Posts Tagged ‘serpentine’

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

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

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

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

GEORGE IV AND WILLIAM IV
WHEN GEORGE III in 1820, his
scandalous son, who had been ruling as Regent for nine years, became King George IV Known [or his extravagant tastes, the interiors created during his reign, particularly those at Windsor Castle, are some of the most sumptuous in British history. The reconstruction of the apartments on the east and south sides of the Upper Ward of the Castle between 1824 and
1830 was entrusted to the architect Sir Jeffry Wyattville. The furniture and upholstery was supplied by cabinetmaker Nicholas Morel. These heavily gilded interiors have a French flavour.
On George’s death in 1830, his brother became William IV In contrast to the worldly pursuits of his predecessor, William’s reign was dominated by the Reform Act, which brought about parliamentary reform.
However, this period also marked an important period of transition between the Regency and Victorian eras. Much of the furniture was still Neoclassical in style although it was generally
heavier than Regency pieces.
TOUS LES LOUIS
The interest in 18th-century French
styles dates from the late 1810s, when
French furniture became
available after the Revolution.
These pieces, especially those with tortoiseshell and brass boullework, were collected by, amongst others, the Duke of Wellington and the Prince Regent. Sometimes called the Rococo revival, it was known (incorrectly) at the time as the Louis XIV style. The serpentine lines of Louis XV furniture were re-interpreted on furniture typical of Louis XIV or XVI.
style was particularly appropriate to seat furniture with buttoned, upholstered backs or sides and plump, cabriole legs. Case furniture tended to have rectilinear, classical lines.
The Old French Style was promoted in a series of pattern books from 1825, including publications by John Taylor, Henry Whitaker, and Thomas King.
John Weale published reprints of mid 18th-century pattern books by Thomas Chippendale’s .
LATE REGENCY
Much of the mahogany furniture of the period was a heavier version of Regency designs, anticipating Victorian solidity. Carving was often Classically inspired and combined with gadrooning and ribbing. Bun feet were used on chests of drawers or plinth supports. Chair and table legs were often turned and ring-turned rather than outsplayed or sabre-form. Bed-posts were similarly designed, sometimes with acanthus carving.
This burr-oak and ebony-inlaid rectangular George IV library table has a crossbanded top above a frieze with two drawers. The table top is supported on quadruple baluster end columns linked by a stretcher. Stamped Holden & Co, Liverpool. Early 19th century.
LIBRARY TABLE
WILLIAM IV SOFA
The panelled top rail of this elegant mahogany sofa is flanked by scrolling terminals depicting acanthus leaves. The lower arms of the sofa are upholstered to match the back and seat cushion. Two bolster cushions provide added comfort. The piece has leaf-carved urn
terminals and is supported on turned and carved tapering feet with brass caps and casters. Early 19th century.
The arms are decorated with leaf motifs.
The back of the sofa is decorated with scrolling acanthus carving,.
WILLIAM IV TRIPOD TABLE
This painted tilt-top table has a rectangular top above a single column, which is supported on a tripod base. There is an armorial design painted on the surface of the table. The piece terminates in bun feet. c.1835.
This elegant mahogany bed has a moulded cornice decorated with a carved frieze and supported on four turned and carved bed posts. At the foot, the posts are reeded and leaf-carved, while at the head of the bed the posts
GEORGE IV LIBRARY ARMCHAIR
The upholstered tub back of this library armchair has a U-shaped front, which has been faced in mahogany and carved with reeds and roundels. The chair is supported on turned and reeded legs that terminate in brass casters.
The chair is one of a pair. Early 19th century. DN
are plain, enclosing a panelled head board (formerly the foot board). The scalloped pelmet and drapes are made of a floral fabric. Early 19th century.
This mirror has a rectangular plate within a gilt and silvered wooden frame, surmounted by a laurel wreath and carved with berried laurel. The lower section has a central scallop shell motif with a thistle below, flanked by rocaille, plants and foliage. One of a pair. c.1830.
WILLIAM IV MIRROR
LIBRARY TABLE
This tortoiseshell-veneered library table has a moulded edge above a shaped apron, and is supported on cabriole legs. All of the surfaces are decorated with tortoiseshell and embellished with gilt-metal mounts. c.1830.

