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.

A George III mahogany Bureau Bookcase, Dutch East Indies Chest-on-Low Stand, A George III mahogany secretaries Bookcase

A George III mahogany Bureau
Bookcase, circa 1780, the den tilled
cornice above a pair of paneled doors,
the cross banded fall revealing a fitted
interior, below are three long graduated
drawers, on shaped bracket feet, restored,
213.5cm. high by 97cm. wide; 7ft. by
3ft. 2m.

A George III mahogany
semi-circular Tea Table, circa 1790, the
fold-over top above a frieze drawer, on
molded and tapered square legs, 94cm.
wide; 3ft.

A George III mahogany Chest,
circa 1770, the slide above three long
G
graduated drawers, on later shaped
racket feet, 85cm. high by 95cm. wide;

A Regency mahogany two-tier
drop-leaf Dumb-Waiter, circa 1810, the
baluster turned pillar above receded
tripod supports, on brass capping and
castors, restored, 94cm. high by 70cm. max.
dram.; 3ft.  by 2ft.

A George III mahogany bow-front
Sideboard, circa 1790, the sides with
slides, the three frieze drawers above an
arched apron flanked by a cupboard and
a cellaret drawer, with oval segmented
veneers and rosewood banding, on
tapered square legs and spade feet,
94cm. high by 165cm. wide; 3ft.  by
5ft. 5in.

A Dutch East Indies Chest-on-Low Stand, circa 1800, inlaid
with cut-brass medallions, with foliate
carved front and sides, with carrying
handles, the later stand with a shaped
apron and turned feet, 74cm. high
113cm. wide; 2ft. 5in. by 3ft.

A William IV rosewood circular
pedestal Table, circa 1835, the tilt-top
above triple turned pillars and a reform
base, on bun feet and castors, restored,
122cm. 4ft.

A Regency mahogany
rectangular atop-leaf Table, circa 1810,
with a drawer, the turned and receded
tapering legs ending in brass capping
and castors, 107 by 130cm. fully extended;
3ft. 6in. by 4ft. 3m.

A George III mahogany secretaries
Bookcase, circa 1790, the den tilled
cornice above a pair of geometric
astragal doors enclosing adjustable
shelves, the fitted writing drawer with
sycamore and satinwood cross banded
snort drawers, below are three long
graduated drawers, on shaped bracket
feet, restored, 217cm. high by 125cm. wide;

A William IV large rosewood break-front Cabinet, circa 1835, with rear brass gallery and gadrooned border, the pair of paneled doors flanked by corbel carved pilasters and a

pair of brass grille doors, on a plinth base, 99cm. high by 270cm. wide; 3ft. 3in. by 8ft. 10in., brass gallery 40cm.;

A George IV mahogany pedestal Table, circa 1825, the tilt-top above a receded baluster pillar, the receded quadruple splayed legs with disc medallions ending in ornate brass

capping and castors, 119 by 126cm.;

A George III mahogany
break-front Bookcase, circa 1800, the
domed cornice above four geometric
astragal doors enclosing adjustable
shelves, below are four paneled doors
with segmented oval veneers and a
rosewood banding, inlaid with satinwood
stringing, the interior with adjustable
shelves, on a plinth base, restored, 274cm.
high by 280cm. wide; 9ft. by 9ft. 2in.

A George IV mahogany break-front Sideboard, circa 1825, the front with cross banding and ebonized stringing, the cutlery drawer and arched apron flanked by bowed wings with a

cupboard and a deep drawer, on ring turned legs, restored, 94cm. high by 183cm. wide; 3ft.  by 6ft.

A George III mahogany tray-top Bedside Commode, made-up, with a frieze drawer above a pair of doors, the modern base with square chamfered legs, 54cm. wide;  9in.

A William IV mahogany quadruple pedestal Dining Table, made-up, with two leaves, the square steppe pillars above base, on gadrooned scroll feet and castors, 137 by 405cm. fully

extended; 4ft. Sin. by 13ft. 3in.

A George III mahogany serpentine-fronted Chest, circa 1790, the four long graduated drawers above splayed bracket feet, restored, 93cm. high by 94cm. wide; 3ft.

A George IV mahogany Hunt
Table, circa 1825, with drop-leaves and
detachable central section, the bold
turned and receded legs ending in brass
capping and castors, 175cm. wide;
5ft. 9in.

A George IV mahogany and
button-upholstered Armchair, circa
1825, with a rectangular back, stuffed
sides and seat covered in tapestry, the
receded scroll arm-facings with
conforming apron, the turned and
receded tapering legs ending in brass
capping and castors, one leg detached.

