Antique Chest Of Drawers

 

A Regency gilt framed convex Wall Mirror, A George II mahogany semi-circular Table, red walnut and mahogany rectangular drop-leaf Table

A George III mahogany oval
pedestal Table, circa 1800, the tilt-top
with broad satinwood cross banding and
stringing, the columnar pillar above
quadruple splayed legs ending in brass
capping and castors, 146cm. long;
4ft

A Regency gilt framed convex Wall Mirror, circa 1810, with beaded molding, 76cm.

A William IV mahogany three-tier hanging Wall Shelf, circa 1830, with turned supports and two apron drawers, 67cm. high by 91.5cm. wide; 2ft. 21/2in. by 3ft.

A George III mahogany Side Table, circa 1760, with three drawers and a shaped apron, on chamfered square legs, restored, 76cm. wide; 2ft. 6in.

A Regency gilt framed Over mantel, circa 1815, the ball decorated cornice above a trellis frieze with lion masks, the triple plate flanked by cluster pilasters, 70cm. high by

161cm. wide; 2ft. 3V2in. by 5ft. 31.

A George III mahogany Tea Table, circa 1790, with satinwood and rosewood banding and stringing, the rectangular fold-over top with rounded corners, on tapered square legs, 92cm.

wide; 3ft.

A George III mahogany
Occasional Table, circa 1770, the
associated rectangular tilt-top above a
baluster turned pillar, 70cm. wide;
2ft. 32in.

A George IV small gilt framed
convex Wall Mirror, circa 1825, with
pierced scroll surmount and apron,
82cm. high by 46cm. wide; 2ft. 8m. by
6in.

A George II mahogany semi-circular Table, circa 1750, with a pair of quadrant frieze drawers and a single drop-leaf, the circular tapering legs with lappets to the knees, on pad

feet, restored, 91.5cm. wide; 3ft.

A George I walnut and upholstered Armchair, circa 1720, the arched back and bowed seat covered in blue velvet, the cabriole legs with carved knees, on claw feet, restored

A George III mahogany and cane Berger, circa 1800, the circular seat with a velvet cushion, the ring turned legs on brass capping and castors.

A George III mahogany
three-tier Dumb-Waiter, circa 1770, with
receded baluster turned pillar and tripod
supports, on castors.

A pair of William IV rosewood and brass fire screen Pillars, circa 1835, with individual panels, the turned pillars above a reform Daze, on ball feet, 142cm. high; 4ft. 8in.

A George II mahogany Cabinet Bookcase, circa 1750, the molded cornice above a carved astragal door enclosing adjustable shelves, Delia is a Vitruvius scroll frieze and cleared

door, on a plinth base, restored, 204cm. high by 74cm. wide; 6ft. 8in. by 2ft. 5in.

A George III mahogany Birdcage
Table, circa 1770, the circular tilt-top
above a baluster pillar, on tripod
supports, restored, 76cm. 2ft. 6in.

A George III mahogany Chair,
circa 1760, the frame carved with
bell-flowers, the foliate carved cresting
rail above a pierced Gothic splat, the
stuffed seat covered in nailed
leather cloth, the chamfered square legs
joined by stretchers.

A George IV rosewood pedestal
Table, circa 1825, the circular tilt-top
with horizontal segmented veneers and
beaded apron, the base with beaded
moldings, the reduced reform pillar
with scroll corbels to the base, on
gadrooned bun feet and concealed
castors, base moldings partially lacking,
122cm. dam.; 4ft.

A George III red walnut and mahogany rectangular drop-leaf Table, circa 1800, the ring turned tapering legs ending in brass capping and castors, 107 by 157cm. fully extended;

3ft. 6in. by 5ft. 2m.

A George III mahogany rectangular Cheval Dressing Mirror, circa 1800, the square supports with a pair of brass candle holders and later turned vase-shaped finials, the splayed

feet joined by a pole stretcher, on brass capping and castors, 56cm. wide;

A George III mahogany
Pembroke Work Table, circa 1800, with
ebonized-strung borders, with a real and
dummy drawer to the opposing sides,
the ring turned legs ending in brass
capping and castors, 56cm. wide;

A George III mahogany standing
Corner Cupboard on later Base, circa
1760, with den tilled and pear-drop
cornice, with stop fluted canted corners,
the den tilled cornice and blind-fret frieze
above a door with later geometric
astragals, the interior with shaped
shelves, below is a paneled door and a
molded plinth, 201cm. high by 74cm.
wide; 6ft. fin. by 2ft. 5in.

