Posts Tagged ‘SIDE’

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

CLOCKS, WATCHES AND BAROMETERS Bracket Clocks
Repeater clock by Edwardus East with signed and engraved
backplatc in cboniscd case 600 0
A three-train musical clock by Moore of Ipswich with eight tunes in ebony case with gilt metal mounts in mid-eightccnth-century style, 2 ft 2 in high 440 0
George III fruitwood clock by Recordon, late Emery, London, with painted dial and frets at side and front of case, 1 ft 2 in high 290 0
George III walnut clock, the dial signed Joseph Smith, Chester,
and of pronounced Continental character, 1 ft 6 in high 210 0
George III ebonised clock, the 7-in dial signed William Smith, with calendar and strike/silent dial. The movement is contained in an inverted bell-topped case, 1 ft 4 in high 190 0
Louis XV contra-boullc clock with enamel dial signed Darmezin, Paris, and movement signed Crepaux, Paris, in cartouche-shaped case, 3 ft 1 in high 190 0
Louis XV Boulle clock by Pcrrache, Paris, with an enamelled dial, the case surmounted by a youthful figure of Jove, richly mounted in ormolu, 2 ft 6 in high 170 0
George III mahogany clock by Massey, Bridge Road, Lambeth, the circular white-painted dial with a central calendar hand, 1 ft 4 in high 140 0
George III mahogany clock, the 7-in circular dial signed Lamb and Webb, London, with calendar and engraved backplate in bell-top case, 1 ft 4 in high 120 0
Mid-eighteenth-century veneered ebony clock signed John Small-wood, Lichfield, with pull quarter repeat, 1 ft 4 in high (later dial) 85 0
George III mahogany clock, the 8-in arched silvered dial signed Gravell and Tolkien, London, with engraved backplate and tic-tac escapement in broken arch-topped case, 1 ft 6 in high 60 0
Regency rosewood clock signed on dial John P. Smith, 1 ft 3 in
high 20 0
Carriage Clocks
Clock in gilt case by James McCabe, London 675 0
Repeating French brass clock with white dial signed Gibson
and Co Ltd, Belfast, 6J in high 68 0
French brass clock with white dial signed Rowel, Oxford, 4Ј in high
Repeating brass clock with white dial and glazed brass case, 5 in high
Gilt metal timepiece, the glazed case with pierced floral frets at the sides and front, 5 in high and with travelling case
Miniature silver-cased repeating clock with white dial. The case stamped J. Keller, 3J in high
Lantern Clocks
Brass clock with engraved copper dial and an alarm disk, 1 ft 1 in high
Late seventeenth-century brass clock, the dial engraved with flowers and with pierced dolphin cresting, 1 ft 3 in high
Longcase Clocks
Late seventeenth-century marquetry clock, the 11-in dial signed Robt. Williamson, London, with calendar aperture in a walnut case inlaid with shaped panels of birds and flowers, with a bullseye in the waist door and with spirally turned columns at the corners, 6 ft 7 in high (frieze of a later date)
Tall mahogany cased clock with chimes. The elaborately foliated brass dial with a silvered chaptered ring. The case inlaid with classic urns in coloured woods, the arched hood has brass spires and the waist has a bevelled glass door
A carved mahogany cased clock with a grotesque satyr mask to the hood over a brass floral scrolled dial. Westminster, Whittington and St Michael chimes, 7 ft 7 in
Mahogany clock made by Manley of Chatham
Eighteenth-century walnut clock with domed canopy and brass face, the movement by William Stapleton, London, 7 ft 4 in high
Walnut clock, the early eighteenth-century movement signed
Andr. Dunlop, London, the 12-in dial with chestnut and
flower spandrels, 7 ft 4 in high Georgian lacquer clock with brass face and striking movement.
The case, with ‘bullseye’ door, decorated with gilt chinoiseries
on a simulated tortoiseshell ground Eighteenth-century small clock by John Lee, Gookham; with
brass dial and foliated spandrels, in a black lacquer case
decorated with chinoiseries in red and gill
Mantel Clocks
An ormolu clock, the painted dial signed F. Linke, Paris, the movement in a glazed case in well chiselled ormolu with drapery, acanthus leaves and groups of fruit and ending in double cloven-hoof feet, 2 ft 11 in high
Bronze and ormolu mounted clock, the movement contained in a drum upon which is seated a Chinaman holding a parasol, the whole on the back of an elephant, 1 ft 4 in high
A French clock, inscribed Bonniere a Clermont, in a rococo porcelain case. The blue and gilt ground painted with musicians, lovers and flowers. On a similar stand
Louis XVI marble and ormolu clock, the striking movement with enamel dial signed Hessen. The arched architectural case with drapery festoon, pineapple finials, an urn and fluted columns, 1 ft 5 in high 110 0
Regency rosewood clock, the movement by Dwerrihouse &
Carter, Davies Street, 2 ft high 70 0
Philippe clock with glass panels in gilt metal case with corinthian columns and surmounted by an urn. Decorated with coloured enamels, 18 in 68 0
An Empire marble clock mounted in ormolu, the movement with outside count-wheel, the dial surmounted by a white marble urn and suspended between fluted columns capped by ormolu pineapples, 1 ft 4 in high 55 0
Watches
Gentleman’s 18-carat gold half-hunter watch 20 0
Early nineteenth-century verge watch by D. Nevern, in a tor-
toiseshell case, the dial enamelled with a wharf-side scene 13 0
Gentlemen’s 18-carat gold pocket watch by George Harvey,
Wellington 13 0
George III verge watch by William Fowler, London, in a silver
case, London 1783 9 0
Nineteenth-century verge watch by Nicoll, Great Portland
Street, in a tortoiscshcll case 7 10
Barometers
Early   Victorian   mahogany  stick   barometer  by  E. Davis,
Shrewsbury, 3 ft 3 in high 70 0
Regency rosewood inlaid with mother-o’-pearl banjo barometer
and thermometer 46 0
George III mahogany banjo barometer and thermometer with engraved scales by A. M. Ortelli, Godalming, the case outlined with fruitwood lines, 3 ft 2 in high 38 0
Georgian mahogany stick barometer and thermometer by Rout-ledge, Carlisle 38 0
Mahogany stick barometer and thermometer by Salmon, Bath 38 0
A Regency rosewood banjo barometer and thermometer by
Aprile Sudbury 34 0
Early nineteenth-century mahogany banjo barometer by Lione and Tarone, London, with a thermometer and the case inlaid with Prince of Wales plumes and a whorl pattern, 3 ft 2 in high 30 0
Early nineteenth-century mahogany banjo barometer by A.
Celti, Reading, the case inlaid with shells, 3 ft 2 in high 22 0
SILVER
(Troy weight: 20 pennyweights [dwt] = 1 ounce [oz])
Baskets for Bread, Cakes, Fruit, Sugar or Sweetmeats George II oval-shaped cake basket on four cherub mask and scroll feet. The sides pierced and engraved with flowers and
scrolls and the base engraved with a coat-of-arms, by Paul
Crespin, 1753, 62 oz 3,600 0
George III oval pedestal cake basket by John Ernes, London,
1804, 24 oz 10 dwt 400 0
George III boat-shaped pedestal sugar basket with engraved border, reeded edge and swivel handle by Peter, Ann and William Bateman, London, 1793, 5 oz 10 dwt 320 0
Victorian oval basket, the pierced panels embossed with beading
and garlands, London, 1895, 19 oz 62 0
Candelabra and Candlesticks
Pair of George I dwarf table candlesticks, the baluster shafts upon square terraced bases by William Darkeratt, 4J in high, London, 1726, 20 oz 1,500 0
Victorian tabic candelabra with two tiers of six scrolled branches issuing from a bold Corinthian column supported on a square terraced foot, with neo-classic rams’ mask and husk swags by R.H. over R.H., London, 1877, 30 in high 355 0
Pair of George III table candlesticks, the tapering baluster shafts upon half-fluted circular bases by John Green & Co, Sheffield, 1800 195 0
George III chamber candlestick and snuffer, the gadrooned edge
witli shell motif by William Cafe, London, 1761, 12 oz 130 0
Casters
Garniture of three George II vase-shaped sugar casters of plain
design by John Delmester, London, 1758, 15 oz 10 dwt 930 0
William IV Scottish baluster caster engraved with a crest above floral decoration on a granulated ground, by Elder & Co, Edinburgh, 1832, 4 oz 7 dwt 90 0
George III baluster caster with pierced cover and wrythen
finial, by Thomas Satchwell, 1780, 2 oz 4 dwt 85 0
George III vase-shaped caster the otherwise plain body engraved with contemporary crest. The mark of George Giles struck over another, 1783, 2 oz 8 dwt 65 0
Coasters—Wine
Set of four partly fluted circular coasters with gadrooned rims and engraved with crests by John & Thomas Settle, Sheffield, 1818 410 0
Pair of George III coasters with pierced waved galleries, London, 1794 270 0
Pair of William IV circular-shaped wine coasters with foliate borders and crested silver bosses to the wood base, by Henry Wilkinson & Co, Sheffield, 1831 150 0
Pair of George III coasters with beaded rims, the pierced sides stamped with arcading, urns and laurel festoons, maker’s mark missing, 1794 100 0
Coffee Pots
George I small plain cylindrical coffee pot with octagonal spout and low domed cover with baluster finial, by Paul De Lamcrie, London, 1725, 11 oz 3 dwt 1,900 0
George II baluster coffee pot, plain with foliate decorated spout, wood handle and hinged domed lid, probable maker Fuller White, London, 1759, 21 oz 1,350 0
Late George III tapering cylindrical coffee pot, the plain body engraved with contemporary armorials and a crest, by Peter, Ann and William Bateman, London, 1802, 35 ox 2 dwt 1,200 0
George IV coffee pot, vase-shaped, with moulded bands at the neck and waist, leaf-capped scroll handle and foliate finial on lid, by Pearce & Burrowes, London, 1826, 22 oz 5 dwt 210 0
Victorian vase-shaped coffee pot engraved with key pattern
decoration, London, 1872, 24 oz 135 0
Cruets
George II five-bottle cruet frame on four shell feet with detachable baluster handle. Five cut-glass silver-mounted bottles. By Jabez Daniel, 1750, 28 oz 7 dwt 105 0
George III cruet frame for six bottles with reeded loop end handles, ring holders, on four feet. Five glass bottles all chipped, one broken. By Henry Chawner, London, 1792 16 0
Cups and Goblets
Elizabeth I secular wine goblet, the bowl decorated with tulips and strapwork motifs, on a slender baluster stem and circular fluted foot, London, 1593, 5 oz 10 dwt 2,000 0
Pair of George III goblets of plain design, probably by William
Sumner, London, 1800, 20 oz 520 0
Pair of George III two-handled pedestal challenge cups and covers with reeded decoration and urn knops, by Samuel Hcnnell, London, 1806, 32 oz 5 dwt 400 0
George III tumbler cup engraved with armorials, gilt interior and the base with contemporary initials. Possibly by John Garter, London, 1766, 2 oz 1 dwt 150 0
Victorian wine cup, the beaker-shaped bowl and pedestal base cast and chased in low relief with grape-laden vine tendrils, by Hunt and Roskell, London, 1875, 10 oz 1 dwt 52 0
Cutlery—Canteens
George III fiddle thread pattern table silver: 24 tablespoons, 36 table forks, 12 dessert spoons, 12 dessert forks, 12 teaspoons, 6 sauce ladles, 2 soup ladles, 1 marrow scoop, majority by Richard Crossley, 1798/1800/1804, 146 oz 9 dwt 750 0
Victorian fiddle pattern table silver: 12 tablespoons, 12 table forks, 12 dessert spoons, 12 dessert forks, 6 teaspoons, 2 salt spoons, by George Angell, London, 1863, 116 oz 14 dwt 260 0
Cutlery—Forks Dessert
Twelve George I  three-pronged  forks with crest, different
makers, 1718, 14 oz 1 dwt 1,500 0
Twelve George IV fiddle pattern forks by James Scott, Dublin,
1822, 15 oz 75 0
Six George III fiddle pattern forks by G.D., London, 1794,
8 oz 14 dwt 65 0
SOME AUCTION ROOM PRICES ! 1968-69
Cutlery—Forks Table
Twelve Queen Anne three-pronged forks engraved with a crest,
by David King, Dublin, 1708/10, 28 oz Four George II three-pronged forks engraved with two crests,
1755, 7 oz 18 dwt Eleven Victorian fiddle shell pattern forks by George Angell,
1857/61, 36 oz 16 dwt
Cutlery—Forks Toasting
George III fork with knopped shaft and scrolled handle, probably by R. Preston, London, circa 1767, 7 oz 10 dwt. 17f in long
George III fork with knopped shaft and scrolled handle by John Deacon, London, circa 1775, 8 oz. 19i in long
Cutlery—Knives
Forty-eight Victorian table knives and twenty-four dessert knives, kings pattern, steel blades by J.A. or T.S., 1884
Twelve eighteenth-century dessert knives, the multi-faceted bloodstone handles with knopped urn finials and mounts engraved, the scimitar blades of steel. Circa 1700, (Some handles cracked)
Cutlery—Ladles
Four George III sauce ladles, crested Old English pattern by
Hester Bateman, 1783, 5 oz 19 dwt Pair of George III sauce ladles with ribbed and punched beaded
bowls, by Michael Keating, Dublin, circa 1780, 2 oz 16 dwt
Cutlery—Spoons Dessert
Nine engraved spoons, seven by William Soame, 1741, two 1748, 12 oz
Ten Hanoverian spoons engraved with crest, 1760, 11 oz 5 dwt Cutlery—Spoons Serving
Pair of George III Old English pattern spoons by Steven Adams,
London, 1772, 5 oz 15 dwt Pair of Victorian spoons by George Angell, 1854, 10 oz 14 dwt
Cutlery—Spoons Table
Six George I Hanoverian pattern spoons with rat-tail bowls
by Charles Jackson, 1723, 11 oz 2 dwt Six George III Old English pattern spoons with contemporary
initials J.G. by Hester Bateman, 1780, 11 oz 17 dwt
Cutlery—Spoons Tea and Coffee
Six William IV ‘bright-cut’ spoons, 1836, 3 oz 7 dwt Eight George IV fiddle shell pattern spoons by J. McKay, Edinburgh, 1827, 4 oz 8 dwt