A George II black
japanned Blanket Chest, circa 1740,
decorated in gilt with birds and pagodas
in exotic landscapes, with brass carrying
handles, the domed and hinged cover
with ornate brass escutcheon, the later
stand with cabriole legs and trefoil feet,
120cm. wide; 3ft.

A George III mahogany
Pembroke Table, circa 1790, with
rectangular top and elliptical leaves, with
a drawer, the tapered square legs ending
in spade feet and brass capping and
castors, 91.5cm. wide; 3ft

Victorian rosewood and amboyna Table Cabinet, George III small mahogany Dressing Table Mirror, George IV papier-mache Tea Caddy

A George III mahogany converted
Knife Box,  with ivory star
inlaid cover and chevron stringing, with
silver-coloured metal escutcheon and
handle, the interior now with stationery
compartments, .cm. wide. Win.

A Victorian rosewood and
amboyna Table Cabinet,  with
satinwood banding and ebonised
stringing, the pair of doors revealing a
satinwood veneered interior and three
drawers, on a plinth base, .cm. high by
cm. wide. lft. Vfain. by lft. Ain.

A George II walnut Lace Box,
with segmented veneers,
brass carrying handles and pierced
escutcheon, the hinged cover with a star
medallion, the void interior with a
compartment, restored,  cm. wide. ft.

A WIIIiam IV rosewood Work
Box,  of sarcophagus form,
the interior lined in green watered silk,
with tray, compartments, mother-of-pearl
accessories and a glass scent bottle, cm.
wide. lft. lin.

A George III small mahogany
Dressing Table Mirror,  the
base in the form of a miniature tripod
table, with revolving dish moulded tier
and baluster pIIIar, the shield-shaped
mirror with telescopic action, cm. wide.
Win.

A Continental kingwood and
malachite inlaid Writing Box, circa
with segmented veneers, the
hinged cover and fold-over top revealing
a maple veneered interior, with inset,
compartments, pigeon-holes and two
inkwells, possibly Russian, cm. wide. lft.

A George IV rosewood and
cut-brass inlaid Tea Caddy,
of sarcophagus form, the hinged cover
revealing a pair of lidded canisters and
an associated glass blending bowl, on bun
feet, cm. wide. lft. in.

A George III black japanned gilt
and polychrome Tea Caddy,
of urn form, the domed cover revealing a foil-lined interior, the underside of the base with paper cover and painted with initials A.G., cm. high in.

An Edwardian olivewood and
silver-mounted Writing Box,
by Clark, with ivory strung borders, the
hinged cover and fall-front revealing a
lined interior with pen-tray,
compartments and two olivewood
notecases, bearing trade plates of Clark,
Old Bond Street, London, the hinged
cover with a monogram and distressed
veneer, cm. wide. Wnn.

A George IV papier-mache Tea
Caddy,  painted with flowers
and exotic birds within gilt festoons, the
inverted break-front with cartouche
insets, the hinged cover revealing a pair
of lidded compartments, on bun feet,
cm. wide. Vin.

A George III mahogany and
painted Plant Stand,  the
raised back with an oval medallion
depicting Venus and Cupid, the base
with a brass liner and apron drawer, on
paw feet, cm. high by cm. wide.
lft. in. by lin.

A George III tortoiseshell
veneered Tea Caddy,  with
ivory banding and stringing, the knob
escutcheon and medallion in silver-plated
metal, the hinged cover now detached, the
pair of divisions now with only one lid and
partially lacking veneer, cm. wide. in.

An Edwardian mahogany
Stationery Casket,  with
satinwood banding and medallions, the
hinged cover revealing pigeon-holes,
wide.

An Indian ivory and mosaic inlaid
Work Box,  of sarcophagus
form, with carrying handles, the hinged
cover revealing lidded compartments and
ivory accessories, faults, cm. wide.
lft. Mn.

An Indian ivory inlaid and
brass-mounted Work Box,
the hinged cover revealing a tray and compartments, the silver presentation plaque now detached, the apron with chevron banding, faults, cm. wide. lft. in.

A Queen Anne walnut miniature
Chest,  inlaid with feather-
banding, the quarter veneered top above
two short drawers, including one with
concealed locking action, below are two
graduated drawers and later bun feet,
faults, cm. high by cm. wide. lft. in. by
lft. lin.

