Posts Tagged ‘refectory tables’

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

Ti-glazed earthenware was produced in France from at least the beginning of the 16th century when itinerant potters from Italy first introduced the technique. The ware is called “faience”, since much of the early ware resembled maiolica made in Faenza, Italy.
THE 16TH CENTURY
The dominant style for most of the 16th century was Italian; craftsmen from Italy appear to have settled in Lyons (1512), Nevers, Montpellier, and Nimes, and the output of these centres closely reflects the contemporary Italian polychrome maiolica of Urbino, Faenza, and Savona. The Italian istoriato (narrative) style is found on wares made in Lyons and Nevers, while the panelled a quartiery style associated with Faenza is seen on the faience of Nimes and Montpellier. However, in the north of France at Rouen around the middle of the century the work of Masseot Abaquesne (active 1526-59) is more sombre, and the designs show a strong affiliation with the Mannerist work of the Fontainebleau School. Early Rouen was noted for the manufacture of tiles some still extant in chateaux), albarelli (drug jars), saucer dishes, and flat-rimmed dishes.
THE 17TH CENTURY
The first half of the century continued to be dominated by the Italian tradition, but from the mid-17th century a more native French Baroque style developed. Mythological figures after contemporary prints were Popular subjects; drawn in a bold, muscular style in which ochre and blue are often dominant, they are somewhat livelier than their Italian istoriato predecessors. Dishes, which greatly outnumber hollow-wares (except apothecaries’ wares), were typically embellished with heavy foliated borders, usually interrupted with cartouches enclosing diverse subjects. During the second quarter of the century the influence of imported Chinese porcelain is evident, both in decoration and in form, and consequently the “hot” Italian colours declined in favour of blue and white. Nevers was probably the most important centre until the last 20 years of the century and was one of the first French pottery centres to decorate its wares with Chinese motifs. Here the earliest manifestations are garbled versions of the many imported late Ming blueand-white wares. A large proportion of production was painted in cobalt blue, sometimes outlined in manganese brown with figures in the manner of Chinese Transitional porcelain. Alongside the Italianate and Chinese styles, faience with solid-coloured grounds was made, including, most commonly, bleu persan (Persian blue), cobalt, and, more rarely, ochre.
Rouen, close to Paris and the French court, developed as a prominent centre for faience at the end of the 17th century. The Rouen style of the late 17th and early 18th centuries is formal, utilizing intricate motifs resembling ironwork (forronerie) or lacework (lambrequin) but probably owing as much to contemporary Chinese ceramic ornament. The lambrequin rayonnant style, so-called because of its radiating “snowflake” complexity, was copied by many other manufacturers in France, including those in Strasbourg and Moustiers. At its height (c.1695-1725) Rouen combined this style with vessels based on the shapes of silverwares because the French nobility had been ordered to melt down its silver in order to finance the wars of Louis XIV. Faience therefore became a fashionable substitute for silver.
