Posts Tagged ‘splendour’

First created by Cartier in 1952, the design was immediately copied and reinterpreted in many variations by most of the jewellers of the time.
Contemporary daywear fashions were dominated by the classic two-piece suit reintroduced by Chanel at the reopening of her atelier in 1954, and these yellow gold earrings suited them perfectly, as well as the stylish afternoon dresses then in vogue.
Earrings simply mounted with a single pearl, natural or cultured, often of large size without any form of decorative surmount, gained in popularity throughout the decade thanks to their adaptability to both day and evening dresses and to their discreet sheen which always flattered the features of the face without being as overpowering as diamonds. Cultured pearls came back into favour after a decade of neglect; and natural pearls, whose price had dropped dramatically in the 1920S when cultured pearls became widely available, were admired again and rose in value. As cheaper alternatives, large mabe pearls were favoured within gold and diamond borders.
Left and opposite: three pencil designs for gold and gem-set earrings,
by Mellerio, i 95os.
A pair of i 8ct molten gold, diamond and baroque pearl earclips bv Andrew Grima, 1968. The stylized flowerhead surmounts support detachable pendants.
The 1960s
In the 196os the marked distinction between very precious earrings set with diamonds for the evening and less expensive gold earrings for the day disappears. All types could be worn at all times provided that they were large and decorative. Their effect was achieved not necessarily by using materials of high intrinsic value, but by exploiting contrasts of texture and colour. A good example of this style is a pair of opal, emerald, sapphire and diamond pendent earrings mounted in yellow gold in 1966 by Andrew Grima, a particularly successful jeweller and designer who can be regarded as the trendsetter of the sixties style in Britain. His earrings are typical of the time in their abstract design and in their interplay of different textures, the rough gold mounts contrasting with the smooth and polished surface of the opals. Their vivid use of colour is also typical; the bright green emeralds, the intense blue sapphires and the bright multicoloured flashes of opals highlighted with diamonds and gold are particularly striking. It is not surprising that these eyecatching earrings won the 1966 Duke of Edinburgh Prize for Elegant Design, the first and only time that a piece of hand-made jewellery rather than an industrial product gained this prestigious award. The judges’ report stated that British jewellery designers ‘are now starting to win an international reputation for their imaginative work … There is a much less inhibited attitude to new techniques, such as melting under controlled temperatures and new ways of giving different textures to gold. These have given much greater scope to the designer and have released him from the rigid conventions of setting — and much credit for this liberation, and for the gaiety that has resulted, must go to Andrew Grima, the recipient of the 1966 prize.’
Similar qualities are to be found in Italian clips set with emeralds, sapphires and gold. The amoeba-like abstraction of their design once again combines contrasting elements: the large cabochon emerald with its smooth and polished surface in contrast with the textured gold mount, and the striking use of colour: green, blue and yellow. The emeralds and sapphires, although not of gem quality, have been exploited for their attractive colour, once again indicating how contemporary jewellers were often more interested in the decorative quality of the gemstones than in their intrinsic value.
The use of uncut gemstones and natural objects unworked by man was widespread at the time, and jewellers in most countries were eager to exploit such materials. Emphasis was placed on the contrast between faceted and uncut stones, such as agate geodes, aggregates of amethyst or dioptase crystals left in their natural form. In one
P 1771, pair of long pendent earrings, sapphires, diamonds and fragments of crystal dioptase
178 are combined with rough-textured gold-work reminiscent of entwined branches. Interest in unusual textures, striking colour combinations and relatively cheap materials prompted jewellers such as David Webb and Verdura in New York and Darde et Fils in Paris to make use of exotic and colourful sea shells for their earrings. The bold contours of the polymita pieta (Cuban tree snails) with brown, orange, yellow and white stripes applied with gold lozenges by David Webb (1964-65) or with gold saw-teeth by Darde et Fils show how such materials can be successfully used. All the examples reproduced here belonged to the Duchess of Windsor, who like other fashionable women of the mid-sixties did not disdain comparatively inexpensive ear-clips provided that they were unusual and decorative. All sorts of shells of differing shapes were adopted to both short and long earrings, as is illustrated by the extraordinary late sixties example by Grima, where an elongated tusk-shaped shell from the South Pacific is enclosed in a gold wire case and its natural curve exploited to echo the contour of the face.
Nature, transmuted in abstract and stylized forms, was the source of inspiration
for many ear ornaments: for example, the intricate form of sprawling roots is the
basis for gold mounts in the earclips designed by the American jeweller Arthur King,
where the central cultured pearl or smooth coral bead is held in a surround of textured
and entwined gold wire-work. In a similar way small gold batons soldered together,
framing the large sapphires in Grima’s 1968 earclips, are reminiscent of the twigs in
birds’ nests, while in a pair of decorative and exuberant earrings by Meister of Zur-
ich (designed in 19′71 but very much in the style of the i 96os) clusters of mimosa
blossom are juxtaposed with polished gold spheres and brilliant-cut diamonds. Ab-
stract forms and different textures, consistent features of 196os jewels and earrings,
were achieved by means of new techniques such as melting under controlled tempera-
tures. The results can be seen in the gold and coral earclips by Sterl6 where the gold
mount appears as ‘frozen’ molten metal, or in the jagged textured gold edges of Marit
Aschan’s earclips of 1966, reminiscent of butterflies dipped into turquoise enamel
encrusted with diamonds. One of those who has continued since the i 96os to achieve
P. 189 infinite variations of texture in gold is Gerda Flockinger. In a stunning combination
of interchangeable earrings of 1980, the inherent beauty of the molten gold is empha-
sized by minute grains and swirled encrustations where tiny diamonds sparkle at ran-
dom. Most of these innovative examples are one-off productions and reflect the
greater importance attached to creative design rather than intrinsic value; in fact, the