Globes
Pair of early nineteenth-century mahogany library globes by Newton, published in 1838 and 1836. The tripod frames with out-scrolled legs ending in brass castors, 3 ft 8 in high        780 0
Large pair of terrestrial and celestial globes by Newton; published 25 March 1875. Supported in mahogany frames on triple curving legs 205 0
Pair of terrestrial and celestial globes in turned stands by James
Wyld, Charing Cross East; published 1847 185 0
Knife Boxes
A pair of mahogany urn-shaped knife boxes, stamped W. Johnston, with domed lids and bodies inlaid with flowers and stripes, 2 ft 5 in high 115 0
Sheraton  inlaid  mahogany serpentine-fronted knife box in
original condition 32 0
Mirrors—Mantel
Empire-style giltwood overmantel with triple mirrored panels
and decorated with classical figures 105 0
Rectangular mantel mirror in a giltwood frame carved with
acanthus and shell motifs, 31 in by 25 in 60 0
Mirrors—Toilet or Dressing
Sheraton serpentine-fronted box-frame toilet mirror fitted with
two drawers, 17 in wide 36 0
Sheraton box-frame shield-shape toilet mirror with two drawers,
18 in wide 30 0
Mahogany box-frame toilet mirror with three drawers, 15 in
wide 15 0
Edwardian   mahogany   box-frame   toilet  mirror   with three
drawers to base, 22 in wide 9 0
Mirrors—Wall
Pair of Chinese-Chippendale giltwood girandoles of rococo outline mounted with phoenix-birds and clusters of flowers from which issue two scrolled candle branches. The base enriched with acorns and oak leaves, 38

in high 650 0
Mid-Georgian wall glass in a giltwood frame carved with scrolls
and foliage and pierced, 44 in high 200 0
Chippendale mahogany mirror with gilt gesso beading
George IV convex mirror in a gilt frame enriched with spherical ornament with two scrolled candle sconces. Crested with a gilt eagle with outspread wings 76 0
Regency giltwood convex mirror with ball encrusted moulded
frame and ebonised slip, 1 ft 11 in diameter 15 0
Settees, Couches and Chaise Longues
Small carved mahogany sofa, the arched back carved with
rococo motifs. Curved arms, carved seat rail and cabriole legs        135 0
some auction room prices ‘. 1968-69
Decorated satinwood cane-panelled settee with loose seat
cushion, 4 ft 4 in George III painted settee with flat rectangular back and arms,
on turned legs. The arms, seat rails and legs are painted
with husks and flowers on a cream ground, 6 ft wide Early George III mahogany settee with stuffed back and arms.
The seat rail and legs are carved with blind fret, 5 ft 8 in
wide, (some restoration) Victorian rosewood frame serpentine-fronted chaise longue on
short cabriole legs
Settles
Eighteenth-century oak settle, 5 ft 5 in wide Seventeenth-century panelled oak settle with box seat, 4 ft 6 in wide
Seventeenth-century carved and panelled tall-back hall settle, 5 ft 7 in wide
Sideboards
Small nineteenth-century sideboard inlaid with ebony lines. Raised back, the centre drawer flanked by a cupboard and deep drawer. Supported on six turned and tapering legs, 4 ft 8 in wide
Hepplewhite-style mahogany serpentine sideboard of rich mellow colour, cross-banded in kingwood and fitted with a napery drawer and cellaret cupboards with octagonal gilt metal handles and supported on chamfered

legs, 7 ft 2 in wide
Georgian mahogany half-moon sideboard with two cupboards to the sides and two drawers with lion ring handles in the centre. Four tapering legs, 4 ft wide
Large mahogany Sheraton-style sideboard fitted with two long drawers and flanked by two deep drawers, supported on tapering legs
Regency Empire mahogany sideboard of architectural form, with a reverse breakfront with two shallow drawers to the centre flanked by deep cupboards. Supported by two curved and four simulated bamboo legs

terminating in brass paw feet. The whole mounted with ormolu and brass griffins, lions’ masks and sphinx and with Adams-style garlands and patera, 7 ft 6 in long
Late Georgian mahogany sideboard with shaped front, the top back rail fitted with three tambour slides. Two cupboards and a centre drawer to the base over a waved apron. Supported on six slender tapering legs, 5 ft

