated marquetry patterns are typical of Maggiolim’s work.
ARMCHAIR AUX TETES DE LION
This mahogany armchair has a gently curved top rail, an X-frame back, and armrests terminating in carved and gilded lions’ heads. The X-frame base has gilded paw feet. c.1810
Stop-fluted corner
GILTWOOD AND VERDE ANTICO SIDE TABLE
This rectangular table has a verde antico (old green) veneered marble top above a frieze inset with matching marble panels and fluted corners. The square, tapering legs are also inset with marble panels and are surmounted by carved caryatids, whose hands support the table top. c.1800.
The massive table top is veneered with marble.
The frieze is inset
with marble panels
that match the
table top.
The table legs are inset with marble panels
Caryatids support the table top.

FRANCE: RESTAURATION
THE RESTAURATION STYLE, as its name
suggests, refers to the restoration of the Bourbon monarchy from the expulsion and final exile of Napoleon in 1815, until its fall in 1830.
Louis XVIII became King of France in 1815 and was followed by Charles X in 1824, who finally abdicated in 1830 in favour of the exiled Due d’Orleans, Louis Philippe. It was a period of considerable political unrest, culminating in the revolutions of 1830 and 1848, which forced Louis Philippe to flee to England.
The market for furniture also changed, with growing interest from the middle classes and the increasing
industrialization of furniture-making due to improved tools and the use of steam. Fortuitously, this coincided with the need to furnish apartments, which, for the first time, the middle classes could rent.
CHANGING STYLES
Empire decoration remained the leading style of furniture and many of the cabinet-makers who had worked in the Empire style, such as JacobDesmalter, Felix Remond, and P.A. Bellanger, continued to produce furniture with a great deal of success.
However, Napoleonic motifs and
mounts gradually disappeared, and the
Empire style was slowly watered down as severity gave way to comfort. Strict linearity eventually relaxed into the occasional curve in a nostalgia for Rococo style. Overall, forms became heavier and more solid, replacing the Empire love of rectilinear elegance. As elsewhere in Europe, furniture became bulkier. Inlays became more common and mounts gradually became smaller, or disappeared altogether.
STYLE DIFFERENCES Restauration-style furniture can sometimes be difficult to distinguish from the
simpler, more domestic Empire pieces (see pp.200-01). The surfaces of Restauration pieces tend to be even simpler and less decorated than those found on French Empire furniture, which was typically designed to create an opulent effect.
SECRETAIRE A ABATTANT
This flame-veneered mahogany writing cabinet is raised on claw feet and has a moulded cornice above a pair of Gothic-carved, glazed doors, enclosing shelves, above drawers. A frieze drawer fitted for writing is set above cupboard doors flanked by scrolls. c.1820.
DRESSING TABLE
This is a mahogany dressing table with a swing-frame mirror set above a platform with two small drawers above another drawer. The dressing table stands on C-scroll supports and has a shaped platform base. c.1825.
FAUTEUILS AUX DAUPHINS
This set of six mahogany armchairs, made by Pierre-Antoine Bellanger, has straight top rails terminating in carved scrolls. The curved arms are carved with dolphin heads and each chair has a padded, upholstered seat with a plain seat rail and is supported on sabre legs. c.1815.
CHARLES X DRESSING TABLE
This dressing table is made of burr elm inlaid with amaranth depicting stylized foliage. The top section has an oval mirror with carved supports in the shape of swans. The table top is made of white marble. The lower section consists of a frieze drawer above two carved consoles. The piece terminates in a shaped platform base and flattened bun feet. 1825
BOIS CLAIRS
Restauration furniture was usually made of oak, but it was increasingly veneered in lighter woods, the so-called bois clairs. This change in tone began in 1806, when the British blockaded the importation of mahogany to France from its colonies. As a result, local woods became more popular, including walnut, sycamore, ash, elm, yew, plane, beech, and, perhaps most characteristically of all, decorative bird’s-eye maple.
Mahogany, being expensive, was reserved for the most lavish interiors, so its use was often an indicator of the high value of a piece of furniture.
Traditionally, the Duchesse de Berry the daughter-in-law of Charles X, is credited with the introduction of bois clairs, but this appears to be an unfounded myth. Mahogany, however, continued to be extensively employed both as a veneer – where the decorative effect of its figure was much exploited – and in the solid.