A WIIIiam IV rosewood and
cut-brass inlaid Writing Box, circa
, with a hinged cover revealing an
inset fall, compartments and pen-tray,
the apron with a drawer, cm. wide.
lft. in.

A Goanese hardwood and ornate
brass-mounted Casket, , the hinged
cover with a hasp revealing a well, the
apron with two drawers above shaped
bracket feet, cm. high by .cm. wide.
Win. by lft. Ain.

A Regency rosewood and
brass-bound Decanter Case,
of square form, with later carrying handles, the hinged cover revealing four glass decanters and stoppers, with enamel labels, cm. wide. in.  —

A Regency mahogany Casket,
in the manner of Thomas Hope,
the hinged cover with a scroll and
anthemion frieze with brass disc mounts,
the void interior formerly with divisions,
the side with reeded mouldings and with
beaded apron, on gadrooned ogee feet,
the Bramah lock stamped J. T. Needs,
New Bond Street, London, cm. high by
cm. wide. lft. by lft. in.

A George III mahogany
miniature Chest,  the two
short and three long graduated drawers
with satinwood strung borders, below is a
valanced apron and splayed bracket feet,
cm. high by cm. wide. lft. Vhin. by
lft.

French maple musical Etui Case, Queen Anne Bureau Bookcase, Victorian mahogany shoe Snuff Box, Victorian birds-eye maple Work Box

A Regency tortoiseshell veneered and ivory banded Tea Caddy,  with silver-coloured metal monogram and stringing, the hinged cover revealing a pair of lidded divisions, on ball

feet, cm. wide. Ain.

A Regency tortoiseshell veneered Tea Caddy,  with a shaped front and two lidded divisions, on bun feet, faults, cm. wide. in.

A George III harewood and inlaid Tea Caddy,  the
hinged cover revealing a pair of lidded divisions, each inlaid with a carnation, veneers partially lacking, cm. wide. JAin.

A French maple musical Etui Case,  in the form of a miniature grand piano, the hinged cover with an ivory keyboard and revealing a mirror, tray and lined interior, together with

accessories and a compartment enclosing a mechanical musical action, on turned tapering legs, cm. long lVhin.

A George III mahogany Tea Caddy,  with lozenge and segmented veneers within a chequer banded and satinwood strung borders, the hinged cover revealing an inlaid conch-shell

medallion and six lidded canisters, with lion mask carrying handles and ball feet, cm. lft. Vin.

A Queen Anne scarlet lacquered and gilt miniature Bureau Bookcase, reconstructed, the double domed cornice above a pair of mirror doors enclosing adjustable shelves, the apron

with a pair of candle-slides, the fall revealing a stepped and fitted interior with a well, below are two short dummy drawers and two long real drawers, on bun feet, cm. high by

cm. wide. ft. by lft.

A WIIIiam IV rosewood Box,  the cube pattern rectangular top with a geometric border, cm. wide. in. and a French amboyna Tea Caddy,  with metal mounts and ebony mouldings,

bearing the label of Pelve Freres, cm. wide.

A Victorian rosewood two-
division Tea Caddy,  the
rectangular domed top with a boxwood
reserved mosaic castle bordered by
geometric bandings, the concave sides
with a broad band of floral mosaic, cm.
wide.

A Victorian birds-eye maple Work Box,  inlaid throughout with floral and geometric mosaic borders, the domed top with a sycamore reserved panel depicting a ruined abbey, cm.

wide. Win.

A Victorian framed Picture of the Pantiles,  the glazed panel within floral and geometric mosaic borders, cm. wide. Vin.
Cf. Edward H. and Eva R. Pinto, Tunbridgeware and Scottish Souvenir Woodware, plate .

A Victorian rosewood and floral mosaic Pin Cushion,  with tapered sides, cm. wide.  and a mosaic Sealing Wax Container,  of octagonal section, cm. long

A rosewood Ink Stand,
with a cut-glass bottle, the chamfered
base with a floral mosaic border, cm.
wide. in.

A Victorian mahogany shoe Snuff
Box,  with pique decoration,
cm. long Vin. and a Continental
carved hardwood miniature Clog, th
Century, .cm. long in.

A Regency tortoiseshell veneered
Tea Caddy,  of chamfered
rectangular outline, inlaid with pewter
and ivory stringing, the moulded top
revealing a twin-division interior, cm.
wide. Vin.

A George III partridgewood Tea
Caddy,  inlaid throughout
with boxwood stringing, the cavetto
moulded top revealing a twin division
interior, one gilt-metal foot detached, cm.
wide. Vnn.