THE 18TH AND 19TH CENTURIES
Between c.1710 and 1720 polychrome wares became fashionable once again. For the next 20 or 30 years bold chinoiseries in high-fired (grand-feu) colours eclipsed the blue-and-white wares. From c.1750 low-fired (petit-feu) enamelled decoration became the focus of the leading faience factories of the day, located in Strasbourg, Niderviller, Luneville, Sceaux, and Marseilles. In an ultimately futile competition with porcelain, these manufacturers decorated their wares with botanical flowers, chinoiseries, and fantastical landscapes in the most delicate brushwork. Forms from the mid-18th century, in keeping with the innate intimacy of the Rococo, were diverse and lively, almost matching porcelain in some instances.
However, in the late 18th century, competition from porcelain and English creamware (cream-coloured earthenware) proved too much for faience manufacturers, and many failed around the turn of the century. Some potteries survived the onslaught from English creamware by manufacturing the same material, known
as faience fine, which although clean and crisp was never as creamy or warm as the English ware. In France, factories such as those in Creil, Pontaux-Choux, and Montereau, some active before the
mid-18th century, made great quantities of faience fine, thus helping to accelerate the decline of faience. Many of these factories decorated their wares with transfer-printing in the style of creamware from the Wedgwood factory (est. 1759) in Burslem, England.
By the mid-19th century Quimper was one of the few surviving faience factories in France, producing wares with simple figural subjects loosely imitative
of I 8th-century Rouen. Gien, active toward the end of the 19th century, appears to have concentrated on the manufacture of wares in revival styles, using printed designs based on classic Italian maiolica. The output of historicized faience was fairly limited as many factories preferred to produce the fashionable styles current in the dying years of the 19th century. The firm of Samson (est. 1845) in Paris made a wide range of good reproductions of faience. Although this factory applied the original marks, it usually put its own monogram alongside.
• BODY Rouen: red; Nevers and Marseilles: buff;
Strasbourg: creamy white; Moustiers: greyish
• GLAZE Strasbourg: thick and creamy white; Moustiers: creamy grey
• PALETTE “hot” colours inspired by Italian maiolica; from c.1625 blue and white inspired by imported Chinese porcelain; high-fired colours: cobalt blue, manganese purple, ochre, yellow, green, and iron red; enamels: from the late 1740s a wide range of colours
• DECORATION Rouen: lainbrequins and arabesques; Nevers: narrative style; Strasbourg: botanical studies; Marseilles: naturalistic flowers, bouillabaisse; Moustiers: potato flowers, fantastic creatures, Classical figures, and festoons
Marks
These were very randomly applied; marks arc usually the initials of the proprietor of the factory; most are in puce, blue, or black; care should be taken since marks of such collectable factories as Strasbourg, Sceaux, Marseilles,
Rouen, Lille, and Nevers have been widely copied on 19th- and 20th-century fakes
Strasbourg: Paul Hannong factory (c.1740-60) Marseilles: Veuve Perrin factory (c.1740-95) Moustiers: Olerys factory (1 738–c.1790) Quimper: Antoine de la Hal (est. 1782)
Quimper: Fougeray factory (est. 1872): copies of 18th-century originals