With the decline in use of mounts, various timbers, particularly ebony, and metals such as brass or pewter, were inlaid instead. However, their treatment was always restrained. Some furniture even included plaques of painted porcelain.
GOTHIC STYLE
Towards the end of the Restauration period, the Romantic-revival styles gradually became evident in French furniture design.
These were probably first hinted at in Pierre de La Mesangere’s Collection de meubles et objets de goat, published between 1802 and 1835 in the Journal des Dames et des Modes. Here, La Mesangere adapted the severe, architectural style of Perrier and Fontaine to create a simple, domestic style for the middle classes. He also began introducing the motifs that
would dominate the next epoch –Gothic motifs, otherwise known as the Troubadour style.
Unlike the Chinese style, which was completely forgotten in early 19th-century France but played an important role in Britain at the time, the Gothic style did create a small impact. For example, in 1804, the cabinetmaker, Mansion the Younger, suggested a Gothic-style piece for Napoleon.
However, it was not until the late 1820s and 30s, that the pointed arches so typical of the Gothic style started appearing on Empire-style furniture.
CIRCULAR CENTRE TABLE
This table is made from rosewood inlaid with fruitwood and marquetry. The circular top, and the four frieze drawers below, are raised on a columnar support, which has four splayed legs that terminate in paw feet on brass casters. c.1830.
CHARLES X OCCASIONAL TABLE
The top of this oval rosewood table is inlaid with a panel of Gothic tracery and is bordered with a boxwood rolled moulding. The frieze has a single writing-slide drawer. The table stands on six turned legs joined by a double-baluster stretcher. c.1830.
This mahogany meridienne has one end higher than the other, and an elegant, curved, padded back. The frame of the sofa has scrolling sides, a plain frieze, and stands on volute feet. 1820
This table has a black-and-grey-veined Saint Anne marble top set above a plain frieze. The massive columnar support is baluster shaped although it has been facetted. The three scrolled feet are similarly angular and are square in section.
MERIDIENNE
MARBLE-TOPPED TABLE
The mahogany frieze is unadorned Will) the mounts typical of the French Empire style.
The scrolled feet show a move away from the strict angular design of the previous epoch.

19th Century Empire Furniture.

A ROYAL FRENCH CENTRE TABLE
Centre tables became increasingly popular in the early 19th century Designed to stand in the middle Of a room, this piece was intended to be seen from all angles. Consequently, the tessellated marquetry top is decorated on all sides, and the top even
swivels. Placed over planks, which make up the top, the veneers include alternating petals of maple and mahogany. The outer border is crossbanded with tulipwood and encloses several thuyawood panels “inlaid” with trophies of Science, Painting, Gardening, Architecture, Music, and Navigation.
Technically the use of the word “inlaid” is inaccurate here as the trophies and the thuyawood ground are cut from veneers of equal thickness and pieced together (more like parquetry). In other words, the trophies are not laid into a thick piece of timber but are veneered on top of the secondary carcase of the table top. The pentagonal column and the concave-sided plinth are veneered in burr elm. This local light-coloured wood, like the maple veneers on the top, is typical of the taste for boil (lairs during the Empire period.
Equally typical of this style are the ormolu mounts on the column and plinth, depicting
winged figures of victory. This choice of subject is of great significance, as the table bears a print label inscribed Chateau des Tuileries/1929 and 1047 Salon dc la famille du Roi.
This table was made for
Louis XVIII of France by LouisFrancois-Laurent Puteaux around 1815. The victory
figures could, therefore, refer to the restoration of the Bourbon monarchy after the final exile of Napoleon in that year.
An exceptional piece, it is unusual for the period, as most pieces relied on well-figured veneers for decoration rather than parquetry.
A burr-elm and marquetry centre table This piece has a circular swivelling top, with a central geometric-inlaid rosette and broad border. It is raised on a pentagonal column and supported on a concave-sided pentagonal plinth. The table rests on bun feet. Made by Puteaux
Table top
The trophies of Science, Painting,
Gardening, Architecture, Music,
and Navigation are divided by
green-stained wreaths.