george i early 18th century chest on chest
george i early georgian furniture
george iii sheraton mahogany bowfront sideboard valuation
george iii welsh dresser
george iv furniture mark
george iv settee with clawfoot
george iv sideboard
george jones & sons majolica vase
george jones abbey design antiques
george jones american ceramic decorator
george jones and sons china
george jones candlesticks
george jones ceramics marks
george jones china for sale
george jones fish lustre
george jones majolica
george jones majolica leaf plate
george jones potter
george jones pottery marks
george jones pottery value
george jones unmarked majolica ware
george jones vintage case knife
george jones” porcelain figures”
george nelson primevera drop leaf table
george oakley cabinet maker
george oakley furniture london
george smith 19th century furniture
george smith gate leg dining table
george smith gate leg table
george smith sofa value
george two pedestal table
george walton arts and crafts chair
georgelll side boards
georges de feure chairs
georges de feure insect
georges jacob
georgian “chamber cabinet”
georgian and victorian tables difference
georgian antique china cabinets
georgian black lacquer chairs
georgian carved round face antique furniture
georgian chippendale dresser+inlaid+”5 drawer”
georgian chippendale dresser+inlaid+mirror+scroll
georgian cylinder bureauand display cabinet
georgian dining chairs sheraton  value
georgian drop leaf side tables
georgian drop leaf writing bureau
georgian footstools
georgian furniture cabinet dresser like house
georgian furniture makers stamps
georgian gateleg drop leaf table
georgian gateleg table scallop corner
georgian mahogany table spider legs
georgian oak drop leaf table
georgian pedestal drop leaf table
georgian period antique doors
georgian period basic chairs
georgian period chair
georgian period chairs
georgian period furniture
georgian period pattern
georgian pie crust pedestal end tables
georgian rectangular gate leg table
georgian reproduction pedestal coffee table
georgian serpentine cutlery boxes
georgian shagreen knife box
georgian sheffie ld war mer
georgian side table marble top
georgian sideboard with ring turned legs
georgian style chest carving
georgian tambour top desk
georgian tub chairs
georgian walnut drop leaf table
georigian period chairs

EARLY 19TH CENTURY ITALIAN FURNITURE.

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

MID 19TH CENTURY TABLES

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

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

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

antique chair “hale company”
antique chair art nouveau 1930
antique chair carved lions and legs
antique chair curved arm terms
antique chair examples
antique chair from czech
antique chair maple leaf carving
antique chair n.y. city
antique chair oak jacobean bobbin
antique chair patterns, designs
antique chair types pictures
antique chair with 18th century pattern
antique chair with a lion’s head on the back
antique chair with barley twist legs
antique chair with curved seat
antique chair with drilled holes
antique chair with flower pattern on back
antique chair with high arm one side
antique chair with horsehair
antique chair with king carvings
antique chair with lion head
antique chair with lion on the arms
antique chair with mother of pearl inlay
antique chairback settee
antique chairs carved flowers
antique chairs fish arms
antique chairs rococo style
antique chairs vienna
antique chairs with carved fish and inlay
antique chairs with lion head carved in arms
antique chais that folds over to bed

antique arm chair cabriole leg lions
antique arm chairs lion head
antique arm hall chairs
antique armchair with built in footstool
antique armchairs with faces