7 in wide
Early nineteenth-century mahogany bow-front sideboard on spiral-turned legs, 6 ft 1 in wide
Tables—Break fast
Regency mahogany breakfast table with brass stringing on the banded top and a turned pillar ending in a reeded quadruped, 5 ft by 3 ft 5 in
Georgian mahogany oval breakfast table with reeded edge and
Tables—Card
Chippendale mahogany card table with shaped folding top on boldly carved cabriole legs ending in claw and ball feet, 2 ft 7 in wide 370 0
Late George II mahogany card table with border of carved flowerheads and legs and frieze carved with blind fret, 3 ft wide 250 0
Regency card table in figured rosewood inlaid with brass flowers and leaves, the D-top on a ringed stem and quadruple brass capped legs, 3 ft wide 190 0
Sheraton mahogany card table inlaid with satinwood lines and
on tapering legs, 3 ft 2 in wide 180 0
George II walnut card table with rectangular top on turned legs
with mantled knees and club feet, 3 ft wide 95 0
Regency mahogany card table with green baize interior on curving quadruple support, ending in brass claw feet. The top is cross-banded 65 0
Victorian mahogany card table with double Sap top supported
on four tapering shafts, terminating in curved legs 44 0
Tables—Centre
Regency painted centre tabic, the circular top simulating green marble, the border with brass mouldings hinged to a carved turned central support on a curved triangular base with lion’s paw feet, 4 ft diameter 120 0
Edwards and Roberts eboniscd centre table with ormolu beading on cluster column and quadruple base, 5 ft 6 in wide 38 0
Red Buhl shaped centre table with heavy ormolu mounts, two
drawers and on cabriole legs. (Poor condition) 11 0
Tables—Dining
Charles I oak dining table with a triple-plank top and the frieze carved with leaves and interlaced arcading, on column legs, 6 ft 5 in long by 2 ft 7 in wide 360 0
Large late George III mahogany dining table, the top richly carved with acanthus, ribbon motifs, satyr masks and a coat of arms. Supported on ten tapering spiral-twist legs with five loose leaves, 12 ft 4 in long 185 0
Georgian mahogany two pillar dining table with triple curving
legs ending in brass-capped feet 122 0
Georgian mahogany oval drop-leaf dining table on turned legs
and pad feet 75 0
Eighteenth-century mahogany oval drop-leaf cottage dining table
on taper legs with pad feet, 3 ft 6 in wide 44 0
Mahogany gadrooned oval dining table with cabriole legs and
claw and ball feet 40 0
Georgian mahogany drum library table with leather top and four real and four dummy drawers. On triple curving legs with brass-capped feet, 3 ft 3 in diameter 680 0
some auction room prices : 1968-69
George III mahogany library table fitted with seven drawers and dummy drawers with gilt metal lion ring handles, the top with gilt tooled green leather and the whole raised on a curved quadruple support with

brass-capped feet
Tables—Games and Sewing
Eighteenth-century mahogany, shaped folding top, games table on nutcracker frame with cabriole legs and claw and ball feet, 34 in wide
William IV games table with sliding and reversible top inlaid as a chess board opening to reveal a backgammon board with two drawers to the side. Central pillar supported on quadruple curving feet
Nineteenth-century mahogany sewing table with rising top and drawers below. The slender tapering legs ending in brass-capped feet
Tables—Gate-leg
George I elmwood gate-leg table, the oval top with flaps on
cabriole legs carved with scrolls and leaves and ending in
pointed pad feet, 3 ft 9 in wide Seventeenth-century oak oval gate-leg dining table with double
flaps supported on bobbin turned legs with plain cross
stretchers, 4 ft 9 in wide Late George II mahogany gate-leg table, the oval top with two
flaps, on unusual legs fluted and ending in paw feet, 3 ft 9 in
wide
Oak oval gate-leg table on turned underframe with drawer, 4 ft wide
Tables—Occasional
Late George II mahogany piecrust table with bird-cage support on fluted stem with carved legs and claw and ball feet, 2 ft 2 in diameter
Large mahogany piecrust tripod table with baluster stem and
pointed pad feet, 3 ft 5 in diameter Mahogany tripod table, the circular top with raised rim, on
cabriole feet, 1 ft 10 in diameter
Tables—Pembroke
Late Georgian mahogany oval Pembroke table with drawer, on
square tapering legs, 2 ft 7 in wide by 3 ft 6 in long Late Georgian mahogany Pembroke table painted with a floral
border and on turned and fluted legs Georgian mahogany Pembroke table with folding flaps and
single drawer, inlaid with satinwood lines and fan motifs, on
tapering legs, 3 ft 2 in wide
Tables—Refectory
Seventeenth-century oak refectory table of slender plain form, the base having square ends united by a single stretcher, 7 ft 3 in long
Oak refectory table on bulbous end supports with central
stretcher, 7 ft 7 in by 3 ft wide 130 0
An exceptionally long oak refectory table with triple curving
supports, 18 ft 6 in long, 3 ft 3 in wide 90 0
Tables—Side
Queen Anne banded walnut side table with two deep and two
shallow drawers on square legs, 3 ft 3 in wide 170 0
Chinese-Chippendale mahogany side table, the frieze carved with
blind fret. Moulded legs, 3 ft wide 88 0
Oak side table with drawer, on turned legs, 3 ft wide 64 0
Walnutwood side table with cabriole legs carved with acanthus
leaves 31 0
Tables—Sofa
George III satinwood sofa table cross-banded with acacia, fitted with two drawers and false drawers opposite on trestle supports with splayed curved feet and brass castors, 2 ft 10 in wide        750 0
Regency banded mahogany sofa table with tulipwood stringing with two drawers on end supports and central stretcher with brass claw feet, 5 ft 10 in extended 380 0
Late George III mahogany sofa table with two drawers in frieze and raised on flat trestle supports with out-curved legs, 3 ft 2 in wide 270 0
George III mahogany sofa table banded in rosewood and with two drawers. It has trestle supports with tripod splayed legs and brass feet, 3 ft wide 250 0
Tables—Sutherland
Mahogany Sutherland table on turned underframe, 2 ft 9 in
wide 42 0
Victorian walnut-veneered Sutherland table on turned supports,
2 ft 6 in wide 36 0
Tables—Tea
Regency mahogany tea table with folding top on a turned pillar and four curved legs, the whole inlaid with brass stringing, 3 ft wide 120 0
Late George II mahogany tea table, the top with a border of flowerheads and ribbon and the frieze and chamfered legs carved with Chinese blind fret, 3 ft wide 60 0
George III mahogany tea table with folding top, a drawer in
the frieze and square tapering legs, 3 ft 8 in wide 38 0
Tables—Wine
Hepplewhite mahogany wine table, the inlaid octagonal top
supported on triple concave curving legs 105 0
Victorian mahogany wine table on pillar and tripod base, 21 in
diameter 10 0
Tables—Writing
George III mahogany pedestal writing table, the gilt tooled leather top with three drawers at each side of the frieze and
the pedestals with cupboards and drawers at either end, 4 ft wide
Early eighteenth-century banded fruitwood writing table, fitted
with three drawers, a shaped apron and on cabriole legs with
pad feet, 2 ft 4 in wide Victorian lady’s mahogany writing table with two short drawers
on lyre end supports, 3 ft wide Carved mahogany writing table with fitted drawer, the top lined
with leather, on cabriole legs, 2 ft 5 in wide
Tallboys and Lowboys
George II walnut tallboy, the top with reeded and canted corners and three small and three long drawers. The base having three long drawers and bracket feet
Queen Anne small walnut tallboy of mellow colour, the upper chest fitted with two small and three long drawers over a brushing slide, and three long graduated drawers
William and Mary lowboy inlaid with scrolls and motifs. The top fitted with two small and two long drawers and two long drawers to the base, 4 ft 3 in high
Georgian mahogany tallboy with dentil cornice and two small and three long drawers to the top and tliree long drawers to the base which is supported on bracket feet
Georgian mahogany tallboy with dentil cornice, the top fitted with two small and three long drawers, the base with three long drawers and supported on bracket feet, 6 ft 1 in high
Waiters
Mid-Georgian mahogany dumb waiter with turned and carved columns supporting three trays. The whole on cabriole tripod feet, 4 ft high
George III mahogany dumb waiter with two revolving tiers and baluster centre on three curved and moulded legs and castor feet applied with roundels, 3 ft 2 in high
George II mahogany dumb waiter with three graduated revolving tiers and spiral fluting on turned central support. Plain cabriole legs, 3 ft 6 in high
Wardrobes
Mahogany breakfront wardrobe fitted with sliding trays, four
drawers and panelled cupboards Small Georgian mahogany wardrobe enclosed by two panelled
doors with three drawers in the base, 3 ft 9 in wide George III mahogany gents wardrobe with pierced swan-neck
cresting, a pair of doors banded in satinwood and two short
and two long drawers below, 7 ft high by 4 ft 4 in wide Regency mahogany wardrobe the upper part with sliding trays
with four drawers under on splay feet, 3 ft 11 in wide
Washstands
Late George III mahogany washstand, the top hinged and opening to form a back, the front with a pair of cupboard doors above one small drawer, on square splayed legs, 2 ft wide
Edwardian three-tier corner washstand with basin 18 0 George III mahogany corner washstand, the slender legs joined
by a stretcher with a drawer, 2 ft wide                                      14 0
Wine Coolers
Georgian inlaid mahogany sarcophagus wine cooler with lion
mask and ring handle on paw feet 65 0
Georgian mahogany octagonal wine cooler with lifting top and
short square moulded legs, 18 in wide 55 0