A GREAT DEAL OF the furniture produced in Europe,
the United States, and South Africa from the time of
the French Revolution to around 1830 owes some closely
stylistic allegiance to the French Empire style. The
British Regency and German Biedermeier styles (see
pp.206 and 216) were both highly idiosyncratic and,
although indebted to the Napoleonic manner, were
influential in their own right. It is one of the ironies countries France had conquered,
of the period that countries so hostile to Napoleon including Spain, Italy, and the
and French rule, including Britain, Germany and Netherlands.
Russia, adopted a style derived from Paris fashions.
NEW CUSTOMERS Napoleon famously failed to conquer, still
The period is also notable for a subtle shift in market
from the aristocratic patrons of pre-revolutionary
France to the bourgeoisie. It is sometimes argued that
the rise of the middle-class buyer heralded a decline
in the quality of furniture, but the discerning eye
will appreciate that fine Empire furniture is of an
equal quality to that which preceded it. The Industrial
Revolution also affected furniture workshops, which,
throughout the 19th century were increasingly
mechanized. This process was aided by the disbanding
of the guild system in France early in the Revolution,
freeing cabinet-makers and bronze founders from the
restrictive procedures formerly enforced upon them.
style remained the height of fashion until 1815 when the Emperor
was finally exiled for
good. Thereafter, it became heavier in porportion and freer of decoration such as ormolu mounts.
However, as the Empire style was taken up in various other countries in Europe, it was combined with the local traditions and
techniques. In the American furniture, which was largely Influenced
by British style: the shaped back panel, bowed front
and tapering legs display the Classical influences of the period.

MID 19TH CENTURY TABLES

AN ABUNDANCE OF table types, each
designed for a specific use, was made in the mid 19th century Many of these were suited to popular pastimes of the period, such as playing cards. The general trend was for smaller, more portable tables in greater numbers.
TABLES FOR EVERY PURPOSE Pier tables, originally used as early as the 16th century, became popular again as householders sought to fill their homes with more furniture than ever before. The card table was another popular addition to many homes; unobtrusive when not in use, when required for playing cards, the top of the table was opened to reveal a baize-lined playing surface. The worktable, designed to store needlework accoutrements or writing utensils, frequently incorporated a hanging bag as was previously the fashion. Despite the introduction of gas and oil lighting,
Scrolling brasswork is inlaid on a red tortoiseshell ground.
the torchere remained a very popular fixture on which to stand candlesticks.
A MIXTURE OF STYLES
Tables of all kinds were produced in a wide range of historical and cultural styles. Tables in the Rococo style were covered with extravagant –C” and “S” scrolls and rested on cabriole legs, whereas fluted, tapering legs were found on Classical- or Renaissance style tables. A softening and rounding of contours was expressed in the West by the use of serpentine shapes and undulating mouldings, but Oriental forms remained steadfastly rectilinear.
French and Italian console tables often had marble tops, a fashion
that was exported to many countries, especially Britain and the United States. Centre and side tables often had tripod legs. Such tables frequently featured foldaway tops so that they could be put away easily when not in use.
Each cabriole leg features a gilt bronze mount at its head.
The serpentine platform base has a red tortoiseshell ground.
Acanthus and scroll mounts Bun feet support the
decorate the base of each leg. shaped undertier.
FRENCH CONSOLE TABLE
This Louis XV-style boullework and ebonized serpentine console table is decorated with gilt-metal mounts, which are similar to the earlier Regence style in appearance. All the surfaces of the table are inlaid with scrolling brasswork
on a red tortoiseshell ground. The table top has a shaped apron and is supported on cabriole legs headed by putti and acanthus leaves. The legs are joined by a shaped undertier, below which are bun feet. The table probably had an elaborate mirror in similar style above it originally. c.1860.
CONSOLE TABLES
This pair of Louis XVI console tables is possibly Italian. Each one is gilded and has a shaped, mottled brown-black a-id white marble top with canted corners and coved sides set above a similarly shaped base. The bowed front of each table is decorated with a frieze hung with leafy
swags on either side of a Classical figural medallion. Each table is supported on Neoclassical-style fluted, tapering legs carved with leaves and drapery. The tables were probably designed to stand in piers – the spaces between two windows – possibly with matching gilded mirrors hung immediately above them.