WALNUT FURNITURE, George I carved red walnut Armchair, Queen Anne walnut and featherbanded Chest-on-Stand, George I walnut Bureau

A Queen Anne walnut Chest,  inlaid with featherbanding, with two short and three long graduated drawers, on shaped bracket feet, restored, cm. high by cm. wide.; ft.

A George I walnut Chair,  the scroll cresting rail above a vase-shaped splat and slip-in needlework seat, the carved cabriole legs with H-shaped stretchers and pad feet, one

scroll to the knee lacking, worm

A Queen Anne walnut Chest-oa-
Stand, made-up, inlaid with satinwood
stringing, the moulded cornice above two
short and three long graduated drawers,
the stand with two drawers and a shaped
apron, on cabriole legs and pad feet.
restored, cm.

A pair of George I walnut Chairs,
with vase-shaped splats and
slip-in seats, the square legs joined by
stretchers

A Queen Anne walnut and
crossbanded Bureau,  inlaid
with featherbanding, the fall with a folio
rest and revealing a stepped and fitted
interior with a well, below are two short
and two.long drawers, on later shaped
bracket feet, restored, cm. high by  cm.
wide.; ft. Vin. by ft.

A WIIIiam and Mary oyster walnut and satinwood banded Chest-on-Stand,  with satinwood banding and segmented veneers, with two short and two long drawers, the stand with a

drawer and spiral-twist legs joined by stretchers, on bun feet, cm. high by cm. wide.; ft. Ain. by ft. lin., the stand with alterations

A Queen Anne walnut and crossbanded Escritoire-on-Chest,  inlaid with featherbanding, the moulded cornice and cushion frieze drawer above a fall revealing an arrangement of

pigeon-holes, small drawers and a cupboard, below are two short and two long drawers, on later shaped bracket feet, restored, faults, cm. high by cm. wide.; ft. Ain. by ft. in.

A George II large red walnut oval drop-leaf Table,  with ogee arched apron, the bold cabriole legs ending in pad feet, one pad foot partially lacking,  by cm. extended; ft. in.

by ft.

A George I carved red walnut
Armchair,  with vase-shaped
splat and eagle head arms, the stuffed
bowed seat above cabriole legs with scroll
knees, on daw and ball feet, restored

A WIIIiam and Mary-style walnut
Torchere, made-up, the decagonal top
with starburst inlay, the turned and
chamfered tapered pIIIar above tripod
scroll supports, cm. high; ft. in.

A George II red walnut kneehole Dressing Table,  with a frieze drawer and shallow apron drawer, the recessed cupboard flanked by six short drawers, on shaped bracket feet, cm.

high by cm. wide.; ft.  by ft. in.

A WIIIiam and Mary walnut Chest-on-Stand,  the sides in pine, the crossbanded drawers with later cock beading, the stand with a drawer above shaped brackets, now lacking legs,

faults, altered and restored, cm. high by cm. wide.; ft. in. by ft. in.

A George II walnut oval drop-leaf Table,  on circular tapering legs and pad feet, faults,  by cm. extended; ft. m. by ft. m.

A Queen Anne-style walnut and crossbanded Side Table, made-up, inlaid with featherbanding, the quarter veneered top above three drawers and a shaped apron, on cabriole legs and

pad feet, cm. wide.; ft. in.

A Queen Anne walnut and featherbanded Chest-on-Stand,  the moulded cornice above two short and three long drawers, the later stand with a convex apron and cabriole legs, on pad

feet, faults, restored, cm. high by cm. wide.; ft. in. by ft. Ain.

A WIIIiam and Mary oyster walnut
cushion frame Wall Mirror,
with later rectangular plate and an ovolo
surround, restored, now lacking the
surmount, cm. high by cm. wide.;
ft. Whin, by lft. Vin.

A George I walnut Chest-on-Chest,  inlaid with featherbanding, the moulded cornice above three short and three long graduated drawers, below are two short and two long

drawers, the sides with crossbanding, on shaped bracket feet, restored and re-veneered, cm. high by cm. wide.; ft.  by ft. in.

A George I walnut Bureau, circa
with later mahogany crossbanding
and satinwood inlay, including an oval
medallion with ivory cherub motifs, the
fall revealing a fitted interior with
pigeon-holes and six small drawers,
below are four long graduated drawers,
on later bracket feet, altered and restored,
cm. high by .cm. wide.; ft.  by
ft.