MID 19TH CENTURY BUFFETS AND SIDEBOARDS

THE VICTORIAN PENCHANT for formal
social gatherings made the buffet and the sideboard very important items of furniture in more affluent households. Both were used in the dining room to display food and house crockery. They differed in that the buffet was a rather grand superstructure with two or more tiers, similar to the kitchen dresser,
whereas the sideboard was a less imposing, single-tiered cabinet.
DIFFERING STYLES
A wide variety of shapes were popular during this time, incorporating elements from various periods and styles. Arched tops and backs became more common as forms in general grew more rounded, although the traditional rectangular shape certainly persisted. The range of leg shapes used included cup and cover, square, tapering, and cabriole – all very different in style.
Woods used for buffets and sideboards tended to vary just
as they had in the late 18th century. Although these pieces of furniture were often made of mahogany or oak, many carried veneers of burr timbers.
From the mid 19th century. people wanted everything in a room to match in style and material. As a result, in many houses, all the furniture in the dining room, including the buffet or sideboard, would be made of a single wood, such as oak or walnut.
DESIGNED FOR STORAGE
As well as displaying and serving food, the buffet was used to store cutlery, dinnerware. and even decorative objets. Victorian households were Cluttered environments. and the sideboard was a reflection of this. They were peppered with various Compartments, cupboards, and drawers, each with their own specific purpose and many fitted with locks. Buffets in the grandest houses could be exceptionally large, with an average height of more than 183cm (6ft).
BRITISH SIDEBOARD
This early Victorian, possibly Anglo-Indian, oak sideboard has an elaborately shaped backboard surmounted by a number of finials and with an urn at its centre. Below the urn is an applied, carved coat-of-arms. The stepped, rectangular
top of the sideboard has a carved edge, above a gadrooned guilloche frieze and an elaborately carved strapwork apron. The sideboard is raised on carved cup-and-cover legs with gadroon
supports above plinth bases carved with paterae and pedestal feet.
FRENCH LOUIS XV-STYLE BUFFET
This Louis XV-style, cherry and burr walnut buffet has a moulded, gently arched top above a frieze carved with a flowering basket. The upper section of the buffet has a number of open shelves for displaying cups, plates, and decorative objects. These open shelves are
flanked by a pair of decorative serpentine panelled doors. The lower section of the buffet has two small frieze drawers and two further large panelled doors carved with swirling foliate decoration. The buffet has an ornamental shaped apron and is raised on short, slightly cabriole legs. Late 19th century.
BREAKFRONT SIDEBOARD
British mahogany breakfront sideboard is v decorated with satinwood banding and wood and ebony stringing. Two square,
doors flank the two graduated central
The case stands on six square,
tapering legs, terminating in spade feet. This elegant piece is Neoclassical in style and was probably based on a Sheraton example of around 1780. The deep cupboards would have been used for storing wine, and the frieze drawers for storing silver or cutlery. Late 19th century.
BRITISH MAHOGANY SIDEBOARD
This mahogany sideboard has a scrolling, arched backboard that is centred by a cabochon with mask surmount. The reverse breakfront top contains ogee frieze drawers and the four arched panelled doors enclose both sliding trays and shelves. The whole sideboard is raised on a plinth base.
FRENCH OAK BUFFET
The upper section of this oak buffet stands on turned supports and has a moulded cornice above two glazed doors, which open on to a shelved interior. The doors are flanked by fluted pilasters. The rectangular top of the lower section has two frieze drawers above two cupboard doors with applied carved decoration showing a Classical urn filled with flowers. It stands on squashed bun feet. Late 19th century.
BRITISH PEDESTAL SIDEBOARD
This fine George III-style mahogany, satinwood, and marquetry sideboard was made by Wright and Mansfield. The pedestals of the desk contain cellaret drawers for storing wine. The decorative motifs are strongly Neoclassical in manner, inspired by Robert Adam’s (1728-92) delicate interpretation of the style. The
elongated urns centred on each of the pedestals also serve to indicate their contents. Lightly drawn swags and striking anthemion motifs are used to define the individual drawers and cupboards, and to accentuate the essential symmetry of the piece with its carefully balanced use of curved and flat surfaces, sinuous lines, and geometric shape. c.1880.
ANGLO-INDIAN SERVING TABLE
The backboard of this hardwood serving table is elaborately carved with anthemion, acanthus, and birds. The rectangular top has bold, leaf-carved edging and rests on carved brackets with foliate fretwork to the back and sides. The table has a curved support with carved paw feet. Mid 1911) century.
ANGLO-INDIAN CABINET
The shelved upper section of this rosewood bookcase cabinet has leaf-moulded cresting above twin doors with elaborate pierced and carved panels, flanked by scrolling brackets. The lower section has two long, carved frieze drawers above two similarly carved doors. The piece stands on carved bracket feet.