CHINESE LOW TABLE
This rectangular low table is made of huanghuali wood (rosewood). It has a cleated top, which is positioned above an ornate frieze carved with stylized scroll motifs. The table top is supported on straight legs with angular, scroll-carved terminals. 1880.
CHINESE SIDE TABLE
This beech wood side table originates from the Shuzhou province. It has a rectangular top positioned above three drawers and an apron carved with simple roundels. The table top is raised on square-section legs, with carved bracket supports and terminates in spade feet. The back of the table is left undecorated as the piece is designed to stand against a wall. c.1850.
ENGLISH JARDINIERE
This Victorian amboyna and ebony jardiniere is rectangular in form with rounded ends. The top lifts off to reveal a well for plants. The table top has metal-beaded borders and simulated ivory inlay, with a moulded edge above a frieze set with green jasper type round plaques with Classical figures. The case is supported on fluted, turned, tapering legs with ceramic casters joined by a shaped cross-stretcher centred with a turned finial. 1860.
AMERICAN PIER TABLE
This is one of a pair of Classical, marble-top pier tables. It has a rectangular, ogee-moulded top on a conforming apron above scrolled supports, which are painted with acanthus leaves and ornamented with applied giltwood gadrooning. The
rectangular base has a sloping, gadrooned skirt with a mirror back. It sits on claw feet. Late 19th century.
BRITISH TRIPOD TABLE
The marquetry-decorated circular top of this tripod table has a carved, moulded edge and is raised on a fluted, turned, and carved stem supported on three acanthus decorated legs with scroll toes and original brass casters.
BRITISH TEAPOY
The moulded-edge, hinged lid of this early Victorian rosewood teapot’ has canted corners over a deep, ogee-moulded frieze, and is raised on a baluster upright, with a spiral-turned knop, on double C-scroll supports with brass casters.
ENGLISH WORKTABLE
This Sheraton-revival, painted satinwood worktable has an oval, hinged top decorated with putti, flowers, ribbons, and bows above a drawer on turned, tapering legs, which are joined by a cross-stretcher. 1900.
GERMAN TRIPOD TABLE
This carved walnut and inlaid tripod table is from the Black Forest. The shaped oval top is inlaid with oval panels of stags and is raised on a turned column support, ending in three foliate carved cabriole legs. c.1860.
ITALIAN TORCHERE
This elegant, carved, walnut torch&e stand is one of a pair crafted in Renaissance-revival style. It has a shaped square top resting on a columnar carved support in the shape of a winged caryatid. The torch6re is raised on a carved, scrolling tripod base. 1880. S1 3
This is one of a pair of Venetian torcheres, which were painted some years after they were originally made. The scrolling support of this one incorporates a male Blackamoor torso and is raised on a white overpainted and gilt tripod base.
MONGOLIAN TABLE
This low, Asian-style table is made from wood decorated with polychrome. It has a brightly decorated rectangular top above a moulded and carved apron and two carved end flaps. The table top is supported on four
circular-section legs, which are joined by a straight central stretcher. The table is decorated with a broad geometric border and 18th-century designs. Originally, this piece would probably have been used as a dining or occasional table. Mid 19th century.

MID 19TH CENTURY SOFAS
THE MAJORITY OF 19th-century sofas were designed either for comfort or for formal seating. The fluidity of the revival styles during this period allowed for a certain poetic licence in the designs.
COIL-SPRING UPHOLSTERY
The French fashion for upholstering their luxurious canapes with sumptuous, overstuffed seats and padded backs soon spread across Europe. The increased thickness of the upholstery was the result of the introduction of coiled springs. These were, in themselves, quite deep, but they also required a thick layer of padding to prevent them from piercing the seat cover. Deeply set buttons were used to hold both the springs and the padding in place, and became a feature in themselves.
The fabrics used to cover these upholsteries were often extremely expensive, making it necessary to
shield furniture from direct sunlight, hence the Victorian reputation for gloomy interiors. Both petit and gros point were popular.
The confidante, or tote-d-tote, evolved from the standard French canape as a slightly less formal design, allowing couples or parties to sit together and converse while facing each other. These were fairly variable forms, as were many of the Rococo-revival, show-frame sofas, chaises longue, and daybeds made at this time. They contrasted with Neoclassical- and Empire-revival styles, which made greater use of flat planes and regular angles.