Early chests-of-drawers.
The chest-of-drawers as we know it today essentially evolved during the 17th century. During the 1600s it was adapted and modified until the ideal balance and most practical formula were found. The system of graduated drawers, with the most shallow at the top and the deepest at the bottom, was only really reached right at the end of the century. However, it should be remembered that throughout the 17th century chests and coffers were still the principal items of furniture used for storage.
THE EVOLUTION OF THE CHEST-OF-DRAWERS. The 16th and 17th centuries were times of considerable social change in Europe, when a number of new items of furniture were introduced. The chest-of-drawers was one of these new forms, and through its development in the 17th century it is possible to chart the progress of furniture-makers and the emergence of the cabinet-maker. Although new methods of construction (including dovetailing) were developed and refined during the 17th century, the chest-of-drawers was largely made with joints secured by iron nails; only at the end of the century was dovetailing preferred.
From the mid-16th century, the concept of the drawer became widespread in countries that were influenced by the courts of Spain and Italy. In Spain the vargueno (writing desk) was one of the most important of the furniture forms that influenced the development of numerous furniture types throughout Europe. The contribution of the Moors, who occupied much of Spain until 1492, is particularly evident in the skilled work of the Spanish craftsmen working in the mid-16th century. The numerous small drawers in the vargueno were made using tight dovetails and precisely cut drawer-linings. The vargueno could either have a stand in the form of a small table, or a base that was sometimes enclosed by doors, but often had four exposed drawers.
In the province of Zeeland in the southern Netherlands, which was under Spanish rule between 1482 and 1794, a type of square chest, usually measuring 1.5m (4ft 11in) high and 1.7m (5ft 7in) wide, was made. Like the beeldenkast (cupboard) made in the northern Netherlands, this type was in two sections, sometimes with a central drawer between the two, enclosed by a pairs of doors.
In Britain, the drawer was not introduced in any significant number until the end of the 16th century, when they were added to coffers and cabinets. They were called “tills” or “drawing-boxes”, and the word “drawer” is derived from the latter. From the mid-16th century the term “till” was used to denote a drawer where money was kept, an association it still retains. A coffer or chest could be fitted with drawers, and was then known as a mule chest. An early, hybrid form of the chest-of-drawers and cabinet was made front the mid-17th century; this had a shallow frieze drawer at the top, a deep drawer beneath, and three further drawers enclosed by two doors in the lower section. Graduated drawers were introduced later in the century. These oak chests are still linked to the old form as some had hinged tops, opening to reveal box compartments.
During the later 17th century the chest-of-drawers evolved rapidly. Many were constructed on spiral-turned, double spiral or S-scroll stands (often with a drawer or series of drawers in the stand), stretching to about 1.5m (4ft 11in) in height so that the top drawers were easily accessible. This form is similar to the cheston-stand. By the end of the 17th century the chest-ofdrawers in its familiar form had evolved — the chest was taken down from the stand and rested instead on feet, at first of bun form (introduced (.1690) and later of bracket form (introduced c.1725). It is extremely common for feet to have been replaced either owing to damage from wear or woodworm or as a result of changing fashions and the desire to “improve”.
CONSTRUCTION AND WOODS.
In the Low Countries and Britain during the mid- I Century the chest-of-drawers was made by a joiner. It was constructed of solid oak, often in two parts, with panelled sides and heavy drawers that ran on bearers set into the sides of the carcase. The bearers slid into grooves cut into the drawer-lining along the centre of the outside edge. The joined construction was clearly visible from the outside and can now be seen to form part of the decorative appeal.
By the end of the century the cabinet-maker had become increasingly dominant, and joined furniture was therefore relegated to the provincial areas. Chests-of-drawers made in important centres of furniture production now had oak linings, and the carcase and drawers were secured by dovetailed joints. The thick wood that was required for mortise-and-tenon joints disappeared; consequently the thickness of the drawer-linings diminished, and drawers were set to run on their bases or on bearers set underneath the drawers.
In Spain and Italy forms tended to be heavy and thick in construction, still retaining panelled sides, and the drawer-linings were normally made of pine. In central and northern Europe dovetails and drawer-linings became smaller and more delicate; in Italy they remained much less refined, and of much larger form, right through to the 19th century.
Although, throughout most of the 17th century, oak was the preferred wood in England when furniture was made in the solid, walnut was increasingly popular as the veneer for fine furniture because of its figuring and rich colour. In Spain and Italy walnut was the most common wood used in the solid. In France timbers imported from the overseas provinces were used from an early stage. Ebony was one such exotic wood and gave rise to the term ebeniste (cabinet-maker).
Towards the end of the 17th century, great efforts were made to enrich the visible surfaces of the chestof-drawers, and considerable expense was lavished on the large surface areas. The most popular forms of decoration were veneering with burr woods, oyster veneering, seaweed marquety, and floral marquetry. This explosion of creativity was a far cry from the heavy, joined chests made just 30 to 40 years earlier. This rapid pace of change – which was much slower
in the provinces – continued in construction, decoration, and design well into the next century.
The chest-of-drawers was adopted in all the wealthy circles as a new piece of furniture, and soon gained favour in all the countries of Europe. It took such forms as bachelors’ chests, commodes, and chests-on-chests.
• SAW MARKS until the end of the I 8th century the method of sawing wood for the carcase left straight saw marks; from the end of the 18th century a circular saw was used, which left circular saw marks; these marks should be visible on the inside of the carcasefeet.
• it is common to find pieces of this period without their original feet; bun feet have often been replaced by bracket feet; look underneath the chest for old holes into which the bun feet would have fitted.
• HANDLES these may have been changed; look for the bruise marks on the woodwork to see where the original handles (usually drop) would have rubbed or swung.