Mosaic Glass: This technique is now
known to date back to the 15th century
B.C. From finds at Tell al Rimah and
‘Aqar Quf in Mesopotamia, and from
Marlik and Hasanlu in north-west Iran, it
is apparent that in this very early period
mosaic glass was made up of circular
sections of monochrome rods or ‘canes’ of
various colours (though one fragment
from ‘Aqar Quf is built of sections of
polychrome rods). These fragments came
from tall beakers, usually with knobbed
bases, or shallow dishes. To make mosaic
glass one first had to fashion glass rods of
the required colours; a ‘gob’ of molten
glass would be gathered by a glass-worker,
attached to another rod, and stretched by
two men walking quickly in opposite
directions. It was also possible for one man
to do the whole operation by firmly fixing
the iron which held the gather of glass,
then walking away holding the other rod.
The stretched glass was cut into rods of the
size required. Polychrome rods were made
by gathering a different colour of glass over
the first gather and stretching both to-
gether. The thin sections cut off the rods
were fixed on a core the shape of the inside
of the vessel. An adhesive substance held
the sections in place, and the outer mould,
which was then added, kept the sections
together while they were fused by being
heated in a furnace. Both surfaces of the
vessel were later ground smooth. Mosaic
beads are part of this technique, and
originated probably in Alexandria. A high
level of skill was reached in their produc-
tion. Thin sections cut from rods of vary-
ing design were spread as close together as
possible on a base of fireproof clay, and the
whole was brought to melting point. A
heated glass bead was next rolled over the
base, catching up the mosaic sections; the
bead was then ground and polished.
necklace including venetian mosaic beads
Made bv the Nupe tribe, Bida, northern Nigeria,
Sometimes mosaic beads were produced
simply by using sections of the mosaic rod,
which were ground and polished, and
finally bored through the centre. Their
manufacture was not confined to Egypt.
Mosaic beads are found in China from as
early as the late Chou period (1122-255
B.C.). In Chinese tombs of the 4th and 3rd
centuries B.C. beads of Chinese origin are
found alongside Western imports, and the
two are virtually indistinguishable, apart
from their constituents. The Venetians
made mosaic beads in great quantities and
of a high quality during the 17th and 18th
centuries. These can be found today in
West Africa where they have been im-
ported since the 17th century. There local
glass-makers, using the most primitive
furnaces, melt down old bottles and glass
to make their wares, and intermix Venetian
millefiori beads with their own products.
(Millefiori, a name also used for some
mosaic work, literally means ‘a thousand
flowers’, though many other motifs besides
flowers arc used in the production of
mosaic glass.)
segment of shallow mosaic dish
Canosa, Italy, late yvii century B.C.
The mosaic technique apparently re-
mained in use in Western Asia during
Assyrian and Achaemenian times, and t is
highly likely that it was Asiatic workers
who introduced it to Alexandria when
glass-making was established in that cjty.
The ground was thus laid for the wide-
spread production of mosaic vessels at tliat
centre, and later in Italy, down to the 1st
century A.D. Amongst the finds from a
tomb at Canosa of the late 3rd century
B.C. is a mosaic dish which almost
certainly came from Alexandria. This is a
most professional piece of work, for not
only does it contain sections of coloured
cane showing an opaque white spiral with
opaque yellow centre in a clear deep b ue
ground, but it also has a number of
sections of layered glass in which gold foil
is sandwiched between layers of colourl iss
glass. Other sections of opaque white or
opaque yellow glass are cased on one or
both sides with colourless glass.
Techniques before Blowing
FUSED MOSAIC
Probably Alexandria, Egypt, ist century B.C. to
isl century A.D. Length 415 mm (163 in.)
The Ptolemaic shops in Alexandria were
equally famous for their production of
fused mosaic plaques. Great emphasis was
placed on luxurious colours and textures.
The patterns were built up from sections
of mosaic rod fused together in a kiln and
stretched so that the detail in the finished
article was exquisitely fine. ‘Half portrait
heads used for inlay work, as illustrated,
are not uncommon, since a section cut
from the rod and reversed would complete
the full face. Occasionally, full faces would
be made in a single section. Enough frag-
ments have survived to prove that mosaic
plates composed entirely of flowers, blos-
soms, leaves and stems were made in
Alexandria. The tesserae from Arslan-
Tash and Nimrud (mid-Qth to 7th century
B.C.), and the glass inlays on the shrine of
Nectanebo II of Egypt (359-341 B.C.),
illustrate the use of polychrome rods from
which tesserae were cut for decoration.