jewels in their settings are worth considerably more than their break-up value, which
indicates both that people are buying more for beauty of design than for investment A pair of gold, enamel and diamond star-shaped earclips with matching brooch, and a pair of gold, ruby and diamond earclips designed as flowerhead clusters, both by Boucheron, Paris, circa 1970.
and that the designer is achieving a personal status very different from the anonymity of his immediate predecessors. Examples produced in larger quantities and not as one-offs were manufactured for a more conventional clientele, and although not as daring as the designs by Grima, Sterl6 or Marit Aschan they display characteristic sixties elements. This is noticeable in the pair of stylized flowerhead earclips by Kutchinsky, where the theme, naturalistic this time and not abstract, is made vivid by bright and smooth green and blue enamel juxtaposed with the rough textured gold border.
Other fashionable earrings, especially for day wear, were inspired by objects, plants and animals that had not been associated with jewellery in previous decades. Some of them are distinctly light-hearted, such as the frog earclips in gold and bright green enamel with cabochon ruby eyes which David Webb presented to the Duchess of Windsor in 1964; or the pineapple earclips set with stripes of calibre-cut onyx and rubies designed in 1968 by Jean Schlumberger. Surrealist themes in jewellery had already been pioneered in the mid-fifties by artists such as Salvador Dall; the ‘Honeycomb Heart’ earclips of 1954 studded with circular-cut rubies and diamonds, and paired gold wing earclips signed ‘Dall’ in black enamel are good examples. But it is only in the sixties that one witnesses in jewellery a proliferation of such witty and amusing motifs. They represented a break with tradition and went hand-in-hand with the vogue for all that was fun, innovative and daring and they suited the fashion that replaced Dior’s sophisticated New Look and opulent but measured elegance with (alternative’ clothes — trousers and miniskirts — and required ‘alternative’ jewels to match. This new social and moral climate of the sixties found expression in such outward signs as the geometric and sculpted dress of Courreges or Paco Rabanne, the miniskirt of Mary Quant, the severe and short bob devised by Vidal Sassoon — and amusing unconventional earrings.
At the same time traditional examples of high intrinsic value continued to be produced. These were designed as diamond-set stylized flowerhead clusters supporting opulent cascades, but their jagged contours, achieved by alternating brilliant-cut and marquise-shaped diamonds held in minute white precious metal claws, differentiate them from the flowing and continuous lines set mainly with baguette diamonds of the previous decade.
The 1970s
After 197o earring design, like fashions in dress and hairstyle, seems to break free from all constraint and to become almost infinitely varied. The only common feature is largeness.
One of the most characteristic types of earring for day wear was a pendant designed as a large circular, oval or drop-shaped hoop held by a smaller surmount of similar design. These were mainly carved in hardstones including rock crystal, lapis lazuli, onyx, coral, tortoiseshell and ivory or rare woods like bois d’armourette, or they could be made of gold, often decorated with bright contrasting enamels such as blue with
P f84, yellow and red. The popularity of this hoop pattern was such that one finds it is
185 repeated both in designs and extant examples from all the major jewellery firms. Van Cleef & Arpels and Mauboussin were famous for their pear-shaped onyx hoops embellished with gold and diamond motifs suspended on variously shaped surmounts, such as the example illustrated on p. 184, where the elongated onyx hoop decorated with pave-set diamond motifs hangs from a leaf-shaped surmount of brilliant-cut diamonds. Often these earrings came with a long chain necklace — the most typical jewel of the seventies — formed of similarly designed links suspending a large pendant which repeated, in an enlarged form, the motif of the earring. Boucheron favoured an upside-down drop-shaped surmount with a similarly designed but larger drop in gold, lapis lazuli, tiger’s eye, or pink coral (e.g., model nos: 37640, 37632, 3763 1 and 37750 of 197o and 1971). The great popularity of the pendent hoop earring was also exploited by Mellerio, who did not limit himself to two hoops but designed examples with three, made of textured or corded gold linked together. Besides the repetition of the pendent hoop motif, another noticeable feature of most jewellers and above all of Boucheron’s production is the use of vivid and striking colour combinations, such as pink-green-gold, brown-pink, brown-green, turquoise-purple, light blue-black-gold and red-black-white. Hoop earrings were all made of gold or carved in hardstone; they were frequently decorated with pave-set diamond motifs but never with faceted coloured gemstones.
Hoop earrings were also widespread in the USA; David Webb in New York became celebrated for his large rock crystal and diamond drop earrings with pear-shaped hoops carved in rock crystal and embellished with diamonds. The design was devised one day when he happened to see a crystal chandelier being dismantled. His heart sank at the sight of such wonderful drops being wasted and he thought immediately of earrings. His design was so successful that these earrings continued to be produced well into the 1980s.
During the 1970s the most important jewellery houses such as Boucheron, Cartier, and Van Cleef & Arpels were differentiating between unique creations set with exceptional gemstones made on commission and more readily available products at more affordable prices intended for a wider but still discriminating clientele. Many of the examples mentioned above were included in the ’boutique’ line of these jewellers and were meant for the fashion-conscious woman who was free to chose her own jewels according to taste and the colours of her clothes. The idea was to own several pairs of earrings of different colours which would be changed to suit various occasions.
The great popularity of the hoop-in-hoop motif meant that it was also adopted for evening wear. When that happened, a more precious version was produced, either
set entirely with diamonds (as the earrings by Gerard 1978-79, where the three P. s, hoops suspended from a cluster surmount are claw-set throughout with brilliant-cut diamonds) or with the hoops enlivened by coloured precious stones such as rubies, emeralds and sapphires alternately set with diamonds (as can be seen in some designs by Boucheron, nos: 37731 and 120971). Other precious examples for the evening P. Y8 repeated a similar outline of the hoop pendants but the hollow centre was filled with encrustations of exotic decorative motifs set with differently coloured gemstones. The inspiration of many of these earrings was Indian-, the red and green colours, as in the Boucheron example of 1978, suggest the combination of colours in Jaipur enamels; and the use of cabochon stones in flowerhead arrangements of gemstones is typical of Indian 18th- and 19th-century traditional jewellery. This source of inspiration is confirmed by some of the names given to designs of this period such as: Arabesque, Sultan, Nepal. It is not surprising that the Middle East and India inspired earring design, for many aspects of artistic, cultural and intellectual life in the 1970s were influenced by the East.