Games and work tables.
Small tables for recreational use, such as those for cards, games, and needlework, developed in tandem in Britain and France, each country’s designs influencing the other’s at different stages and providing a richness that has been imitated the world over. The earliest tables designed specifically for cards were introduced at the end of the 17th century. In the 18th century card-playing and gambling were immensely popular, and furniture-makers catered to an ever-eager market.
EARLY GAMES TABLES
Tables made c.1700 were often veneered with walnut, with circular folding tops and tapered baluster legs, one or two of which swung out to support the flap, held together by shaped stretchers. The French influence is apparent from about this time. Some of the new card tables were decorated in marquetry, and designed with the finely carved tripod bases that were then popular in France. But where the French made use of tortoiseshell and brass, the British typically employed a variety of indigenous woods including walnut.
Design and construction developed rapidly in Britain in the early 18th century as card-playing became a mania. The fabric, which had traditionally been placed over the Surface of the table, now became a fully integrated part of the design, and was commonly made of baize. Simple cabriole legs and pad feet were gradually overtaken by designs of increasing boldness, such as club feet, in turn succeeded by claw-and-ball and lion’s-paw.
From c.1730 mahogany became the most common timber used. The construction also developed: the flap supported by a swing leg, which was prevalent c.1700, ran concurrently with aconcertina action on the best-quality tables from c.1720. This was introduced to ensure greater symmetry and stability. Some of the more ingenious tables were designed to incorporate separate leaves for backgammon, chess, writing, and cards; such tables often have unusually deep friezes in order to hide the clumsy arrangement of leaves.
LATER GAMES TABLES
During the mid-18th century British tables became more elaborate. Shaped friezes, lion-masks, feathering, acanthus scrolls, naturalistic mouldings, and scrolled feet all made their appearances in turn. Many of the tables were made in softwood and japanned. Tripod tables with triangular tops, for tredrille and other three-handed games, were also made at this time.
In France, tables were made for specific games: square for quadrille, round for brelan, triangular for tri, and marquetry tops for chess. From c.1730 to 1735 the Louis XV style evolved, signalling the triumph of graceful, sinuous lines. Furniture-makers gained complete mastery of their techniques, and design developed rapidly. Free-standing games tables were ideal vehicles for their skill, and were given cabriole legs with double bends, making elongated S-shapes, usually terminating in scrolls or volutes resting on small wooden cubes. Nearly all French games tables were decorated with marquetry in coloured woods; Parisian furniture-makers tended to use chiefly imported woods, while provincial makers used regional olive, cherry, pear, and chestnut. Mahogany was unusual in France, and was mainly confined to the Bordeaux region because it entered the port on ships from the West Indies. Its use ceased completely when the British blockaded the French ports in 1806.
By 1770 Britain’s enthusiasm for gambling and games had aroused such fervour that George III and Queen Charlotte forbade it at the royal palaces – with little effect. The design and metamorphosis of games tables continued apace. In the last quarter of the century,work tables were often combined with games tables.
Sheraton designed a number of work tables, including some with reversible tops, and increasingly they were constructed with folding demi-lune tops, so that they could be stored out of the way like a side table when not in use. Many games and combination games and work tables were now made using fabric (usually lute string or satin) pouches, or bags, suspended beneath the table for the storage of needlework. On many examples found today these have either been removed completely or are in a tattered state. The pouch design was readily taken up by other designers, who also fitted pouches onto small satinwood Pembroke tables and portable tables with curved wooden handles and small drawers.
Tables were made in a wide variety of shapes, such as oval, circular, square, broken-fronted, or serpentine, with tapered quadrilateral or cylindrical legs, in mahogany or satinwood, and were generally covered with green baize. The dishings for candles or counters were now omitted, and the flaps, when open, were constructed in any one of the earlier styles. In The Cabinet-Maker and Upholsterer’s Guide (1788-94), George Hepplewhite (d.1786) wrote: “The fronts of these tables may be enriched with inlaid or painted ornaments; the tops also admit of great elegance in the same stiles”, and he gave four such designs for inlaid or painted surfaces. Marquetry decoration is rare in this period, although in 1781 George, Prince of Wales (later George IV), ordered two circular mahogany card tables inlaid with differently coloured woods.
When George III and Queen Charlotte failed to suppress gambling, Parliament intervened with better results. Thus card and games tables became less fashionable during the Regency period, and so fewer were made. In his pattern-book The Cabinet-Maker and Upholsterer’s Drawing Book (1791-1802), Thomas Sheraton (1751-1806) even went so far as to
remark that such tables were “oftener used than to good purpose”.
WORK TABLES
Introduced during the second half of the 18th century, work tables were small tables used for holding needlework accessories. They were originally fitted with either lifting tops or many small drawers, and the accoutrements of needlework, such as reels, needles, shuttles, and bobbins, could be safely stored under the worksurface.
19TH-CENTURY WORK TABLES
By the mid-19th century designs had become increasingly convoluted, with the streamlined Regency elegance replaced by the heavier Victorian designs. The Victorians’ penchant for resurrecting and “improving” styles of earlier periods gave rise to a number of different types of games and work tables in an eclectic combination of styles. All the basic forms of earlier periods continued to for different games,D-end sections for holding counters and games pieces, and work pouches underneath where appropriate. The most popular woods were walnut and mahogany, and among the many different types of decoration used were exuberant carving in the Rococo Revival style, or inlaid brasswork on an ebony or hardwood ground in the style of Andre-Charles Boulle ( 1642-1732).