A George II red walnut oval
drop-leaf Table, circa 1750, on circular
tapering legs and pad feet, 114 by 122cm.
extended; 3ft. 9in. by 4ft.

A set of five George III mahogany Chairs, circa 1790, with stick splats and slip-in seats, the tapered and chamfered square legs joined by stretchers.

CHESTS OF DRAWERS: EARLY PANELLED OAK
About 1650-1730
Oak chest of about 1680, with applied, mitred and geometrical mouldings.
Distinctive, often ornamental, pieces of furniture made by traditional methods. Still produced by provincial and country makers long after more sophisticated walnut-veneered chests were introduced from the Continent in about 1670.
Various combinations of single and double depth drawers, cupboard doors enclosing drawers, and chest with hinged lid (latter early type). Four-drawer version became the norm in about 1680.
Sometimes two separate sections, join concealed by projecting mitred moulding. Shallower mouldings are found between all drawers (or cupboard).
Two small, or one long, drawer(s) at top above three long, inside seldom reaching right to back of carcase. Separate overhanging top with moulding below (thumb-nail moulding from about 1700). Similar inverted moulding at base. All parts of front (and sometimes side frieze) decorated with mitred mouldings, and often split turnings too, sometimes combined with inlay. Drawer fronts divided decoratively into two panels. Stile feet (i.e. the stiles of the carcase extend below the base moulding) until about 1690 when bun feet appeared.
Framed and panelled with glued (i.e. no longer pegged) joints.
Early drawers with thick sides (about 3/4 inch/2 cm) rebated and nailed. Thick groove in middle of side cut to run on bearers nailed to inside of carcase. Two or three crude through-dovetails (see illustration), their ends concealed on the front by mouldings, introduced about 1680, sometimes nailed for extra strength. By 1690-1700 dovetails lapped (i.e. no longer passed right through to the front) (see illustration). Linings now rebated and glued. Grain of drawers runs front to back.
Single dovetail joint
Front of drawer rebated for sides and bottom, side rebated for runner.
Oak (mostly imported Scandinavian ‘wainscot’ oak). Elm, yew and other local woods used, but few examples survive.
Ebony, ivory, bone and mother-of-pearl for inlaid decoration.
Drawer dovetail joint.
Oak chest of drawers, about 1680.
Alternative drawer supports introduced about 1660 (but not universally adopted) whereby bottom runner fixed to under side of drawer edge ran on bearer fixed at appropriate height. Drawer sides correspondingly thinner, about ‘/2 inch/I cm. Dustboards (i.e. solid shelves between the drawers) often replaced or combined with bearers after 1680.
All moulded and turned decoration glued on. Nailed rough, planked oak backboards. Bun feet dowelled in holes drilled in underside of carcase base (visible inside). Handles attached by split-pin (or tang) method.
Carcase of framed oak chest with panelled ends.
For authenticity, look for signs of genuine wear  especially on drawers and runners and natural movement of the wood with slight warping and shrinkage along the grain.
Underside of feet will be slightly frayed and the drawer fronts will have light indentations from constant knocking of pendant handles.
Applied mitred architectural mouldings on drawer fronts; on the simplest, around the edge only, on many, all over. Split turnings arranged in pairs common on stiles, until about 1680 sometimes combined with inlay of ebony, ivory, bone and moth e r-of- pear, 4. patterns of Spanish/Moorish origin (fashion introduced from Holland).
Handles: Earliest versions have exterior turned wooden knobs, interior iron loop handles. Later, iron (or brass towards 1700) drop handles, pear-shaped with decorative rosettes.
Also, centrally placed decorative escutcheons.
Often stained with oils coloured with various plant substances; then polished with beeswax softened with spirit.
VALUES
In the past, of limited appeal; more recently popular with decorators for ‘bold’ interiors.
Those with inlay and plenty of moulded and split-turned decoration four or five times as much as those with only edge mouldings to drawers. Only the latter still in three figures.
Exterior handles
Pear-drop, Axedrop, Pear-shape drop, about 1700.
Interior handles