The short earring was often designed as a half-hoop or a hoop simply clamped to the earlobe with a clip fitting. Like pendants, they were made either of yellow gold, variously textured and worked, or set with coloured semiprecious hardstones embellished with diamonds. It is interesting to note that throughout the seventies the metal used for setting all gemstones including diamonds was yellow gold and not platinum or white gold; since the 18th century diamonds had almost invariably been set in white metal to increase the whiteness of the stones, and only in the I 97os did the jewellers switch to yellow gold. This probably has several explanations: firstly the influence of traditional Indian jewels where diamonds were set in gold; secondly a desire to break with tradition; and thirdly an attempt to make diamond, the gemstone par excellence, more wearable at any time of the day and give a more casual look to the most glamorous and evening-orientated gem; the warmth of the metal and its association with daytime jewellery made such adornments more wearable. Obviously there were disadvantages in using gold with diamonds, for example high colour, very white stones appearing of lower quality when reflecting the yellow gold mount. On the other hand diamonds known as Cape stones which possess a yellow tint look better in a yellow gold than in a white gold or platinum setting. The seventies fashion for large earrings, cabochon coloured gemstones and above all the use of gold as the sole metal for setting all gemstones, and especially diamonds, are features which continued to be popular in the following decade.
The 1980s
In the 19 8os earrings became so fashionable that they might be considered the jewel of the decade. Leading jewellers in Europe and the United States agree that by far the best selling jewels of the period were earrings. They were the favourite of the fashion-conscious woman, often being worn as the sole form of jewelled ornament. They were considered an indispensable fashion accessory to match and complement the style of an outfit, whether that of the executive woman in a tailored Armam suit by day or the extravagant and feminine woman in a Lacroix gown by night. This explains why women of the eighties owned numerous pairs of earrings and never felt that they had enough. Furthermore, earrings, unlike rings, have no sentimental implications, and can be bought, given as a gift or changed without a second thought. Demand stimulated supply — from mass-produced types marketed in large numbers to the most exclusive and one-off creations. But they all, short or long, followed a certain
P. 180, pattern: they had to be bold, flashy, large and colourful. Designs in this period are
181 extremely eclectic, but all short earrings are characterized by large, bold yet compact shapes, while pendant earrings may be distinguished by their large sculptural and three-dimensional drops which differ from the elongated linear hoops of the previous decade.
Among day earrings there was another archaeological revival, largely promoted
by Bulgari who since the mid-seventies had been mounting earrings with ancient
p. 186 coins. Greek, Roman and even I 7th- and i 8th-century coins, known as ‘gemme num-
marie’, numismatic gems, were set in sleek mounts of matt or shiny metals of differ-
ing colours. Striking effects were obtained by juxtaposing ancient, worn materials
with smooth and sleek modern mounts and by combining metals of contrasting
colours. An example is the combination of gold and silver in the 1982 gold earclips
set with a silver drachm of Demetrios I Soter, Syria (162-150 BC); platinum, gold
and electrum are placed next to one another in the 1984 clips set with two electrum
hecte struck in the island of Lesbos at Mytilene between 44o and 3 50 BC, held within concentric platinum and gold circles; and bronze or steel in combination with more precious materials became a distinctive feature of Bulgari and was employed in bold and innovative creations. Modernity is opposed to antiquity in the hoop earclips of 1980 designed as a graduated white gold band of flattened tubular linking set at the centre with two fanam yellow gold coins of the Dutch Indies 0 719-40). Although coins might seem rather uninteresting and repetitive to the layman, the variety of these earclips is astonishing: coins appear singly or in pairs, and the mounts display an unlimited variety of decorative patterns: reeded or corded wires, concentric sections, fluted elements and flattened tubular chains sometimes embellished with a few diamonds or cabochon coloured gemstones and small pearls. A compact circular form is common, since it is demanded by the shape of the coin, and a genuine archaeological concern has led to the mounts always being inscribed with the provenance and denomination of the coins.
Archaeologically inspired earrings were not limited to Italy: the Greek jeweller Ilias Lalaounis had been designing such jewels since the late 19 5os but his earrings gained popularity in the eighties, with their large size and decorative bold shapes. His designs have since been copied and reinterpreted by many other jewellers in Greece and throughout Europe.
Lalaounis’ earrings are inspired by the work of ancient Greek and Byzantine goldsmiths. Sometimes they are outstanding for their closeness to original ancient examples, while at others they are pastiches of Classical and Hellenistic themes, such as lions’ or rams’ heads, reminiscent of Greek late Classical earrings. All are in matt 22-carat gold, attempting to match the colour and texture of ancient examples. Reminiscent of Byzantine jewels are domed discs with granulation motifs encrusted with deep green emeralds and red rubies combined with pearls.