The French Revolution in 1789 brought a temporary halt to the output of precious jewels in the country which had until then been the leading producer. Ostentatious adornment was felt to conflict with the revolutionary principles of egalitarism. Moreover, the abolition of the traditional guild system, which in the past had ensured a high standard by regulating the terms of apprenticeship, led to a rapid decline in quality. And finally there was a lack of patronage and a scarcity of precious metals and gemstones. Many French aristocrats, the traditional patrons of French jewellers, fled the country, taking their valuables to sell abroad as a means of livelihood. French jewellers were therefore deprived both of old jewels with gems and precious metals for re-setting and of new imported bullion and gemstones. It was during this time of upheaval that the prized French crown jewels were stolen.
From the French Revolution to Waterloo
Not surprisingly, earrings created at this time reflect the impoverishment of design and production; only inexpensive examples of low artistic value based on Revolutionary motifs are to be found. One design used glass and debris from the demolished Bastille. Another commonly known as boucle dorellleii la guillotine, and favoured in Nantes rather than Paris, consisted of a small guillotine surmounted by a red cap, with a pendant below in the form of a decapitated crowned head.
Fine jewellery staged a gradual comeback during the years of the Directory (1795-99); France began to recover its leadership in the field; new motifs and designs were developed, remaining in favour until the early 19th century.
The new earrings, in line with the general interest in classicism, were designed to complement the ‘A la Grecque’ hairstyles and the fashion for flimsy white dresses inspired by Classical goddesses. (Indeed, the passion for pale, flimsy chemise-dresses with drapery clinging to the body was so great that some ladies even wore their clothes wet to enhance the effect. As a consequence there was an increase in deaths from pneu-
P. 90, 91 monia.) Fashionable earrings of the period were usually large and geometrical, with the emphasis on flat linearity rather than volume. Although quite large, they were usually very light; gold was still scarce and earrings would be cut out of thin sheets, frequently of low carat gold; enamel often took the place of gemstones. Once again, this tendency can be explained partly by the general scarcity of stones on the market, partly by a desire to create earrings which would complement the face without overpowering it with an excess of jewels.
Between 1790 and 1810 two main types can be distinguished. The first is known as the poissarde, so called because it was originally worn by fishwives (poissardes) in the market of Les Halles in Paris. It is characterized by a hinged fitting at the back, either semicircular or S-shaped, running from bottom to top, where it fastens to the front section of the earring. The front is usually in the form of a flat panel or half-A pair of poissarde earrings set with citrines, early 19th century, front and side view. Note the S-shaped hinged fitting running from top to 5()ttom.
hoop decorated with enamel, often pierced and set with a few imitation or semiprecious stones. The second type is a long pendent earring with a combination of flat and extremely thin gold elements linked to each other by means of fine chains. As with the poissardes they are hardly ever set with precious stones but are decorated with polychrome enamel, pierced gold and filigree. One example incorporates marquise-shaped surmounts decorated respectively with grisaille miniature portraits of man and wife in profile on a light blue enamel ground. A double chain connects the surmount with a central element decorated with sentimental imagery: a dove above a pair of red enamel flaming hearts, followed by the inscription Fidel in a garland of blue forget-me-nots and red leaves. Though typical of early i 9th-century earrings, and probably French, to judge from the inscription, the sentimental imagery is an unusual feature. Earrings, unlike other forms of jewellery, are normally purely decorative and hardly ever display the explicitly sentimental motifs which are often found on rings — the traditional symbol of love and eternal union, and a normal betrothal gift since Antiquity.
Earrings of these two types were worn throughout Europe, not only in France. Maria de la Concepcion Rodriguez de Caspe, a lady from Granada, for example, was painted by Jose Gil in 18 16 wearing earrings that have two circular elements each set with a red unfaceted stone, probably coral, connected by fine chains. Once again the typical linearity, lack of volume and absence of precious gemstones are noticeable. Similar examples were also extensively produced in Sicily and in Northern Italy; some measure over 8 cms in length and still remain light, being made of thin 18 carat gold sheets and weighing on average 7 grams. Northern Italian earrings display some distinctive features, in particular a plaque stamped out of a thin circular, oval or rectangular sheet of gold. This is decorated at the centre in relief to simulate a cameo, with the profile of a warrior from Classical mythology. Classical martial imagery, such as Mars and Bellona, both war-deities, were popular subjects during Napoleon’s campaigns in Northern Italy of 1796-97. The borders, however, present a characteristic form of decoration with small hollow hemispherical motifs imitating beaded wirework, filigree, palmette and flowerhead motifs.
The coronation of Napoleon in 1804 and the creation of a grand Imperial court prompted demand for extremely important jewels. The overall design of earrings remained unchanged, but gold and enamel were replaced by precious stones, dia-
P. go monds being again in favour. This can clearly be seen in a pair of diamond pendent earrings, where the general design continues to be long and linear, but fine connecting chains, typical of the earlier gold earrings, have been replaced by a grand chain of brilliant-cut diamonds.
Until the closing years of the i 8th century gemstones had always been mounted in closed settings which did not allow light to pass from behind through the stone. This technique enabled the jewellers to match, modify and intensify the tint of coloured gemstones by placing coloured foils behind the stone, but this greatly reduced the sparkle and brilliance of diamonds. Towards i 80o jewellers, realizing the importance of light for the glitter of diamonds, started to claw- or collet-set them in open mounts, although smaller and rose-cut diamonds and coloured stones continued to be mounted in closed settings. Many pendent earrings of this time are transitional in type, with a large diamond, usually the centre stone, mounted in an open setting and smaller stones, generally in the border, in closed setting.
By the early i 9th century, French supremacy in jewellery design had been reestablished. This was largely due to Napoleon’s enthusiasm for the development of French arts and technology. He regarded the luxury of his court as an aspect of national prestige, not mere frivolity. This led to an immense number of commissions for jewellery, which was then distributed throughout Europe as diplomatic gifts.
It is at this time that complete sets of matching jewels known as parures begin to be worn. They consisted of a necklace, bracelets, a pair of pendent earrings and frequently also a tiara. Amidst such an abundance of gemstones, earrings continued to be simple, the favourites being long pearl or diamond pendeloques on small surmounts; they can be seen being worn by the Empress Josephine and other members of the imperial family in portraits by David, Gerard and Regnault. Another favoured type consists of a cluster with a large gemstone or cameo at the centre within a border of pearls or diamonds, often holding a similarly set pear-shaped drop. This is well represented by a pair of diamond and emerald briolette earrings, part of the parure probably by Nitot given by Napoleon to Stephanie Beauharnais, a niece of the Empress Josephine, on the occasion of her marriage in i 806. (This is an example of the political role of jewellery; she was marrying the Grand Duke of Baden’s heir, an alliance intended to consolidate the Confederacy of the Rhine.) This parure is now in the Victoria and Albert Museum in London, and the bride is portrayed wearing it in a painting by Gerard. The popularity of earrings set with cameos, carved both in shell and hardstone and occasionally in precious stones such as emeralds and sapphires, was a consequence of Napoleon’s interest in carved and engraved gems. Following the Italian campaigns of 1796, when many cameos were brought back to France from Italy, Napoleon opened in Paris a school of gem engraving which boosted the production of cameos of Classical inspiration which were then frequently set in earrings.
1815-1830
The Congress of Vienna brought about the restoration of the legitimate monarchs in Europe in 18 15, and with it the desire to emulate the style of the Ancien Regime in all the applied arts. In jewellery earrings reverted to the form of i 8th-century girandoles and pendeloques, but they were adapted to the more impoverished economic situation. The scarcity of precious metals and gemstones prompted the development of filigree and cannetille which allowed jewellers to make do with very little gold. Both cannetille, named after a type of embroidery made with very fine gold and silver thread, and filigree techniques consist of working fine gold wires into lace-work patterns. Long but light pendeloque and girandole earrings manufactured on the Continent in this way were mainly set with semiprecious stones such as foiled topazes, amethysts and citrines. In England, which had been spared the consequences of the war, more expensive gemstones such as emeralds, diamonds and rubies (but never sapphires at this period) mounted in cannetille settings were often used. These gemstones are almost invariably set in closed collets lined with metallic foils tinted to intensify the colour and improve the match of the stones. The earrings are usually found as part of parures, accompanied by a pair of bracelets and a necklace with a detachable pendant at the centre designed to match the earrings either as a girandole, or, when the earrings are designed as pendeloques, in the form of a lozenge or Latin cross. These parures were extremely popular in the 18 2os and early 1830s: their gold filigree work of burr, tendrils, scrolls and lace-like patterns was often embellished with leaves and florets stamped out of thin gold sheet sometimes in contrasting colours. The two exceptional English examples illustrated, set with rubies and emeralds both comprising a necklace with girandole pendant and a pair of matching earrings, are particularly notable for the quality of the gemstones and for the pristine condition of the cannetille work, something which has rarely survived intact because of its lightness and fragility. The overall design of the girandoles, elongated in shape and with the central drop longer than the two at the sides, is close to late i 8th-century examples, but the cartouche-shaped surmount of the example set with emeralds, the parsimonious use of gemstones and the fine intricacy of light gold wire and granulation make them typical of their date.
The 183 Os
Around the 1830s long earrings reaching almost the shoulders became extremely popular. The fashion was prompted by changes in dress and hairstyle. Couturiers of the time had launched the fashion for dresses with wide bell-shaped skirts, narrow waists and leg-of-mutton sleeves which expanded sideways out of all proportion, giv-
P. 74 ing the upper part of the female silhouette a marked triangular shape. The head became the focal point of interest for jewellers and milliners: hairstyles became extremely complex, with tight curls and knots of false and natural hair gathered at the top and side of the head and embellished with all sorts of feathers, plumes and jewelled aigrettes. This exaggerated horizontal expansion of female silhouette and overabundance of hairstyle decoration needed to be counterbalanced by long drop earrings which also well suited the very generous decolletees of evening dresses.
The most fashionable earrings of the time were designed as elongated drops measuring up to TO— 12 CMS in length stamped out of thin gold sheet and decorated en
Portrait of a lady wearing a pair of long pendent earrings set with faceted semiprecious gemstone drops, to counterbalance the side expansion of the elaborate hairstyles fashionable in the 183os. By Adele Kindt (Belgian 1804-1884).
• are in shape to match the pendant of the necklace: lozenge-shaped pendants are in most cases accompanied by pendeloque earrings, girandole pendants by similarly designed earrings.
repousse (embossed); their rich scroll, shell and foliate motifs were often applied with minute naturalistic decorative elements in gold of various colours and set with gems. A good example of this type is the pair of torpedo-shaped earrings reproduced on P. 93, decorated with embossed quatrefoil motifs suspended from a shell-shaped surmount.
Some of the earliest examples of repousse earrings are also decorated with applied cannetille motifs in the form of burr and scrolling tendrils and can be regarded as transitional between cannetille and repousse earrings.
By the early 1840s gold repousse earrings had completely supplanted the costly and time-consuming cannetille type. Their lightness was dictated partly by economic considerations and partly by the necessity of keeping such large earrings light and comfortable for the wearer. Repousse earrings were cheap to produce. They were made on mechanical presses and needed only very thin sheets of precious metal, though the repousse work itself was often set with small semiprecious gemstones, turquoises being among the favourites.
If a large stone was used, it was likely to be aquamarine, chrysoberyl, amethyst, topaz or citrine, set within a scrolled border of rich gold repousse work. The aquamarine drops reproduced on p. 95 exemplify the trend particularly well, in that they are extremely long (12 ems approximately) and light (weighing approximately 1 _(we i gh i ng approx i mately 15 grams each) and are set with Brazilian aquamarines of fancy cut, well adapting to the repousse scroll-motif mount.
In Switzerland and Northern Italy, where enamel techniques were mastered at the time, polychrome enamel plaques could replace gemstones.
These earrings might look massive but they were in fact fairly light, as one can tell from the fact that they did not, like the heavy girandoles of the 18th century, require an additional hoop to ease their weight: almost all examples are set with a simple hinged hook fitting into the lobe from back to front.
Typical of English earrings of the time is the widespread use of elongated drops in agate or chalcedony (either left white or stained blue or green) and applied with small semiprecious stones such as garnets and turquoises set in gold floral motifs. These earrings usually came with a matching Maltese cross pendant. There are varying degrees of decoration: some are plain drops carved in hardstone, while others show a greater complexity, with applied decoration of naturalistic inspiration. Similarly designed sets set with diamonds are now less common but we know that they existed.
Also popular in England, where diamonds were more plentiful than in France as a consequence of the more stable political and economic situation, were earrings in the form of diamond pear-shaped drops with a large pearl or diamond swing centre on a cluster of foliate surmount.
The simplest form of earring fashionable at the time had a large pear-shaped drop of semiprecious stone, usually a faceted amethyst or citrine, mounted in a gold collet suspended from a similarly-set single-stone circular or oval surmount.
1840s and 1850s
In the late 184os a new hairstyle with a parting at the centre and the hair brushed to each side of the face and gathered in a knot at the back, totally covering the ears, led to the virtual disappearance of earrings — another indication of the close relationship between hairstyles and earrings. One has only to look at portraits by Wintherhalter and other society painters to see how universal this fashion was. In the middle of the century Queen Victoria was consistently portrayed with her ears covered, and even in catastrophic situations such as those shown in John Martin’s The Great Day of His Wrath (1852) or The Last Judgement (1853), women in the last extremity of distress are depicted with their ears carefully covered by neatly arranged hair at the sides.
The temporary eclipse of earrings is confirmed by the fact that at the Great Exhibition of 1851 in London, although jewellery was well represented, earrings were not given prominence. Those that were produced at this time were attractive but generally small and compact in design, frequently featuring naturalistic motifs such as flowerhead clusters, bunches of grapes, acorns, and other foliate arrangements chased in gold, set with a gemstone depicting a bud or berry, or carved in coral and ivory. The trend towards naturalism was common to all the decorative arts and Jewellery. Other earrings assumed the shape of crescent hoops or elongated beads. Long gem-set earrings were never worn at important formal occasions because the ears remained completely concealed by the hair and covered by elaborate tiaras in the form
120, 121
A pencil and gouache design for a tiara, bracelet and corsage ornament by Mellerio, mid 19th century. Note the two lateral cascading spray of leaves and flowers which concealed the ears.
1840s and 1850s
In the late 184os a new hairstyle with a parting at the centre and the hair brushed to each side of the face and gathered in a knot at the back, totally covering the ears, led to the virtual disappearance of earrings — another indication of the close relationship between hairstyles and earrings. One has only to look at portraits by Wintherhalter and other society painters to see how universal this fashion was. In the middle of the century Queen Victoria was consistently portrayed with her ears covered, and even in catastrophic situations such as those shown in John Martin’s The Great Day of His Wrath (1852) or The Last Judgement (1853), women in the last extremity of distress are depicted with their ears carefully covered by neatly arranged hair at the sides.
The temporary eclipse of earrings is confirmed by the fact that at the Great Exhibition of 1851 in London, although jewellery was well represented, earrings were not given prominence. Those that were produced at this time were attractive but generally small and compact in design, frequently featuring naturalistic motifs such as flowerhead clusters, bunches of grapes, acorns, and other foliate arrangements chased in gold, set with a gemstone depicting a bud or berry, or carved in coral and ivory. The trend towards naturalism was common to all the decorative arts and Jewellery. Other earrings assumed the shape of crescent hoops or elongated beads. Long gem-set earrings were never worn at important formal occasions because the ears remained completely concealed by the hair and covered by elaborate tiaras in the form Ink design for a dormeuse earring, Kreuter, Germany, April 1877, front and side view.
of garlands of flowers which framed the face and cascaded in two sprays decorated en pampille down the sides of the head. During the day, bonnets with large brims tied under the chin with wide ribbons made earrings superfluous and difficult to wear; for the same reason brooches ceased to be worn high on the collar where they interfered with the hat ribbon tied under the chin. Simple single-stone earrings — know as dormeuses or ’sleepers’ because they were worn at night to prevent the pierced hole in the lobe from closing — were the only form of earring that continued to be used.