Towards the end of the period, influences from the Middle East and the Orient began to infiltrate sofa design in the West. Turkish-style daybeds, Chinese bamboo frames, and the no-nonsense Arts and Crafts aesthetic started to reverse the trend for decadent, comfortable seating.
The lion’s heads are supported on turned columns.
The arched top rail above the panels is inlaid with floral marquetry.
The seat back has scroll-topped supports.
The capriole legs terminate in claw-and-bail feet.
Each seat is CauCaVcfronted with a marquetry inlaid apron
The base of the chair back is galleried, with turned spindles.
DUTCH HALL BENCH
The triple concave-shaped back of this mahogany and marquetry-decorated bench has a moulded crest and a carved lion’s head at each seat division. The sweeping arms terminate in carved heads. The shaped seat
has a similarly shaped apron and is raised on four carved capriole legs to the front and two slightly sweeping, square-section legs to the back. The entire bench is profusely
decorated with marquetry inlay, depicting flowers, leaves, urns, birds, and insects.
This early Victorian, Rococo-revival, show-frame sofa is made of rosewood and has a generously upholstered seat, arms, and back. The serpentine seat is supported on scroll-carved cabriole legs, terminating in ceramic casters. c.1850.
BRITISH WINDOW SEAT
This mahogany, Regency-revival-style window seat has an upholstered back, outswept sides, and seat. The frame of the window seat is carved with acanthus and is supported on scroll legs with paw feet. c.1900.
BRITISH SHOW-FRAME SOFA
FRENCH DAY BED
This carved walnut and upholstered day bed is designed in the Louis XVI style. The reeled and scroll arms carved with leaves and the loose cushion seat are covered in a beige fabric and raised on turned and stop-fluted legs, joined by
a rope-carved apron. This piece would have been made for an alcove and placed parallel to a wall. It may originally have had a canopy of matching fabric suspended above it.
This carved oak and walnut bench has a galleried back with carved panels, depicting dragons, figures, and cherubs. It has square arms above a solid seat and is supported on spiral-turned legs.
This Louis XVI-style walnut canape has a carved crest rail above a padded back. The cushioned seat is supported on fluted, tapered legs, which end in peg feet. c. 1900.
This is one of a pair of Napoleon III-style ebonized sofas. The back is in three sections and has a central shaped, rectangular, upholstered panel flanked by two similarly upholstered oval panels in carved gilt frames.
The padded seat is supported on six turned and fluted legs, terminating in pad feet. The sofa is attributed to Charles-Guillaume Diehl. The tapestry upholstery was probably made by the prestigious Aubusson company. BK 6
AMERICAN SETTEE
This carved walnut settee has an undulating back and a crest rail carved with flowers and grapes. The padded, upholstered arms scroll outwards and show William IV influence. The padded, upholstered seat has a similarly carved
serpentine apron and has additional side cushions. The whole settee is supported on slightly cabriole legs. Chairs and sofas featuring elements of ornate, naturalistic carving in the Rococo-revival style were very popular in the United States, particularly between 1830 and 1865.
This walnut, tub-shaped settee has an upholstered back, armrests, and seat. Originally, it was almost certainly part of a salon suite. The settee has a pierced back and is supported on turned legs, terminating in brass
casters. Neoclassical in style, it was probably inspired by Sheraton’s furniture designs, combining the simple geometric forms of the pierced back with the gentle, curving contours of the seat and upholstered back shape. c. 1900.
This mahogany, Empire-revival settee has a scrolled crest rail, upholstered seat and back, and padded arms. The frame of the settee has Neoclassical gilt-brass applied mouldings throughout and is supported on turned legs. Late 19th
century.

19TH CENTURY CHAIRS
CHAIR DESIGN HAD NEVER been so
diverse as in this eclectic age. The different styles seen in other types of furniture also existed in chairs. Elements from the popular revival styles – from Classical acanthus
carvings to Gothic arches and all points in between – combined to create a multifarious riot of forms.
Chairs were often designed to complement other pieces in a room, but were also influenced by fashion, which resulted in the design of tow, wide seats to accommodate full skirts.