• British tables are mainly in walnut, mahogany, rosewood, and satinwood, while provincial examples are in oak; in France, Parisian makers used imported woods while provincial makers used regional woods such as olivewood, cherry, pear, and chestnut.
• COLLECTING both card and work tables are generally quite decorative and can be relatively inexpensive; both types can be used as side tables; good-quality British holdover card tables ( 1720-70) have a concertina-action underframe, which will carry a premium; sometimes this underframe will have been replaced with a gateleg support – this should be evident by checking underneath where signs of wear should be visible; copies of the concertina-action games table were made in the 1920s and 1930x, but most were not intended to deceive; baize lining on card tables is nearly always replaced – this will not affect value; original pouches on work tables are rarely found.

Console, side, and pier tables
Tables conceived to stand against walls were first recorded in the 15rh century and served as both serving tables and sideboards. It was not until the 17th century that purely ornamental pier tables came into fashion. Invariably executed in giltwood, often by a specialist carver or sculptor, the finest Roman side tables of the 1670s and 1680s are characterized by their thick, marble slabs supported by boldly scrolled foliage, acanthus, and mythological figures. Not to be outdone Louis XIV had pier tables designed for him with caryatid, putto, and scrolled dolphin supports, and side tables, usually gilded, with thick marble tops; legs draped withlain1hrccluins and foliage, are either figurative or of tapered licrin form, joined by a waved and scrolled X-shaped stretcher.
THE 18TH CENTURY
The general pattern of the Louis XIV side table was inspirational to cabinet-makers throughout Europe and following the Revocation of the Edict of Nantes (1685), when Huguenot craftsmen settled in England, English side tables became increasingly elaborate and sophisticated, with oyster-veneered parquetry, marquetry, or even inlay in the style of Charles-Andre Boulle (1642-1732).
Lord Burlington (1694-1753) and the architect William Kent (c.1685-1748) returned from the Grand Tour in 1719. Kent revolutionized the design of English side tables bringing to them a Baroque magnificence. Usually of giltwood or mahogany, his tables arc characterized by their architectural design and grandeur, embellished mainly with Vitrux-ian -scroll, guilloche, or Greek-key fret mouldings.
Defined 1w their bracket construction and designed to be affixed to the wall, console tables arc first recorded Ili the late 17th century. Kent is credited with the design of consoles supported by the splayed wings of Jupiter’s eagle, arguably the most celebrated George II pattern. The luxurious tradition of Louis XIV consoles, usually of giltwood, oak, or walnut, survived during the Regence (1715-23). Principally designed as stands to support expensive and exotically figured marble tops, they are usually serpentine-fronted and supported by tapering, double C-scroll front legs, perhaps headed by espagnolette masks or dragons, while the X-shaped stretchers are often centred by gadrooncd finials or urns. Louis XV consoles arc closely related in form to their way to a taste for or the exotic and Oriental, particularly
giving chinoiserie and Turkish motifs, before finally in to Neo-classicism in the 1760s.
Ili England the architects Sir William Chambers 1723-96) and Robert Adam ( 1728-92) revolutionized the design of English side, pier, and console tables during the late 18th century. Side tables were often gilded or of carved mahogany; pier tables tend to be either rectangular or semi-ch ptical, their panelled friezes perhaps fluted or centred by breakfront tablets, and
the legs either tapered or turned and fluted, possibly even headed by Neo-classical urnsand standing oil stepped block feet. From the I770s the tops of ornamental pier tables were frequently decorated with marquetry. Plainer examples, often in satinwood and inlaid with fans, flutes, husks, and richly figured woods, were also supplied in pairs. During the 1780s