The fact that women want to own many pairs of earrings to suit different occasions has prompted the creation of large numbers made of relatively cheap materials which are nevertheless very attractive and eyecatching. Marina B in the 198os had mastered this art by setting her highly innovative and decorative earrings with semiprecious stones of various colours combined with small diamonds, yellow gold, black burnished gold and black metal. In all this variety of materials and shapes (hearts, tassels, drops, hoops) the unifying element is the striking way in which colours are combined with the sculptural, three-dimensional form of both the surmounts and the drops. For example the Cimin model of 1987 inspired by a Chinese lantern is in burnished black gold set with six blue topazes, yellow citrines, and amethysts, two pink tourmalines and diamonds. Among the most successful creations of Marina B is the Pneus earring, first designed in 1980, characterized by a squat circular pendant inspired by the pneumatic tyre of an aeroplane — hence the name. In this type the circular drop, carved in semiprecious gemstones, can be changed for similar drops of differently coloured stones such as pink tourmaline, rock crystal or blue topaz in Pendent earrings with wide and voluminous drops and compact clips in the form of large discs or fat crescents in many variations remained in favour throughout the decade both in Europe and in the United States. Bulgari’s output is still dominated by
P. 183 large earclips such as those set with a pink sapphire flowerhead with emerald leaves at the centre of a cushion-shaped panel decorated with baguette and brilliant-cut diamonds; other motifs include open hearts set with sugar-loaf cabochons of precious stones of various cuts such as emeralds, rubies, sapphires and diamonds. A common characteristic of these colourful earrings is the imaginative and varied cuts of the gemstones which are shaped in order to fit the design: e.g. , the tassel or baton-shaped
P. 181 quartzes of the 1984 Najwa earring by Marina B.
The typical fitting of these earrings is a combination of clip and stud. From the late seventies ear-piercing regained popularity, losing its negative connotations, mainly because earrings fixed through the lobe are much more secure. Safety and comfort are priorities when earrings are heavy. Some eighties earrings weigh up to 4o grams, and the weight, especially in large pendent earrings, is alleviated both by the spread of the surmount and by the additional clip fitting which enables it to be distributed over a larger surface. The combined clip-stud fitting also had the great advantage of being easily adaptable to the unpierced ear by sawing off the prong of the stud.
p. 182 As ‘flash’ is the essence of earrings of the eighties, in examples where coloured gemstones were not used, large surfaces of polished or hammered gold with diamonds were favoured, such as the large disc-shaped earclips retailed by Harry Winston, the bold crescents of the Ecumes by Marina B and the double twisted hoops by Repossi, all mounted in yellow gold pave- or collet-set with diamonds. The glamour
P. 180, of gold, its richness of colour and its reflective quality were exploited also by Paloma
189 Picasso and Elsa Peretti. Both designing for Tiffany, they created earrings of very simple but bold shapes cast in gold. The glamorous effect of their stylized leaf, bean, cross, dome and hoop earrings is achieved by curving the polished gold surface and allowing it to reflect light in different ways. These earrings suited the taste of the emancipated woman of the eighties by combining feminine allure with the masculine look, gold and diamonds with cotton T-shirts and jeans.
The past decade has also witnessed an increase in the production of most lavish and expensive earrings set with exceptionally rare stones. In these cases the shapes tend to be fairly traditional, with the emphasis on the size and shape of the gemstone rather than the design.
The name of Harry Winston in New York has been traditionally associated with
this lavish production. Among his most successful works are informal diamond clus-
ter earclips, set with marquise and pear-shaped stones. The design was first created in
the sixties but it has continued to be favoured until the present day, becoming a trade
P. 191 mark of the firm. A pair of the most recent cluster earclips by Harry Winston, made
in 1989, is set with a total of 26 stones weighing 5 1.22 carats, remarkable not only
for the weight but the quality of the stones which are all D (I.e., pure white) flawless.
A pair of pearl and diamond pendent earrings by Cartier, London, 1928. This example is typical of the late 1920S for the slightly flared drop, differing from
slim and elongated drops and the earlier
for the use of white gemstones only. Their exceptional length, 9 cms, is another typical feature of earrings of the time, me, which often grazed the shoulders.
This example may be distinguished from earlier clusters by its richer and more compact contour.
Cluster earclips are also used as surmounts to suspend detachable drops set with large gemstones such as emeralds, sapphires or diamonds. An exceptional example is the Harry Winston cluster tops with D flawless pear-shaped drops weighing 34.80 and 37.12 carats respectively. Large pear-shaped ruby earrings are never found because gem quality rubies are extremely rare and can hardly be matched. Lavish ruby earrings are always set with clusters of smaller stones, such as those set in hoop earrings by David Webb.
The increasing quest for the perfect stone has meant that most high-quality gemstones set in important earrings are now accompanied by certificates from internationally recognized gemmological laboratories. The origin of coloured gemstones is stated, Columbia is prized for emeralds and Kashmir for sapphires; diamond certificates state the colour of the stone, with pure white (D) being the most sought after, and clarity is defined as the absence of internal impurities visible under ten-fold magnification. In recent years there has been growing interest in naturally coloured diamonds, blue, pink and yellow, and once again Harry Winston has been in the forefront. An example of ‘fancy’ coloured diamonds are those set with a yellow emerald-cut diamond in a border of six pear-shaped stones.
As the object of these earrings is to show off the stones, the mounts have a purely functional role with minimal impact of their own. This explains why the stones are held by minute claws which, in the case of high colour diamonds, are always in white metal. The result differs from the style of contemporary decorative earrings, where larger stones are nearly always collet-set in gold.
The rarity and value of these earrings derives both from the quality of the gemstones and the difficulty of matching them in perfect pairs, especially when one considers how many tons of diamond ore have to be sifted to find just i carat of gem quality diamond.
In the i 99os earrings show no sign of falling in popularity. Indeed their variety, splendour and ingenuity of design seem likely to rival any decade of the past. Costume jewellery, the demi-monde of the fashion world, has attained respectability and examples of it are often almost as expensive as the precious items they imitate or parody. The outrageous has become the commonplace, making it increasingly difficult to distinguish high from high-street fashion. An art form that has been flourishing for at least four thousand years is as alive as it ever was, as exciting, as beautiful.