MID 19TH CENTURY CHESTS OF DRAWERS

MANY OF THE CHESTS made and sold in this period were direct descendants of their 18th-century counterparts. The chest was still in widespread use, both in the bedroom as a clothes store and in the salon, very often for display purposes only. Examples with specialist uses, such as music cabinets and folio chests, augmented the range of commodes, cabinets, and vitrines already found in the home. The traditional low, broad chest was frequently of very fluid form, incorporating serpentine, bombe, or bowfront curves reminiscent of 18th-century styles. Elaborate commodes were rare, however, and, in the drawing room, were often replaced by credenzas, or side cabinets.
CONTRASTING STYLES
A more contemporary look was provided by a new generation of tall and slender, rather elegant, filing cabinets, precipitated by the bestselling Wellington chest. These filing
cabinets tended to be less fussy than the more old-fashioned chests of drawers, particularly those in the Rococo-revival style, which were often excessively ornamented. Profuse use of gilt-metal mounts, sabots, and inlays combined with marble tops, carved skirts, friezes and aprons, and intricate marquetry decoration often made these very busy items of furniture. Neoclassical and Gothic forms sat alongside chests in the Rococo style, although these labels often referred to little more than token applied decoration, used by cabinetmakers to distinguish an otherwise plain piece of furniture.
FAVOURED WOODS
Tropical hardwoods, such as mahogany and rosewood, were frequently used for chests, although Dutch cabinetmakers often substituted walnut for their marquetry-decorated pieces, and cherry wood was sometimes used in the United States.
FRENCH COMMODE
This 18th-century-style commode has a moulded, veined marble top above a Rococo-style, rosewood- and walnut-veneered bombe case with polished, gilded, bronze mounts. The front of the piece is inlaid with colourful
marquetry, and shows an asymmetrical floral pattern. The case is set on cabriole legs. It is an accurate copy of a Louis XV commode and uses expensive materials. However, this mid 19th-century example was constructed by
machine rather than by hand.
ITALIAN PARQUETRY COMMODE
This kingwood parquetry commode is of bombe form and has a moulded Siena marble top above two chequer-veneered drawers. Each drawer has a flower-head motif centred over
the escutcheon plate. The same motif appears on the sides of the case. It is raised on square, cabriole legs, terminating in sabots. Although almost an exact copy of an 18th-century piece, its excessively slender legs reveal its 19th-
century origins.
DUTCH CHEST OF DRAWERS
The moulded top of this Dutch, Empire-style, walnut and marquetry tall chest of drawers has an outset frieze drawer. Below this are five equal-sized drawers, decorated sans traverse with fine floral marquetry inlaywork, which
exhibits a mixture of mid 18th- and late 18th-century styles in its overall design. The oval border is Neoclassical in inspiration, while the floral design within it is asymmetrical and, therefore, more Rococo in style. The case is supported on tapering, square-section feet. 1880.
FRENCH FILING CHEST
This late Louis XVI-style ebony and brass filing chest has a moulded edge above eight drawers. The drawers have leather fronts and brass catches and are supported on a plinth base. c,1900.
ANGLO-INDIAN WELLINGTON CHEST
Made of the distinctively striped coromandel wood — a type of ebony from the Coromandel coast of India —this Wellington chest also features surface carving typical of the subcontinent. c.1880.
BRITISH WELLINGTON CHEST
The moulded top of this figured maple chest protrudes above its frieze. Beneath the frieze are seven graduated drawers, flanked on either side by a locking flap. At the top of each flap is an applied scroll-leaf decoration. 1860.
GERMAN COMMODE.
This mahogany commode has a protruding rectangular top above four flame-mahogany veneered drawers. The front of the case has canted corners, with a carved scroll and acanthus top and bottom. The case is supported on carved scroll, bracket feet. c.1850.
FRENCH COMMODE
This bowfront kingwood commode has a moulded, veined marble top. The four drawers have veneered fronts, and are divided and flanked by brass-lined flutes. A veneered herringbone pattern is on each side. The commode has a shaped apron with gilt mounts and stands on bracket feet. c.1900.
AMERICAN CHEST OF DRAWERS
This chest has been grain-painted in ochre and yellow with dark green mouldings and recessed side panels. The backboard is dark green with the initials “A” and V’ in gold and copper. The chest has two short above four long drawers. Each side panel is stencilled with a vase of flowers.
AMERICAN BUTLER’S CHEST
This cherry wood chest has panelled sides and four dovetailed drawers with glass handles. The top drawer has a drop front with spindle columns and opens onto a fitted interior with four drawers, eight cubbyholes, and a central prospect door. Mid 19th century.
BRITISH CREST OF DRAWERS
This rectilinear chest of drawers has two short above three long, equal-sized drawers. Each drawer is decorated with laurel swags, and the long drawers also feature a central carved rosette. The chest is supported on a shaped plinth base. Late 19th century.
GERMAN COMMODE
This small commode is made from solid mahogany and veneered in various exotic woods. There is a single frieze drawer below the moulded top and two additional, bombe-form drawers decorated, sans traverse, with flowers, figures, and rocaille. c.1900.