there was a fashion for semi-elliptical pier tables that were painted, often on satinwood, with flowers, Musical trophies and Classical vignettes. A loading influence in the late 1780s was the Prince of Wales (later George IV) who, with his architect Henry Holland (1745-1806), 45-1806), promoted the fashion for tables in the elegant Louis XVI style. Often of “white and gold”, although those of satinwood and mahogany often inlaid with shells or simply crossbanded still found favour, late Georgian tables are light and delicate fit form.
The fashion for Neo-classical marquetry side tables was reflected throughout Europe and North America, perhaps nowhere more prolifically than in Italy, where the name of the Milanese cabinet-maker Giuseppe Nlaggiolilii (1738-1814) has since become synonymous With furniture decorated with magnificent arabesque marquetry, sphinxes, and mythological trophies. However, cabinet-makers such as David Roentgen (1743-1807) fit Germany, Georg Haupt (1741-84) Ili Sweden, and Thomas Seymour (1;’71-1848) in North America were also keen exponents of - marquetry Ili the Neo-classical style.
THE 19TH CENTURY
The console table represents arguably the purest expression of the Empire style. Inspired by the architectural schemes proposed by Napoleon I’s architects, Pierre Fontaine (c.1762-1853) and Charles Percier (1764-1838), in their Reciueil de decorations interieures (1801), as well as by the publication of Aventures damps /,7 passe et la haute Egypte (1802) by Baron Vivant Derion (1747-1825), Empire consoles are usually rectangular in form. Their overhanging marble slab tops supported by Egyptian winged perm-caryatids, griffins, and sphinxes, arc designed to be reflected by their mirrored backs often mounted with superb chased and burnished ormolu, the burnished areas often deliberately contrasted with “antique” urigildcd bronze elements. Although they are usually executed in the finest figured mahogany, the British blockade of 1806 pushed the prices up prohibitively and forced ebeizistes (cabinet-makers) to resort to such indigenous woods as maple, ash, elm, and walnut. The Empire style was embraced in Germany by Karl Friedrich Schinkel (17811841) of Berlin, and in Britain Thomas Hope (1769-1831) included several designs for console and side tables with winged griffin and sphinx supports in his Household Furniture and Interior Decoration Executed from Designs 1)), Thomas Hope ( 1807). The mounts of Regency mahogany tables were more restrained and sparse, their “Grecian” ornaments – wreaths, palmettos, patcrae, sphinxes, and lion-masks – often being carved.
From c.1815, side tables and consoles became increasingly elaborate in both form and decoration. The Buhl revival of the 1820s, as well as the fashion under the French King Charles X (1824-30) for furniture en hoist Clair (pale wood), gradually gave way to the Gothic Revival of the 1820s and 1830s, a style in England identified with William Beckford ( 1760-1844) and subsequently A.W.N. Pugin (1812-52). From c.1830, consoles in the Louis XV or Rococo Revival taste again became fashionable; these were gradually superceded by an enthusiasm for all things Italian – particularly of Baroque and, subsequently, Renaissance design including the Milanese ebony side tables inlaid with ivory and copied by the English firm of Gillow (est.
c.1730) of Lancaster.
• REGARDING the fashion for regilding in the 18th and 19th centuries often results in less crisp detailing, as the carved decoration becomes obscured under lavers of gesso and gilding; it is not uncommon to find 18th-century furniture with four or five layers of gilding or gold-painted decoration; the commercial value of a piece of giltwood furniture is affected by the quality and condition of the giltwood surface.
• FAKES many giltwood console tables in the style of Kent have been faked; the provenance of the piece is therefore important
• COLLECTING the variety of tables is huge and usually there is something available for every pocket; many console tables were made as vehicles for the expensive marble that topped them, and those examples that retain their original tops will command a premium; pier tables were usually made in pairs, and the value is considerably more.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mission, Oak, 2 Doors, Glass Sides ~illus