FRENCH FURNITURE
Louis XIV, 1643-1715
T is desirable for the man interested in English furniture
to have at least a working knowledge of the French styles,
if for no other reason than that of appreciating their influence on English work seventeenth century english stoneware . To understand them thoroughly is a study equally as wide and intricate as that of English furniture (if not more so) and to do justice to the subject would call for a separate volume as large as the present one antique porcelain tea pot made in france . In these few pages one can hope to do little more than point out the salient features 19th century floral paintings .
Historically speaking the subject goes back farther than our own, for the continental craftsmen were far more advanced than the English, and have left more and better examples of their work to posterity antique table 8 legs with brass feet . For the present purpose, however, the reigns of the three Louis, XIV, XV, and XVI are all that we are concerned with, for when speaking of French furniture it is the work produced during the period of these monarchs that one invariably calls to mind antique blue and white earthenware jug with zigzag pattern .
Louis XIV came to the throne in 1643, a time when the French Renaissance had lost much of its Italian origin and had developed a strong individual character lenci wall masks . Whatever his merits or demerits as a king may have been, the world of art certainly owes much to him for the encouragement he gave to all arts and crafts antique french tier table . He was a man of most extravagant tastes, and, living in a time when France was one of the strongest and wealthiest of European Powers, he was able to give full play to his fancies antique drop-leaf end tables . His court was probably the most magnificent that Europe has ever known, and the daily extravagant ceremonial called for a setting for which nothing but the costliest and richest would do napoleonic campaign chairs . Fortunately, this great impetus to fine work came at a time when men of considerable talent were seeking expression, and it required only this talent on the one hand and the wealth and encouragement on the other to produce a style which (in its own particular way) has never been excelled theodore haviland 1958 pattern .
Period of Louis XIV
Of the capable craftsmen whose names are outstanding probably the greatest was Andr6 Charles Boulle who was born in 1642 and died in 1732 dresser accessories . He had experimented with a form of marquetry which had originated in Italy, and when the great tide of building and furnishing came he took it at its flood, and developed this marquetry into a distinctive kind which for sheer exquisite workmanship, coupled with fine design, stands unique antique card table with one flap . It is often termed ” Buhl,” and was carried out in brass or copper, and tortoiseshell, ebony, and horn drop leaf table wall semi circle .
A brief explanation of how marquetry was produced was given in Chapter V chamber pot in cabinet . Two sheets of dissimilar materials were fixed together temporarily and the design cut through both with a fine saw gillows three hinge . The two sheets were then separated and the parts interchanged so that in the one there would be a design of, say, brass on a background of tortoiseshell, and in the other the exact reverse antique “la granja” glass . Thus it was possible to produce two cabinets of precisely the same outline and design, but the one the reverse of the other in the material of the design and background designer extending round dining tables in kent . The one was the (4 counter ” of the other, hence the terms ” Buhl ” and if counter black lacquer dining chairs .”
A typical Boulle cabinet is shown in Fig silver fish slice . 165, in which this rich marquetry work is an outstanding feature figural silver antique candlesticks . In addition to the scrolling design of the inlay itself the whole of the brasswork is richly engraved, producing an effect which almost approaches the work of the jeweller rather than that of the cabinet maker antique english dressing table . A point to note is that wood carving is almost entirely absent, the decorative effect, apart from the marquetry, being obtained entirely with rich brass mounts antique mirror back sideboard 1920’s . Some of the leading artist-craftsmen of the time were engaged in the production of these mounts wooden arm chair pedestal castor antique oak .
It was for the decoration and furnishing of the Palace of Versailles that the finest and richest work was produced, and the Palace, even as it stands to-day after the ravages of the Revolution, leaves one gasping at its sheer extravagant splendour origins and development of arts . One has to remember that the furniture maker then was regarded as an artist, and certainly the results seem to justify such a status edgard brandt . It is with something like a shock that one realises that the cabinet in Fig antique table round drop leaf claw foot . 165 was produced at the same time as the simple early walnut furniture in England art nouveau . It is true that a colossal amount of money was spent on the production of such pieces, but it has to be admitted that the French cabinet makers were far in advance of our own staffordshire figures of royalty . It is points like this that help one to realise why it was that a revolution of ideas took place when Charles II came to reign in England after years of exile spent in France georgian telescopic silver candlestick .
The famous Gobelins factory for the production of tapestry was purchased by Louis XIV, and cabinet-making workshops were established in it art deco upholstery . Charles Le Brun became the director, and the world of art owes a great deal to his energetic leadership perpetual calendar 18th century . :Much of the finest work at Versailles was produced at the factory carlo bugatti furniture antiques .
In general form the surfaces of cabinets were flat—at any rate early in the period west indies antique paintings . This is mentioned in particular because we shall see that in the next phase curved surfaces were introduced everywhere art nouveau origins . The general decoration took the form of Boulle marquetry of brass or copper on a background of ebony or tortoiseshell, the design consisting of elaborate scroll work richly chased, allegorical figures, fruit and floral motifs, swags of husks, and acanthus leafage, the whole in a somewhat free interpretation of the Renaissance daniel quare 1674 tortoiseshell case pocket watches . Bold ormolu mounts heavily gilded were fitted, these taking the form of lion masks, scrolled consoles, acanthus scrolls, human masks, and deep nullings royal sheffield silver . Both straight and curved legs were used, the last named becoming more popular towards the end of the period in harmony with the tendency towards shaped work generally william kent console table .