METHODS OF DRAWER CONSTRUCTION
the door-opening. Fit the fillets carefully and glue and pin the front ones in position, making the neat mitre joints at the corners, as in Figs. 9 (d)
and (g). Fit the panel and fix it in place by means of further fillets pinned on the inside of the frame at the back, as also shown in Fig. 9 (g.)
DRAWERS FOR KITCHEN FITMENTS
Success in drawer-making depends primarily upon the accuracy of the drawer-opening in the carcase. If this is at fault, the drawer, however well made, will be difficult to fit and will not run smoothly. Check the opening to see that it is straight and square. If necessary, slight adjustments can be made with it bull-nose plane, or perhaps by moving the runners or kickers.
Dovetailed Drawer. Undoubtedly the best type of drawer is that shown in the first illustration of Fig. 1. It is the standard form used in all well-made furniture. The cut-away portions shown in Fig. 2 (a) give details of construction, but the reader is advised to make a careful
examination of a drawer from an existing piece of furniture. The sides are lap-dovetailed to the front and through-dovetailed to the back. The front is grooved to take the bottom, which is held in place at the sides by means of drawer slips, which also are grooved. The lower edge of the back is made level with the top of the groove, and the bottom can thus be pushed into the groove from the back, and is held in place by screws inserted from underneath into the back. The top edge of the back is
FIG. 1. 1 inished appearance of(above)
a dovetailed drawer► and (top right) a
rehmed th-awer; (bottom right) a
much simpler form of construction
suitable for small drawers.
made about I in. lower than the sides, so that there is no danger of its rubbing on the kickers.
Drawer fronts rarely need be thicker than I in., with sides and back of A in.; for small drawers these dimensions should be reduced.
Plane up the wood, making quite certain that the inside faces are quite flat and out of winding; lay them out in their relative positions as in Fig. 2 (b), and mark the inside bottom corners so that it is known where each piece will be finally fitted.
Commence by making the bottom edge of the drawer front quite true, and fit the bottom corner, X, as in Fig. 2 (c), by planing the end and testing it in the carcase. When this end is correct mark off the exact
length of the drawer front and fit the other bottom corner, Y, in the same way.
Plane the top edge of the drawer so that it will just fit the opening. The drawer front, when fitted, should only just enter the opening for about I in., as shown in Fig. 2 (d), the edges being very slightly tapered to allow this. Next saw and plane the back to length, so that it can be pushed into the opening to make a good, close fit. Plane the sides to ensure a tight fit when the drawer is pushed right back into the opening. Then saw and plane off the ends square to final length, allowing for at least 4-in. clearance at the back of the drawer inside the carcase.
Fig. 2 (e) gives details of the next stage of marking out. Using a gauge (preferably a cutting gauge, but a well-sharpened marking gauge will serve), set it to the distance D, which is the length of the lap of the dovetails. With this setting, gauge thetwo sides and both ends of the drawer front, as in Fig. 2 (e). Re-set the gauge to a shaving less than the thickhess of the drawer sides; gauge a line on the inside of the drawer front from each end, and also two corresponding lines oil the back, shown at S in Fig. 2 (e). Re-set the gauge to the thickness of the back, and gauge a line on the back end of both sides, as at B. Set the gauge to the distance of the top of the groove oil the front from the bottom edge, and gauge a line at the ends of the sides, as at G in Fig. 2 (e); this gives the final position of the lower edge of the back.
Mark out the dovetails on the ends of the side pieces and cut away the waste; the groove in the bottom must be covered by the bottom tail, for otherwise a gap would show at the ends of the drawer front. Cut the tails on the back end. Scribe the pins from the tails, and cut and fit the joints. Plough the groove on the front, allowing at least I in. below the bottom of the groove. Glue the joints and assemble the drawer; make sure that the joints are close, either by cramping or by tapping them together with a hammer, protecting the work from damage by means of a block of waste wood. Test the drawer to see that it is exactly square and out of winding; this is essential if the drawer is to fit the carcase properly. Allow the glue to set, and then clean up the drawer, planing down the sides until the drawer will slide in
FIG. 3. Stages in the preparation and
fitting of slips; (d) shows a stopfitled
to the bottom drawer rail.
smoothly ; finally plane the front to allow it to enter the drawer opening.
Beware of planing the drawer without first being quite certain where it is tight ; tight spots frequently show up as shiny areas where the sides rub on the carcase, and these parts should be lightly planed. When the drawer fits the opening it is ready to receive the drawer slips; these are made, as Fig. 3 (a), by first ploughing the edge of a suitably sized piece of wood, gauging the thickness of the slip and rounding off the top edge, as indicated by the broken line, and then sawing off the required strip. Clean off the sawn surface with the plane. The thickness of the slip should be about equal to the thickness of’ the drawer side, so that the area of the running surface of the sides is approximately doubled when the slips are in place. On the front end of the slip cut a tongue equal to the size of the groove, as in This enables the slip to be located exactly in the groove on the front. At the back end of the slip the top rounded portion is removed, as at B in Fig. 3 (c), so that the top of the groove on the slip will be level with the underside of the back. Glue the slips in place and allow the glue to set.
Fit the bottom into the groove; if solid wood is being used the grain should be parallel with the front of Principal details of construction of a typical rebated drawer.
the drawer, as in Fig. 2 (a). Slots to fit the shank of the screws are cut in the bottom at the back edge to allow for shrinkage, and the bottom is screwed from underneath to the lower edge of the back of the drawer. To allow for possible shrinkage in a solid piece the drawer bottom must project beyond the back of the drawer; if plywood is being used for the bottom no allowance for shrinkage need be made.
A drawer stop should be fitted to the bottom drawer rail to prevent the drawer from running in too far; Fig. 3 (d) shows these details. In order that the front face of the drawer, when closed, may be level with the
framework, the stop must be sit back from the front edge of the rail distance equal to the thickness of t drawer front. Set a gauge to th s thickness and gauge a line on
rail. Two stops should gene ally be used; these are small blocks of wood slightly thinner than t e space below the drawer bottom Glue and pin these stops in position exactly level with the gauge mark on the rail.
Rebated Drawer. A simpler type of drawer, which can be used for small articles, is shown in Fig. 1. It is not 4s strong as the dovetailed drawer, but is easier to make, the sides beings t into a rebate on the front, and glucd and nailed in place, and the back housed into grooves in the sides. The bottom is fixed as for the dovetailed drawer by means of drawer slips; if preferred, a slip could be used oil the front as well, instead of the groove shown.
Fit the front and sides to the c r-case as described for the dovetail d drawer ; the essentials for obtairim a well-flitting drawer are the same in each case. Set the gauge to a distance which is just a shaving less than tlile thickness of the sides, and gauge tie inside of the drawer front as at S in Fig. 4.
Next gauge the amount of lap for the side, as at L in Fig. 4. Saw down the shoulder-line of the rebate, and saw or chisel out the waste down to the gauge line. Place the two sides together and square off the position of the groove for the housing of
back, the distance apart of the t~o lines being exactly equal to the thiqkncss of the back, as at A in Fig. Square these lines across on to I inside of the sides, and saw a chisel the grooves, the depth of which is fixed by a gauge line.
Saw the back of the drawer to its exact length, remembering that it is shorter than the front by twice the distance X in Fig. 4. The depth of the back must be less than that of the sides, and its bottom edge should be level with the top of the groove on the front of the drawer. Glue and nail the sides to the front and back, and be certain to punch the heads of the nails just below the surface, so avoiding damage to the plane when cleaning up the drawer. Test the drawer for squareness and allow the glue to set. Plane Lip the sides so that the drawer fits the carcase, and fit the slips and bottom, as described for the dovetailed drawer.
For a sticking drawer, candle-grease, soap or talcum powder is an excellent lubricant ; waxes such as beeswax have a tendency to be rather too tacky.
Simple Drawer. A simple construction, which could be used for very small drawers is the third example illustrated in Fig. 1. The bottom is rebated into the front and sides
FIG. 5. Drawer of simple glued-andnailed construction. Parts are cut away in the drawing to show details.
Fi(;. 6. Drawer with a groove formed in the side (a); how a drawer may he .fitted under a flat top (b and c).
(Fig. 5), and is nailed or screwed in place. The sides are fitted as for the rebated drawer, the back being the same length as the distance between the shoulders of the rebate on the front. Rebate the front and sides, and k1lue and nail the drawer; test for squareness, and clean up when glue is set. Fit and fix the bottom.