COMFORT FIRST
An emphasis on comfort was at the core of many mid 19th-century chair designs, especially those that emanated from France, where padded arms, seats, and backs were dc rigueur components of the Rococo- and Neoclassical-revival styles. In Britain, the easy chair was thickly padded in fabric or leather and
provided a respite from the more ascetic oak chairs in the Gothic style. There was a renewed interest in the designs of Chippendale, Sheraton, and Adam towards the end of the century.
Two separate interpretations of the Rococo style – the bentwood laminate styles of the Thonet and Belter factories on the one hand, and the padded giltwood offerings of French workshops on the other – both enjoyed popularity Classical motifs such as urns, acanthus, and festoons were equally prolific. Oriental and Anglo-Indian furniture expanded the canon of Western decorative arts to include elements from these two ancient Eastern cultures.
Salon suites al became popular in middle-class homes during this period. The suite typically comprised a sofa, a chaise longue. four side chairs, a lady’s armchair. a gentleman`s armchair, and a stool – all in the Louis XV style.
These open armchairs are made of white-painted wood and each have a flower-carved crest and apron. The seat, arms, and back are upholstered in a pale fabric decorated with a floral and foliate pattern. In each case, the
serpentine seat is supported on painted (formerly gilt) cabriole legs. The chairs are Louis XV in style and make an interesting contrast to the armchairs shown below. c.1880.
FRENCH OPEN ARMCHAIRS
Each one of this pair of giltwood open armchairs has an upholstered back, arms, and seat. The frame of each chair is carved with a scroll, ribbon, and swag crest and stiff lead
borders. Each chair has fluted, finial-surmounted supports and tapering legs, which terminate in brass casters. The chairs are Louis XVI in style. c1900.
GERMAN CHAIR AND ARMCHAIR
This solid mahogany chair and armchair are designed in the Empire style, with scrolled top rails and upholstered backs and seats. The supports. armrests, and seat rails are inlaid
with bronze decoration. The arm supports are giltwood sphinxes, while the cabriole legs have carved and gilt griffin heads and paw feet. c.1880.
BRITISH GENTLEMAN’S CHAIR
This walnut-framed gentleman’s easy chair has a Morocco-leather buttoned back and seat with studded decoration and outscrolled arms. It is a good example of a chair with coil springs. The chair is raised on turned front legs and casters. 1890-1900.
Carved splat panel
CHINESE ARMCHAIRS
These red-lacquered elm armchairs from Shangxi Province each have a scrolling top rail and a panelled splat carved with an animal and objects. Each panel seat with a carved seat rail is supported on square-section legs with stretchers. c.1880.
BLACK FOREST HALL CHAIRS
Each one of this pair of chairs has a stained and carved frame inlaid with hunting scenes on the back and seat. The waisted, pierced, scrolling back rises above a shaped serpentine seat, which is supported on cabriole legs.
AMERICAN SIDE CHAIRS
This pair of Rococo-revival, laminated, rosewood side chairs each has a shaped, moulded back, enclosing scrolling devices. The upholstered seats have a flower-carved rail and are supported on
cabriole legs.
BRITISH EASY CHAIR
This George III-style, mahogany, upholstered easy chair has a curved crest above rolled arms and is raised on cabriole legs with claw-and-ball feet. The chair has rose and beige silk damask upholstery. c.1900.
BRITISH OPEN ARMCHAIR
The rounded back and seat of this armchair in George I style are upholstered with gros and petit-point woolwork. The walnut frame has shepherd-crook arms and shell-carved cabriole legs, terminating in claw-and-ball feet.
ANGLO-INDIAN OPEN ARMCHAIR
This Empire-style armchair has a shaped top rail, a square-section back rail, scrolled arms, and cabriole legs. Every surface is covered with sadeli work decoration set within ivory and
ebony borders. c.1900.
ITALIAN ARMCHAIR
This lime and walnut armchair has an oval back with an upholstered panel framed by carved, gilt surrounds. The seat has a moulded top rail and is supported on cabriole legs. c.1840.
BRITISH SIDE CHAIR
The caned, shield-shaped back of this Sheraton-style, painted satinwood side chair is surmounted by a medallion, depicting a female figure. The seat is raised on square, tapering legs, which terminate in spade feet. c.1900.

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