COMMODE IN KINGWOOD WITH INLAYS queen ann gate leg table .
Laois XV antique prohibition table example .
This cabinet, made for the King’s chamber at Versailles, is a design of SIodtz and was made by Antoine Robert
Gaudreau In 1738 antique fluted gateleg table legs . The gilt bronze mounts were by Jacques Caffiere booths pearlware marks .
FRENCH FURNITURE
Louis XV, 1715-1774
T0 appreciate the underlying causes of the changes in the type of furniture produced in Louis XV’s reign
it is necessary to know something of the historical events of the period 18th century forks . Louis XIV had died in 1715 when his heir «as but five years old, and it became necessary to appoint a regent antique decorative motif . The Duke of Orleans took the office, and he was virtually monarch until his death in 1723 directoire consulat empire . There was thus a break in the extravagant court grandeur which was so essentially a feature of the reign of the late king art deco antique furniture makers . The wild expenditure of the seventy odd years of le Grand i1lonarque, too, had left its mark on the finances of the court and aristocracy antique pouch table . No country, no matter how powerful and prosperous, could continue for an unlimited time to spend money on pure aggrandisement to such an extent, and as a result there were but two alternatives : to live in a quieter way, or to find fresh sources of income mid 17th century foods france . In the event a sort of compromise was effected 17th century french fashion . The aristocracy began to contract marriages with humbler but wealthy classes, bankers, merchants, and so on ; and in place of the grandeur of the great salon so beloved by Louis XIV came the rise of the smaller boudoir photos of antique chambersticks . In fact the two periods are often referred to respectively as the periods of the salon and the boudoir jupe table mechanism .
Its effect on the furniture was that it was in its way equally rich, but was on a smaller scale how much is a claw foot table worth . Then, too, the masculine grandeur gave way to an effeminate prettiness, a change quite in keeping with the general conduct of life emile galle furniture . People began to look for elegance rather than grandeur, and to use ornament purely for its own sake boulle console table with marble tops with elaborate friezes .
We have had occasion to note in earlier chapters in this book that an idea, once it takes root, frequently is carried to extremes, and it thus happened that the tendency to introduce shaped work towards the end of Louis XIV’s reign reached such a height in the succeeding reign that many cabinets were made with scarcely a straight line or a flat surface in them regency antique mahogany dining table styles . This extraordinary use of curves is the keynote of Louis XV furniture when was art deco furniture stated in france . The skill shown in overcoming the difficulties that such work presented is amazing octagonal brass & silver table . One may’ or may not admire this flamboyant phase of French furniture, but no one can but admire the excellence of the workmanship augsburg marquetry table cabinet . The fronts and sides of cabinets, bureaux, and so on were curved in both plan and elevation, and some idea of the difficulty of veneering over such a surface can be obtained by trying to lay a flat sheet of paper around a ball barrel leg oak dining table . Added to this was the fact that the whole was usually elaborately inlaid or given a decorative effect by the use of designs in which the varying, direction of the grain of the wood was made to play a part round rosewood breakfast table .
So far as furniture was concerned the preference for gilded mounts in place of wood carving continued, and the workmanship of these was of an extremely high order table octagon marquetry drawer . One may not care for the effect as a whole—it frequently appears restless and overdone, but regarded individually the work was extremely fine i.i.e. exclusive capodimonte . The love of curves developed to an extraordinary extent, resulting in its fulness in what is known as the Rococo decoration thonet rocking chair . The term comes from two French words meaning rocks and shells, to which the ornament bears a certain resemblance antique porcelain czechoslovakia wall face . It is exemplified in Fig austrian mirrored tables . 166—in which the elaborate scrolls and acanthus leafage can be seen antique collector’s cabinet . The chief exponents of the rococo were Meissonier and Slodtz palissy patterns .
The French version of the cabriole leg reached its zenith during this period side table black hand painted birds and flowers made in italy . It was essentially suited to the general and wide use of shapes antique metal tables with drop leaves . In a limited sense it bore a resemblance to the English version, but it had an entirely different spirit telescopic glass tables . The English leg at its best had a high, well-pronounced knee running abruptly into a square at the top, and terminating at the bottom with one or other varieties of the club or claw and ball foot can antique dressers pair with modern furniture . An example was given in Fig flemish refectory table . 116 at E meissen figures . The French variety was of a more flowing shape steuben stemware deco . There was no square at the top, the shape either flowing naturally into shaped rails at the sides, or continuing with a concave curve upwards antique english dressing table . At the bottom the foot was usually scrolled italian buffet decorations . The cabinet in Fig antique english rhenish ware . 166 shows the typical French shape black lacquer china cabinet .
A great many varieties of woods were used ; mahogany,amboyna, tulipwood, boxwood, rosewood, sycamore, ebony, and amaranth are amongst the commonest antique cabinets coat of arms . Satinwood too was used towards the end of the reign, though this is more usually associated with the following reign of Louis XVI antique console table carved wood . Gilding and lacquering were popular meisen hand painted plates 1920 allegorical . At first the lacquer work was imported from the East, or panels were prepared and sent to China to be lacquered, but later it was imitated in the French factories, though the detail in it was often faulty, western motifs being introduced in a somewhat incongruous manner brislington delftware . A firm of the name of Martin paid special attention to this lacquer work and produced a preparation known as Vernis-Martin towards the middle of the century 1945 mahogany desk . In its final stage this originally Oriental decoration became almost wholly westernised, the decorative artists painting allegorical subjects in natural settings on a lacquered background patent imperial dining table gillows .
Towards the end of the reign a reaction against the elaborate Rococo work set in, and there came a revival of the classical spirit which was the keynote of the work in the Following reign canterbury music stand .
