Posts Tagged ‘Refectory’

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

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

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

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

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

Early chairs
Before the 16th century rooms were sparsely furnished, and the range of furniture was limited. Chairs were scarce and, like stools, were viewed as symbols of authority. It was not until the 16th century that more comfortable chairs were made. At this time the major artistic impetus spread northward from Italy, and chairs were made in quantity only in southern Europe. By the I7th century, as lifestyles became more settled, there was a greater demand for comfort in seat furniture.

A Turner’s or “thrown” chair
s of this type were produced in Britain from the 16th century, and
still made in provincial areas into the 19th century. “Throwing” was early term for turning. These chairs were often made from ash, which strong and ideal for turning, although susceptible to woodworm. late 17th century; ht Iml3ft3in; value H)
SOUTHERN EUROPE
The earliest prototype was the 16th-century Italian X-frame folding chair, usually in walnut, Inch was adopted in northern Europe from the end of the century. Spanish examples exist that are inlaid with ivory and metals in stellar and geometric designs in the Moorish fashion.
Armchairs of the 16th and 17th centuries were refined versions of the carved chaise caquetoire (gossiping chair) which, with its solid, carved back and trapezoidal seat, was not very comfortable. As revealed by the engravings of the Flemish designer Hans Vredeman de Vries (1526-(.1604) in his Differents Pourtraicts de Menuiserie ((.1585), the earliest-surviving traditional easy chairs were executed principally in Tuscany, Spain, Portugal, and The Netherlands in the late 16th and early 17th centuries. Known as the sillon De fraileros (”monk’s chair”) in Spain, this type of chair was usually of walnut, with scrolled and acanthus-carved stiles. The upper section Was supported by plain legs joined by waved stretchers, and the chair was upholstered with
intricately tooled and embossed leather stretched by ornamental heavy brass nails. Examples from The Netherlands often have lion finials surmounting the stiles.
NORTHERN EUROPE
Turning on a foot-operated lathe (which revolved the legs while the wood was cut to the required shape) became an increasingly popular decorative technique in northern Europe, and by the early 17th century most legs were turned. This form of decoration remained fashionable until the end of the century. Designs became increasingly intricate at this time, culminating in the “barley-sugar” (spiral) twist.
Peculiar to the 17th century is the oak joined chair with arms, often called a wainscot chair in Britain. Similar designs were made in many countries throughout northern Europe, and examples are still found in some numbers. This type of chair commonly has a scroll-carved toprail, sometimes inscribed with initials or a date. Its characteristic feature is a panel back, often symmetrically carved with stylized
leaves, lozenges, roundels, and lunettes. The seat
is solid, but would originally have had a squab cushion, and the front supports are ring-turned, with the legs joined by stretchers. Chairs of this type were made until the end of the 17th century and represent the final stage of the age of the joiner, as this period is often called. Designs and techniques changed considerably after this time, but in many provincial areas the traditional methods of construction continued to be used.

•    woods invariably indigenous – walnut in southern Europe and oak in northern Europe; rosewood was used to a limited extent during the 17th century in Portugal
•    DAMAGE examples that pre-date 1600 are extremely rare, and 17th-century examples should be examined closely for repairs; age, wear, and tear will have taken their toll – the legs and the lower part of the back are particularly vulnerable
•    DECORATION painted decoration, upholstery, leather, and caning have often been changed; if the originals remain, they increase the value
•    COPIES AND FAKES most 17th-century chairs are stylistically of a very simple form, the same designs being produced over a long period, making them difficult to date; turners’ chairs arc popular with collectors and are often faked – copies are difficult to detect as they may be quite old themselves, and tend to be in the same woods as the originals (ash or oak, not walnut), with good-quality carving; the colour of the wood on all unpolished surfaces should be closely examined, as should the overall patina

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.