Mid 19th Century Furniture: Styles.
FURNITURE THAT DEBUTED during the
mid 19th century was imbued with the innovative spirit, social mores, and the whimsy of its age. Metamorphic furniture allowed cabinet-makers to show off their technical expertise.
The German-born American cabinetmaker, George Hunzinger, pioneered the design of functional, mechanical pieces in the United States, and many manufacturers soon followed suit.
Stephen Hedges patented a desk in 1854 that converted from an elegant side table to an ecritoire combined with a seat. It became known as the Aaron Burr desk after an article appeared in the New York Herald in 1911, stating that Burr had challenged the presidential candidate Alexander Hamilton to a duel in a letter written at one of them. In fact, Hedges had patented the ingenious desk 50 years after the duel and 18 years after Burr’s death, but the desk became forever known as the Aaron Burr desk.
Various collapsible and extendible forms, including dining tables and buffets, proliferated as people became enamoured with their ingenuity and space-saving qualities.
SOCIAL MORES
The fashion for lavish entertaining gave rise to the cocktail cabinet, which contained crystal decanters and perhaps a cigarette case or humidor. The wealthy displayed their valuables in a glass-topped bijouterie — the name is derived from the French word for “jewellery”. The Sutherland table, named for Queen Victoria’s Mistress of the Robes, was used for taking tea and playing cards. A precursor of the coffee table, it was never very popular.
The repressive morality of the period conspired to create the dos-a-dos and the conversation suite. Both these seat forms enabled courting couples to become acquainted in what was regarded as a seemly manner.
The exterior surface of the desk has a simple panel with beading.
The hinged top opens to reveal a seat and a drawer.
The seat is upholstered In leather, fixed to the wood with rivets.
The underside of the desk
bears the patent label, “by
Stephen Hedges”.
Lockable drawer
The scroll feet terminate in brass casters.
AMERICAN AARON BURR DESK
This ingenious, space-saving design was patented by Stephen Hedges. The long, oval top of an unassuming mahogany side table is hinged so that it can fold back on itself, and the case of the desk is also hinged to open at
the front. When both are opened, the table is transformed into a writing desk with a drawer to one side and a leather upholstered seat to the other. The piece is supported on cabriole legs and scroll feet on casters for portability.
CONVERSATION SUITE
this upholstered suite in Louis XV manner comprises four independent buttoned sections - two long sides and two short ends – arranged Dock-to-back with each other. The angled ends of each section make it easy for a person
seated with another in one of the long sections to turn towards a person seated in the adjacent smaller section and converse. The sections are supported on rosewood scrolling feet and casters: a 19th-century innovation allowing ease of movement around the room. Late 19th century.