FRENCH FURNITURE
Louts XVI, 1774–1793
THE financial difficulties of the reign of Louis XV have already been noted reproduction 18th century tea bowl . They still existed, in fact
were increased, when the ill-starred Louis XVI came to the throne in 1774 hand blown romer glass . The clouds were already gathering for the storm which was to break close on twenty years later antique empire and biedermeier periods 1800 to 1848 . This, combined with the reaction against the Rococo work of the middle of the 18th century, produced a type of furniture in which the shaped work was largely, if not wholly, eliminated daniel quare 1674 tortoiseshell case pocket watches . Design became altogether more refined and returned again to the classical spirit, prompted largely by the excavations of Herculaneum which had been begun seriously in the middle of the century table paw feet antique .
Then again the Queen of Louis XVI, Marie Antoinette, favoured simple country life ; the elaboration of the preceding reign made no appeal to her, and although the movement towards simpler lines began before she was Queen, her influence undoubtedly encouraged the new feeling mirrors antique british chevron . It should be realised, however, that the term ” simple ” is used relatively antique neoclassical . Compared with the English, French cabinet work of Louis XVI was vastly more ornate hunt roskell silver auction . French furniture always was, It was just the natural national expression, but when it is compared with the full shaped work of the preceding reign the simpler and more refined feeling is apparent small dressing table cupboard .
The chief characteristics of Louis XVI are the use of straight lines and flat surfaces with a delicate and refined treatment of the detail floral ornaments art nouveau . Mouldings are small and the carving light and delicate old cantagalli pottery . Gilded mounts are widely used (they were still largely preferred to wood carving) and the quality is of a very high order reverse serpentine sideboard . The subjects take the form of rural, natural, and conventional objects ; scythes, spades, lutes, pipes, birds, cupids, torches, ribbons, swags of husks, flowers, medallions, and acanthus scrolls ormolou decoration . The last named are altogether less flamboyant than the ornament of Louis XV
time antique card table flaps . The woods used were the same as those of the previous reign with an increasing popularity for satinwood 18th century wine cooler brass feet . Lacquer work was also still widely used, and was often bounded by gilded mouldings antique mahogany drop leaf work table .
With the disappearance of the shaped work the cabriole leg lost much of its popularity, especially for cabinets and commodes, though it still was used for small bureaux and console tables in a lighter form cantagalli pottery . The light turned and square tapered leg was used largely, the last named often being recessed on its faces and decorated with gilded mounts fixed in the recessed panels 1930s antique square table . The chief designers were Riesener, Gouthiere, and Roentgen slant front desk antique .
All design is largely a matter of personal taste, but it is usually conceded that the work of Louis XVI shows French design and workmanship at its best 17th century oak side table . The furniture of Louis XIV had a certain grandeur tending to heaviness at its worst, this developing into an overdone elaboration in the following reign antique bombe commodes for sale . In the last of the three reigns there was a reaction against the worst features, and the result shows a welcome restraint scotish chest of drawers .
Readers wishing to study French furniture at first hand should examine the fine specimens at the Wallace collection, and the Jones bequest at the Victoria and Albert Museum, South Kensington oak art deco scandinavian furniture . Those who are able to visit France should see the magnificent collection at the Palace of Versailles cheverton machine .
UPHOLSTERED CHAIR WITH BRASS MOUNTS josef maria olbrich furniture . French Empire gustavian chairs pierced splats,fluted legs .
The chair was made in about 1810 column empire style bedside tables . The wings of the beasts are in brass
and are screwed beneath the seat rails provincial furniture number drawers . The feet too are brass, being
socketed to fit over the stub legs antique french saxon china flowers with gold .
FRENCH FURNITURE
EMPIRE
THE period of the French Revolution during which Louis XVI and large numbers of the French aristo-
cracy were executed was scarcely a time in which cabinet making could be expected to flourish antique bedside toilet . Wealthy people went into hiding or fled the country, and there was nobody left to order the fine quality and expensive furniture one usually associates with France of the second half of the eighteenth century gateleg table antique . In fact, some of the famous ebenistes themselves were prosecuted for their close connection with the royalty and aristocracy george serving table fluted . It was not until conditions had settled down under the forceful government of Napoleon that any revival of the making of fine furniture was possible makers of silver table ware in late 1800’s .
It was then that was evolved the style which has become known as Empire chair 18th queen rococo revival . If Louis XIV furniture be characterised as solid magnificent grandeur, Louis XV as flamboyant elegance, all shapes and curves, Louis XVI as delicate refinement, sometimes verging on the effeminate, then the Empire can be reckoned as stately and dignified with a strong influence of the Greek, Roman, and Egyptian dutch silver octagon trinket box . Compared with the elegant style preceding it, Empire furniture is considerably more restrained, mostly with straight lines, usually in mahogany, and invariably mounted with brass or gilt ornaments meissen/cabinet plate/19th century . These ornaments took the form of the Greek honeysuckle and vases, laurel wreaths, caryatid figures, martial helmets, torches, winged animals, and so on english furniture toilet chest .
Presumably the style was a tribute to the leadership of Napoleon, the Emperor who had marched through Europe and beyond antique tray table white . It scarcely outlasted his final downfall in 184, though its influence continued to be felt in this country during the Regency period antique enamel top table .
UPHOLSTERED CHAIR WITH BRASS MOUNTS new england antique dining tables .
‘The chair was made in about 1810 1920s draw leaf dining set turned legs . The wings of the beasts are in brass
and are screwed beneath the seat rails 3 leaf antique extending dining table . The feet too are brass, being
socketed to fit over the stub legs scandinavian octagon dining table .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mission, Oak, 2 Doors, Glass Sides ~illus