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

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

Walnut, 3 Vertical Compartments, 3 Drawers, Victorian

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Queen Anne Style, Sliding Doors, C.1920

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Barrister, Oak, 3 Tiers

Barrister, Mission Oak, 5 Tiers, 86 In.

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

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

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

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

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

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

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

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

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

Walnut, Pierced Cornice Set With Gargoyles, 92 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Regency, Mahogany, 4 Graduated Shelves, 57 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pine, Continental, 108 In.

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

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

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

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

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

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

Oak, 4 Shelves, 2 Glass Doors

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

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

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

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

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

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

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

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

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

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

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

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

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

Hepplewhite, Mahogany, Glass Mullioned Doors

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

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

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

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

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

Georgian, Mahogany, 4 Cupboard Doors, 98 In.

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

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

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

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

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

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

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

G. Stickley, Oak, 16 Pane Doors, Safecraft

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

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

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

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

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

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

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

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

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

Empire, Mahogany, Glass Double Doors, 108 In.

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

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

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

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

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

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

Cherry, Revolving, Danner Company

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Duncan Phyfe Style, Eglomise Panes

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

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

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

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

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

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

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

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

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

Victorian, Standing, Fluted Pilasters

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

Sheraton, Mahogany, Turned Legs, 1850

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

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

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

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

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

Queen Anne, Walnut, Seaweed Marquetry, 93 In.

Oak, Victorian, 75 x 37 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Barrister, Oak, Per Section

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

Walnut, Bust Of William Shakespeare On Top, 3 Sections

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

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

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

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

Queen Anne, Walnut, Double Library

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

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

Mission, Oak

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Harvey Ellis Design, Oak, C.1904

Golden Oak, Leaded-glass Doors, 54 In.

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

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

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

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

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

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

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

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

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

G. Stickley, 16 Pane Door, Gallery

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Roycroft, Architectural Form, Applied Columns

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

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

Quartersawn Oak, 3 Doors, Carved Columns, Victorian

Oak, Lift & Roll Doors, 5 Stack

Oak, Lift & Roll Doors, 4 Stack

Oak, Lift & Roll Doors, 3 Stack

Oak, 2 Stained Leaded Glass Doors

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

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

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

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

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

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

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

Limbert, Oak, 4 Shelves

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Empire Revival, Mahogany, 1 Door, Fluted Flanking Columns

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

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

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

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

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

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

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

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

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

Rococo Style, Carved, Pineapple Finial, England

Revolving, Walnut, Victorian

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

Quartersawn Oak, 5 Lions Faces, Glass Door & Pulls

Mission, Oak, 3-paneled Glass Door, Small

Mission, Oak, 2 Glass Doors

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

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

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

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

Gustav Stickley, 2 Doors, 16 Panes

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

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

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

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

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

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

Eastlake, Walnut, 3 Sections, 1870-1880, 132 In.

Danner, Revolving, Oak, Bucyrus, Ohio

Cylinder Top, Aqua Colored Glass Panels, Adjustable Shelves

Chippendale, Carved Mahogany, 2 Parts, Glazed Doors, C.1780, 98 In.

Chippendale, 3 Lower Drawers, Cherry, C.1800, 86 X 72 X 19 In.

Carved Mahogany, Victorian, 19th Century, 56 X 60 X 18 In.

Art Deco, Stepped Case, Walnut, 64 In., Pair

4 Tiers, Magazine Rack, Black Wood, China, 64 3/4 In.

4 Drawers, 2 Doors Of 8 Panes, Walnut

3 Doors, Carved Pediment Top, Walnut, 110 In.

2 Leaded Glass Doors, Walnut, Carved Winged Griffins, Paw Footed

2 Glass Doors Over 2 Drawers, Walnut, Burl, Carved Pediment

2 Drawers, Block Feet, Cherry, France, 30 1/2 X 78 In.