s early Victorian show-frame sofa is made
rosewood. it has two high-backed,
ends and a lower back section with
2 l fluted supports. The seat, back, and
arms are upholstered in green raised
fabric. The seat is supported on carved legs with ceramic casters. The sofa is a combination of styles: the twist decoration is Jacobean, while the cabriole legs are inspired by Louis XV style. c.1850.
METAMORPHIC OAK CHAIR
This chair converts into a set of library steps. The chair seat is hinged near the front so the chair back swings up and over the seat to become the rear support for the steps, which double as the back legs of the chair. Late 19th century.
GOTHIC-STYLE CHAIR
This walnut chair features Gothic-style, needlework upholstery and Jacobean twist carving. The tall back is framed by barley-twist columns above a spreading seat. The high back and low legs make this a new form.
SCOTTISH DINING TABLE
The top of this extending dining table has demi-lone ends and boldly moulded edges above a plain frieze. The table top is raised on turned and tapering legs with fluted decoration, ending in brass caps and casters. The table is extended by using a winding mechanism operated by a key. The mechanism was
invented in 1835 but became popular later in the century. It can use up to six extra leaves. Late 19th century.
ENGLISH MAHOGANY BUFFET
The top of this buffet has moulded angles and a counterbalanced undershelf. Beneath that lies a third shelf. On opening the buffet, the bottom shelf slides down the supports at each end of the table, the middle shelf remains in place, and the top opens out to form the upper tier. It is raised on panelled trestle supports and scrolled console brackets. c.1860.
MAHOGANY COCKTAIL CABINET
This cabinet has a divided, hinged top, which encloses a rising interior with crystal decanters, glasses, and a cigarette box. It is supported on square-section, tapering legs with brass caps and casters. c.1900.
MAHOGANY BIJOUTERIE CABINET
The circular hinged top of this cabinet is inset with bevelled glass. The capriole legs have gilt mounts, terminate in hoof feet, and are joined by a shaped stretcher. Late 19th century.
BIJOUTERIE CABINET
This mahogany and gilt-metal mounted cabinet has a serpentine top with floral marquetry, inset with glass. The case is supported on slender cabriole legs, which are united by an undertier.
ENGLISH ROSEWOOD CARD TABLE
The serpentine top of this Victorian table opens out and swivels to provide a playing surface. It has a moulded edge, enclosing a round baize lining, and rests on four scroll supports with a central finial and scroll legs with recessed casters. Mid 19th century.
SUTHERLAND TABLE
This burr walnut, oval, drop-leaf table has a veneered top over twin, carved, baluster uprights with carved cabriole supports on casters, joined by a turned stretcher. It has a swinging action to each side.