Drawer with Grooved Sides. It is sometimes desired to fit a drawer between two flat vertical members which have no horizontal members to support the runners. This can be achieved as indicated in Fig. 6 (a). A groove is made in each side of the drawer only, the front remaining Untouched. A thin fillet which slides comfortably into the groove is screwed to each side of the carcase, to support the drawer. The front of the drawer at the end of the groove acts as a stop for the drawer.
Drawer Under a Flat Top. When a drawer is required under a flat top, such as the top of a workbench, it can be fitted as shown in Fig. 6 (b). A rebated block is screwed to the bench, and a fillet, which fits the
groove thus formed, is screwed to each of the drawer sides. An alterna.. tive to the rebated block can be built up from two pieces, as shown in Fig. 6 (c), and is just as efficient. A block screwed to the bench at the back of the drawer will effectively prevent it from going too far into the opening.
CUPBOARDS
Small Cupboard. A simple cupboard built up of framed panels fastened together is shown in Fig. 1. The dimensions given in Fig. 2 (a) are for a cupboard 2 ft. high by 16 in. wide and 12 in. deep, but these proportions can be modified to suit the purpose of the article.
The front frame is jointed together by haunched mortise-and-tenon joints, while the rest of the frames and also the door have similar joints, with the addition of the groove for
FIG. 1. Small cupboard made up of framed panels and a boarded top.
the panel (which has to be allowed for in cutting the joints). Details of the grooved joint are shown in Fig. 2 (b); the variations in the dimensions of the different parts to suit the differing widths of the bottom rails of the carcase and door are indicated in Figs. 2 (d) and (c).
After planing the wood to size, all parts that are to be of the same length should be marked out together. Since all eight of the vertical members, or stiles, of the carcase have to be identical, they should be cramped together and the position of the Joints and the final lengths squared across all eight pieces together. Similarly the two front rails and the two back rails can be marked together, and then all four side rails.
Set the mortise gauge to the .’-in. mortise chisel, and gauge all the mortises and tenons at the same time, after first squaring around all the necessary shoulder-lines. Cut all the mortises, and then saw down the cheeks of all the tenons. Next set the plough so that the width of the groove made is equal to the thickness of the material for the panel ; plywood is very suitable, but solid wood may be used if preferred.
Set the stop of the plough to make the groove about J in. deep, and uggested dimensions for the cupboard (a) and details of the grooved
.joints (b). At (c) is shown a plate used for securing the top, and at (d) and (e)
dimensions for the bottom rails ol’the side frame and of the door.
plough the groove on all pieces of the framework, making certain that the work is done from the face side of the wood in every case. Saw off the shoulders of the tenons, and cut the haunches to fit, easing off the plough groove at the ends of the stiles so that the haunch on the tenon will fit the groove at the end. Cramp up each frame to see that the joints fit properly, and carefully measure the size of the frame on the inside to obtain the dimensions of the panel, remembering to add the depth of the groove at both sides, since the panel is to fit into them.
Cut the panel to size, test it in place in the frame, and cramp up. If the joints are forced apart when the pressure of the cramps is slightly eased, then the panel is probably a little too large; this must be adjusted, otherwise the panel will force the joint apart after it is glued up. If the
panel is of solid wood, the width must be ~ in. less to allow for normal expansion in damp weather. Without this allowance expansion would tend to push the joint open, or to cause buckling of the panel.
When satisfied that the frame and panel are correct, glue the joints and assemble, placing a spot of glue on the centre of the edge of the panel as shown at A and B in Fig. 3. This fixes the position of the panel and stops it moving in the frame. Cramp up the frame, test for squareness, see that it is not in winding, and allow the glue to set before cleaning up the frame. It must be remembered that the front frame differs from the others in that it is not grooved on the inside.
When all four frames are prepared, screw or nail the front and back frames on to the two end frames, as shown in Fig. 2 (a), and the main carcase will be complete. Measure Sectional riew showing how the shelf and bottom are fitted.
the size of the door-opening in the front frame, and make the door in exactly the same manner as the other sections. The door is made a fraction
-full” in size as a provision for slight planing down when completed, in order to obtain an exact fit. Hinge the door in place with a pair of 2-in. brass butt hinges. The ends of the hinges are usually placed level with the inside edges of the top and bottom rails, as in Fig. 2 (a).
Fig. 3 gives a sectional view of the cupboard, showing the method of fitting the shelf and bottom. The shelf is held in position by means of fillets screwed to the stiles at each side, and the bottom is secured by fillets screwed all round on the inside of the
base. The front edge of the bottoii acts as a stop for the door.
The top is of solid wood, overlapping the carcase by I in., and he~d in place by small metal plates which allow for the expansion or contra
Q-
of the wood. Details of thefe- plates are given in Fig. 2 (c). If a pliwood top is preferred, it should tie made slightly smaller than the top 6f the carcase, and secured with pan~l pins. A wooden handle is shown in the assembly illustration, and is screwed oil from the inside, but any oth r formof suitable fastening may e used.
Store Cupboard. A good-sized cup board is needed in most homes,
one illustrated in Fig. 4 could be used in the kitchen, as a store cud_ board or as a toy cupboard. The legs are out of I ‘-in. stall’ and the rails are all tenoned into them.
A convenient height is betwee 2 ft. 6 in. and 3 ft. The other dimersions are shown in Fig. 5, where the details on the right illustrate one cf the back legs as seen from the inside. The top rails have haunched tenon $, and all side rails are grooved to take the plywood panels for the sides, the mortises being cut to allow for the reduction of the tenons by the groov
FIG. 4. For a larg,
cupboard than th,t
illustrated in Fig. 1, th,
two-door design show
here is suitable. Le.,
raise the carcase cle,
of the floor.
CONSTRUCTION OF
A STORE CUPBOARD
Note that the back rails are set in from the back face a distance equal to the thickness of the plywood
panel, probably 2. or 3 in., and the
back legs are rebated to the same depth and i in. wide, so that the back can be screwed to the legs as well as to the top and bottom rails.
on them. Cut the mortises and saw down the cheeks of all tenons.
Next plough the required grooves; then saw off the shoulders of the tenons and fit all the joints carefully. Cramp up the ends dry, to make sure that the frame goes together correctly, and then fit the panels. Cramp
I ~6 In. SQUARE
FIG. 5. Principal dimensions of the cupboard illustrated in Fig. 4, together
with details of the jointing of the rails into the left-hand back leg.
‘File legs are grooved to take the side panels only, as seen in Fig. 5.
The front rails are fitted flush with the front surface of the legs, as in the detail drawings Figs. 6 (a) and (b), the ends of the tenons being mitred where they meet inside the leg.
Commence the construction by cramping all four legs together; mark out across them the final lengths and the positions of all mortises. Repeat the procedure with all rails that have to be the same length, and square across the shoulder-lines
up the front and back dry, in the same way. When satisfied that all joints are correct, rebate the back legs for the back panel. Glue up and cramp the two sides first, test for squareness and flatness, and allow the glue to set.
Clean up the ends, taking particular care to remove any excess glue that may be in the mortises. Again cramp up dry to test the final fitting; if satisfactory, dismantle for gluing and then cramp up the whole structure. Clean up when the glue is set, and fit and screw on the back panel to the rebates on the back leg, and to the top and bottom rails.
The bottom is fitted in exactly the same manner as described for the small cupboard on page 226, by screwing fillets to the bottom rails so that the bottom is supported all round. One or more shelves may be
fitted as for .the previous cupboar and supported by light batters screwed to the legs on the inside.
The doors are as described for t e door of the cupboard on page 22 ; a slight fullness in size is allowed f r a little planing down to an exact M. If the meeting stiles of the door a e left butted together as in Fig. 6 (f ?I no complications arise, but if te doors are to overlap with a rebate, is shown in Fig. 6 (c), the inside stile of the left-hand door must be made I in. wider, as indicated, to allow for the overlap, so that the two stiles appear to be the same width from the front.
A lock may be fitted to the cupboard if desired, together with x ready-made knob or wooden handle, as for the previous cupboard.
The top overlaps as shown in Fig,, 5 and 6 (e); it is held in positio by means of metal plates as suggested for the preceding cupboard.
If a larger cupboard is required th~ panels will need one or more cross rails, according to height, as indcated by the broken line in the end view of Fig. 5 (a). The doors also will need a similar rail. These rails are mortised into the vertical me
bers and have grooves on their to) and bottom edges to take the pane~ The mortise is therefore equal to th width of the rail, minus twice tht depth of the groove (Fig. 6d).
Jointing of rails and legs (a and b), and a cross rail necessary in large frames (d); the other sketches give details of the doors, (c) and (f) being allernaHres,for the meeting stiles.