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

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

Walnut, 3 Vertical Compartments, 3 Drawers, Victorian

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Queen Anne Style, Sliding Doors, C.1920

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Barrister, Oak, 3 Tiers

Barrister, Mission Oak, 5 Tiers, 86 In.

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

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

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

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

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

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

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

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

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

Walnut, Pierced Cornice Set With Gargoyles, 92 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Regency, Mahogany, 4 Graduated Shelves, 57 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pine, Continental, 108 In.

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

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

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

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

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

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

Oak, 4 Shelves, 2 Glass Doors

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

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

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

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

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

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

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

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

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

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

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

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

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

Hepplewhite, Mahogany, Glass Mullioned Doors

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

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

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

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

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

Georgian, Mahogany, 4 Cupboard Doors, 98 In.

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

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

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

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

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

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

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

G. Stickley, Oak, 16 Pane Doors, Safecraft

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

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

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

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

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

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

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

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

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

Empire, Mahogany, Glass Double Doors, 108 In.

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

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

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

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

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

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

Cherry, Revolving, Danner Company

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Duncan Phyfe Style, Eglomise Panes

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

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

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

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

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

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

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

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

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

Victorian, Standing, Fluted Pilasters

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

Sheraton, Mahogany, Turned Legs, 1850

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

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

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

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

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

Queen Anne, Walnut, Seaweed Marquetry, 93 In.

Oak, Victorian, 75 x 37 In.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Barrister, Oak, Per Section

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

Walnut, Bust Of William Shakespeare On Top, 3 Sections

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

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

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

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

Queen Anne, Walnut, Double Library

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

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

Mission, Oak

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Harvey Ellis Design, Oak, C.1904

Golden Oak, Leaded-glass Doors, 54 In.

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

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

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

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

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

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

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

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

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

G. Stickley, 16 Pane Door, Gallery

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Roycroft, Architectural Form, Applied Columns

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

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

Quartersawn Oak, 3 Doors, Carved Columns, Victorian

Oak, Lift & Roll Doors, 5 Stack

Oak, Lift & Roll Doors, 4 Stack

Oak, Lift & Roll Doors, 3 Stack

Oak, 2 Stained Leaded Glass Doors

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

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

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

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

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

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

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

Limbert, Oak, 4 Shelves

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Empire Revival, Mahogany, 1 Door, Fluted Flanking Columns

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

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

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

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

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

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

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

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

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

Rococo Style, Carved, Pineapple Finial, England

Revolving, Walnut, Victorian

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

Quartersawn Oak, 5 Lions Faces, Glass Door & Pulls

Mission, Oak, 3-paneled Glass Door, Small

Mission, Oak, 2 Glass Doors

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

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

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

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

Gustav Stickley, 2 Doors, 16 Panes

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

Gothic, 2 Doors, Carved Heads At Corners, Mahogany, 60 In.

George Iii Style, Mullion Doors, Chinoiserie, Japanned, 79 In.

Empire, Mahogany, 2 Glazed Doors, 19th Century, 57 X 48 In.

Empire, Floral Carved Cornice Over Shelves, Oak, 89 X 52 In.

Empire, Brass Mounted Feet, Bleached Mahogany, 1820s, 70 In.

Eastlake, Walnut, 3 Sections, 1870-1880, 132 In.

Danner, Revolving, Oak, Bucyrus, Ohio

Cylinder Top, Aqua Colored Glass Panels, Adjustable Shelves

Chippendale, Carved Mahogany, 2 Parts, Glazed Doors, C.1780, 98 In.

Chippendale, 3 Lower Drawers, Cherry, C.1800, 86 X 72 X 19 In.

Carved Mahogany, Victorian, 19th Century, 56 X 60 X 18 In.

Art Deco, Stepped Case, Walnut, 64 In., Pair

4 Tiers, Magazine Rack, Black Wood, China, 64 3/4 In.

4 Drawers, 2 Doors Of 8 Panes, Walnut

3 Doors, Carved Pediment Top, Walnut, 110 In.

2 Leaded Glass Doors, Walnut, Carved Winged Griffins, Paw Footed

2 Glass Doors Over 2 Drawers, Walnut, Burl, Carved Pediment

2 Drawers, Block Feet, Cherry, France, 30 1/2 X 78 In.