Antique Mid 19th Century American Furniture.

A RENEWED RUSH of immigration from
northern Europe swelled America’s population in the mid-19th century. After the Civil War (1861-65), the victorious North was imbued with new vigour and wealth as the tide of industrialization swept across the states.
The Gothic style also remained popular during the second half of the 19th century. Examples of solid dark wood furniture crowned by cathedral-style trefoils and quatrefoils could be found in many middle-class homes.
UNITED STATES
APPROPRIATIONS FROM EUROPE The American Empire style reached its zenith around 1840, when the tide of fashion turned in favour of plain surfaces. Heavy furniture in mahogany and rosewood veneers dominated the later American Empire period.
The Empire manner was gradually ousted from its central position in American taste by an influx of European craftsmen, who helped to disseminate the Rococo-revival style. The Classical motifs of Empire furniture gave way to emblems drawn from the natural world, and rounded Rococo forms replaced the earlier architectural structures. The development of laminate veneers greatly aided the practitioners of the Rococo revival, led by German-born New Yorker J.H. Belter (see pp.296-97). Some American designers, such as Alexander Roux, eschewed the use of laminated bentwood in favour of a more authentic Rococo look. Roux was a French immigrant whose elaborately carved pieces featured decorative motifs drawn from hunting, such as grouse, dogs, and deer.
HOMEGROWN INGENUITY George Hunzinger, a German who arrived in the United States in 1855, devised ingenious space-saving, mechanical furniture. He amassed more then 20 patents during his career, for furniture that folded, extended, collapsed, or converted. William Wooton, a native of Indiana, secured a patent for an equally clever, but altogether more immutable form in the 1870s. The Wooton Patent Secretary was a large desk that concealed innumerable small drawers and compartments for the storage of documents and chattels.
A NEW AMERICAN RENAISSANCE Renaissance forms were rediscovered after the Civil War and incorporated into a new, distinctly American look. The 1876 Philadelphia Centennial
Exhibition was a statement of the nation’s confidence and marked the culmination of the Renaissance revival. Luminaries of the Gilded Age, such as j.P. Morgan, commissioned grand houses designed in the Renaissance style. The Centennial also spawned an interest in a revival of American colonial furniture forms.
The American people had long been fascinated with Egyptology, and a number of exhibitions of ancient Egyptian artefacts drew vast crowds during the latter half of the 19th century. It is therefore no surprise that Egyptian motifs found their way on to furniture of the period. Actual Egyptian forms were rarely used. Instead, lotus, sphinx, and other emblems were applied to Renaissance-revival furniture.
CHIPPENDALE-STYLE CHAIR
This mahogany side chair with an upholstered drop-in seat has an openwork splat, shaped top rail, and scrolled ears. Elegant cabriole legs terminate in claw-and-ball feet. It is one of a set of six chairs. c.1900.
GOTHIC-REVIVAL ARMCHAIR
This walnut armchair has a carved and pierced crest. The back is flanked by spiral spindles and stiles. The ring-turned arms terminate in ball-turned hand-holds, and the seat is raised on spiral-turned legs.
CHEST-ON-CHEST
This Colonial-revival chest-on-chest is made from mahogany. The upper section of the chest consists of an outset gadroon-carved top, two moulded frieze drawers, and three graduated drawers. The lower section has two
long drawers positioned above a gadroon-carved base and the piece is supported on claw-andball feet. The overall form is based on a mid 18th-century original. The legs are inspired by a mid 18th-century form, while the moulded top drawer is 19th century in style. Mid 19th century.
This tea table or card table, is an exact copy of a late 18th-century piece, with a top that opens out to provide a larger surface. Made from mahogany, the table is inlaid with boxwood. The frieze is inlaid with an urn motif, and the table is raised on square, tapering legs. Mid 19th century.
This Renaissance-revival, laminated walnut, triple-arch sofa is influenced by Louis XV style. It has a pierced foliate, scroll-and-grape clustered frame, centred by a carved mask crest. The tufted back of the sofa is in three sections above a padded serpentine seat with a floral-carved apron on cabriole legs.
The pediment has a central domed crest.
WOOTON DESK
Panel doors are lined with shelves and divisions.
This imposing variation of the fall-front desk has an elaborate, domed pediment. Two lockable, hinged front panels open to reveal an extensive, complex arrangement of interior drawers and divisions. The writing surface, also hinged, lifts from horizontal to vertical so the panel doors can close. The doors are also fitted with shelves and divisions. Late 19th century.
The wooden knobs are in a darker wood than the drawers.