ART NOUVEAU BELGIAN FURNITURE: LADY’S BUREAU, MAHOGANY AND MIXED-WOOD TABLE, MAHOGANY SCREEN, WALNUT TABLE, COIFFEUSE.

IN LATE 19TH-CENTURY Europe, Art
Nouveau reached its creative peak in Belgium. Its success there was largely due to the fact that people were encouraged to explore fresh, exciting ways of looking at the arts.
The same, spirited Art Nouveau message that called fora cohesive, unified interior — so successfully accomplished elsewhere in Europe —took root in Belgium in the work of a number of innovative artist-architects, such as Victor Hotta, Henry van de Velde, and Gustave Serrurier-Bovy
The Belgian version of Art Nouveau had much in common with its French counterpart. Both embraced free-flowing, sinuous, sculptural furniture, and had a rich vocabulary of decorative motifs in organic shapes — plants, Hower blossoms, trees, butterflies, and insects — all drawn from the natural world.
HENRY VAN DE VELDE
Henry van de Velde won universal acclaim for the design of his own home near Brussels — Bloemenwerf —where furniture, carpets, and wall coverings combined to create a harmonious whole. He forged strong links with France by showcasing and selling his furniture at prestigious retail shops in Paris, including Siegfried Bing’s FArt Nouveau and La Maison Modern owned by Julius Meier-Graefe. Widely celebrated
throughout Europe, van de Velde was influenced by the writings of William Morris and believed that art should always follow organic form — a theory that underlined his furniture designs. Echoing nature’s subtle curves and lines, they were rendered in light-coloured, native timbers such as walnut, beech, and oak, and had minimal decoration. Despite van de Velde’s theories, function was key to his sturdy yet elegantly simple cabinets, tables, and writing desks.
VICTOR HORTA
Another Belgian pioneer of the Art Nouveau style was the architect and designer, Victor Hotta, who designed spectacular buildings such as the
splendid Hotel Tassel in Brussels. His interiors coalesced into harmonious and integrated ensembles: from wall panelling, ceilings, and door frames to furniture and metalwork fixtures, using an exciting range of new
materials, such as iron and glass.
The cross-fertilization between French and Belgian Art Nouveau resulted in Horta’s energetic, curving style — with its signature whiplash curves — influencing Parisian designers such as Hector Guimard. His expensive furniture was skilfully crafted in luxurious timbers such as maple, mahogany, and fruitwoods, and lavishly upholstered in fabrics such as velvet and silk.

GUSTAVE SERRURIER-BOVY
Like van de Velde and Horta, Gustave Serrurier-Bovy adopted many familiar Art Nouveau decorative motifs to complement his furniture, including plants and flowers, sinuous curves, and high-wrought mounts of pewter or brass. Determined to produce well-designed furniture for everyone, Serrurier-Bovy was also inspired by the English Arts and Crafts Movement, as seen in his robust, rectilinear furniture and in his preference for oak.
The influence of these highly original Belgian designers reached beyond their national borders to set the cultural standard for Art Nouveau furniture throughout much of Europe.
The Musee Hotta This building was originally built by Victor Horta as his own studio and residence. This view shows the integrated interior, with both the staircase and glass dome featuring his
characteristic whiplash curves. 1898.

COIFFEUSE
This mahogany coiffeuse was designed by the artist-architect, Gustave Serrurier-Bovy, as a piece of bedroom furniture. The mirror is comprised of three panels, contained within a gently curving frame. The table section has
two pairs of drawers above and two drawers below. The elegant, curved lines of the top of the piece are echoed in the arched stretchers joining the legs, and the arch at the front of the table, which creates the kneehole. 1899.
BED FRAME
s bed frame has a bold, curvilinear shape is made from stained oak. It was designed Henry van de Velde. The head has bowed and arched profiles and ’s of raised and fielded, shield-shaped
panels. The piece terminates in splayed feet, which form part of the overall curved shape, and rests on brass casters. Henry van de Velde believed that art should follow an organic form and this influenced the shape and decoration of his furniture. c.1897-98.

SIDE CHAIR
This mahogany chair was designed by Victor Horta and illustrates his use of sumptuous materials and curving style, as shown in the design of the chair back, legs, and stretchers. The seat
is covered with a generously upholstered cushion.
c.1901.
WALNUT TABLE
This walnut occasional table has an overhanging circular top, arched apron, and curving, cabriole legs that terminate in stylized feet. The piece was designed by Henry
van de Velde. c.1916.
MAHOGANY SCREEN
This mahogany screen, designed by Gustave Serrurier-Bovy, has three glass panels that create strong vertical lines. In contrast, the top of the piece is sinuous in shape. While the glass in the lower half of the screen is original, the upper pieces are replacements.
1899.

MAHOGANY AND MIXED-WOOD TABLE
This side table is made of mahogany decorated with marquetry. The top is inlaid with a floral decoration above a short drawer, and the cupboard is inlaid with a daffodil design. The supports are embellished with sinuous tendrils and brass fittings.
c. 1902.
LADY’S BUREAU
Designed by Henry van de Velde and made by H. Scheidemantel in Weimar, this bureau design is typical of the work of van de Velde. The curved lines of the wood are used to create an unusual and organic shape, avoiding applied, inlaid, or any elaborate decoration. The only detailing is the unobtrusive, copper key mounts and the brass shoes. c.1903.

Antique 19th Century Spanish and Portuguise Furniture.
ON THE IBERIAN PENINSULA, styles from
countries that had close relationships with Spain and Portugal, in particular, Morocco, were fused with a dominant French aesthetic. This resulted in
distinctive, solid furniture peppered with lighter touches.
SPANISH FUSION
“Isabellino” furniture was the Spanish interpretation of the French Second Empire style. Richly decorated with contrasting colours, it was more
exuberant than its French counterpart, and its symmetry allies it more closely with the Baroque than with the Rococo revival that swept across the rest of
Europe. Pieces made for the court of Isabella 11 (1833-68) were the most sumptuous of all and set the agenda for the aspiring merchant classes.
The use of mother-of-pearl inlays, frequently in geometric patterns, was very widespread. Other fashionable decorative elements included mounts of bronze or gilded wood, and painted decoration applied directly to the timber. Classical motifs, including carved putti and acanthus leaves, were also commonly used.
Openwork carving often made use of themes drawn from Morocco, Spain’s closest neighbour to the south, and one that has lent a distinctive
Islamic twist to the Spanish decorative arts for centuries. Moorish forms and decoration, such as woven upholstery and turned spindles, were widespread throughout Spain during this period. In fact, Moroccan influence was by now so well established that it broadened to include elements from other Islamic cultures.
Isabella It’s bedroom at the Palacio Real, Aranjuez The solidity of the dark wood furniture and fittings is offset by the sumptuous gilded carving that adorns the bed.
SPANISH MOORISH DRESSING TABLE
This walnut and ebony dressing table is inlaid with intarsia. The cabinet is surmounted by an arched mirror, at the base of which are two small drawers. A frieze drawer sits above a pair of panelled doors, which enclose a fitted interior. The case stands on block feet with casters. Mid 19th century.
SPANISH CABINET
The parquetry top of this tortoiseshell, mother-of-pearl, and walnut cabinet has projecting corners. The case has seven drawers, flanked by free-standing columns, and arranged around a central door and two drawers below. The Moorish influence is apparent in the Arab-style
design. Mid 19th century.
PORTUGUESE COMMODE
This is one of a pair of carved Rosewood petite commodes. The exaggerated waisted shape is a very common Portuguese form during this period. The ball-and-claw feet on cabriole legs are taken from mid 18th-century English designs. Late 19th century.
PORTUGUESE CENTRE TABLEPORTUGUESE SIDE TABLE
This centre table is made of rosewood and is in the style of those popular in the late 17th century. The rectangular table top has brass mounts at the corners and the frieze is fitted with drawers and dummy drawers. It stands on bulbous, twist-carved legs joined by twisted stretchers. c.1880.
This side table is made of stained walnut. Beneath the plain top is a single frieze drawer. The overall form, with its H-stretcher and central uprights, is 17th-century French, but the style of carving gives it a Portuguese provenance.
Cyrillic script betrays the central Asian provenance of some Moorish furniture constructed in Spain at this time. Carpets used as upholstery were sourced from the Tekke of Turkestan, for example. Heavy silver adornments were another decorative element borrowed From this part of the world.
The drawing-room suite, usually comprising a sofa and a pair of armchairs, became extremely popular in Spanish homes during this period. The occasional table continued to enjoy the popularity it had won in the earlier “Fernandino” period. Around 1870, Ater a period of civil war that Followed the end of Isabellas reign, designers
began to seek inspiration in traditional Spanish furniture from the 16th and 17th centuries.
PORTUGUESE ASSIMILATIONS The Portuguese had suffered greatly Lit the hands of Napoleon’s Forces but had been impressed by a system of government that freed them from the yoke of a repressive monarchy. Rebellion and civil war plagued the reigns of Maria 11, Pedro V, and Luis 1, the rulers of Portugal during the mid 19th century.
French influence had declined after liberation From Napoleon, and designers began to follow the work
of British cabinet-makers more closely. As a result, features such as the cabriole leg and paw foot became widespread in Portuguese furniture. Another important outside influence came from Germany. The Portuguese embraced the Fading Biedermeier style through Maria 11, who had a number of German consorts.
Towards the end of the century, Spain began to embrace styles based on the more distant past of their own peoples, while Portugal embarked on an
enduring affair with designs from the Joao V period (1706-50). Rosewood continued to be the favoured wood because of Portugal’s colonial interests.
LATIN AMERICAN NEOCLASSICISM The thriving Latin colonies in Central and South America had never been exposed to the French Empire style that had pervaded Europe and from which the bulk of European mid 19th-century furniture had developed. The widespread diaspora of patterns originally drawn by 18th-century masters, such as Chippendale and Hepplewhite, did reach these distant western outposts and were the basis for a Latin American Neoclassical revival. Latin American furniture in the mid 19th century was, therefore, far closer to British forms than that produced on the Iberian mainland.