A Wiffin aad Mary walnut and
seaweed imiipilij Cabmrt-on-Stand,
the moulded cornice above a
cushion frieze drawer, the pair of doors
revealing a cupboard surrounded by an
arrangement of drawers and enclosing
four further drawers, the stand with a
drawer and shaped apron, now on
cabriole legs and pad feet, restored, veneers
fmrhmfh Imdamg, cm. high by cm.
maV. ft..
Provenance: By repute formerly the ptupem of the Rowley Family in Shrewsbury.

CHESTS OF DRAWERS: VENEERED
About 1680-1740 Walnut
The art of veneering was introduced to England by Dutch and Flemish craftsmen working in and around London during the Restoration period.
Generally three long drawers below two short. Most with over-hanging top, formed at first by a cornice, later ovolo or thumb moulding. Later pieces occasionally with caddy top (i.e. inset with narrow moulding all
round). Tops often quarter-veneered (i.e. veneer laid in four identical pieces) until about 1710; thereafter one piece, usually with broad, cross-banded border.
Bun feet with simple plinth moulding until about 1710, then bracket. (Many have had their bun feet replaced with brackets at a later date. The original holes will still be visible in the carcase base.)
Drawer fronts flat, fashions for edge decoration and finish varying, some running concurrently:
Right, simple cross-banding, late 17thC; centre, feather cross-banding, early 18thC and below, allover veneer with inset stringing, late 17th C.
About 1680-1710: Simple cross-banding. About 1690-1720: Feather (or herringbone) cross-banding.
About 1690-1710: All-over veneer with inset stringing.
With these types, front of carcase between and around the drawers has a single or double half-round moulding.
About 1710-1720: Rebated ovolo lip moulding extending beyond edge of drawer, concealing gap between drawers and carcase.
About 1730 until late-19thC: Cockbead (i.e. a narrow and slightly projecting moulding rebated around drawer but not extending beyond edge).
With these types, drawer dividers plain.
THE BACHELOR’S CHEST
A popular variant, dating from about 17101740, and mostly made in walnut, though occasionally mahogany, is the bachelor’s chest. This is much shallower than average and characterized by a folding top, hinging down from the front and supported on lopers to provide a writing slide. Unusual and desirable, so fakes are not uncommon. Check that the drawer runners stop short of the back; if not, it is almost certainly made up from a cut-down standard chest.
A, plain bracket foot, late 18thC; B, William and    A turnip foot, early 18thC. Mary ban foot; C, flattened bun foot, late 17thC  veneered chest of about 1690.
Veneer: Predominantly walnut; occasionally mahogany after about 1720. Also yew, mulberry, sycamore and many other burr and figured woods. Laburnum, lignum vitae, king-wood, olive-wood and others used for
oyster veneers (i.e. veneers cut across the grain from small branches). Boxwood, holly, ebony, and other woods for inlay and marquetry, also occasionally bone.
Carcases: Pine for all veneered surfaces; oak for drawer linings (except the drawer front. On these a strip of oak often concealed the pine top edge). Oak or deal carcase when japanned.
Hand-cut veneers, at first thick (about 1/8 inch/3 mm), cut across the grain. Early through-dovetails on all parts originally covered by veneer; lapped dovetails from about 1690-1700. Sides of drawers narrower.
drawer construction, veneer hiding dovetails
Drawer linings rebated and glued into sides. Grain running front to back except on very large drawers, when side to side. Drawers with runners on underside, supported on bearers, often with solid dustboards too.
Drop handles attached by split-pin (or tang) method. Plate handles with bolts and circular nuts (fixed with special too]). Pine, sometimes oak, backboards nailed on.
REPLACED HANDLES
It has been estimated that approximately 90 per cent of all chests of drawers have had their handles replaced at least once. This will be obvious from the number and position of holes visible on the inside and probably
from filled holes on the outside. On veneered drawers, if the holes on front and back do not tie up, the piece has certainly been re-veneered, or even veneered for the first time (see below).
Principally geometric patterns of figured veneer. Inlay (often as stringing or circles or ovals), cross-banding. Much use of symmetrically arranged burr and oyster veneers.
Floral marquetry, about 1690-1720; usually contained within panels, not all over as on contemporary Dutch chests.
After about 1680 occasionally chinoiserie japanned decoration on black ground (survivals rare).
Handles: Iron (towards 1700 brass) drop handles. C-scroll bail handles with backplates from about 1700. Early backplates solid and shaped, with bevelled edges; sometimes incised. From about 1720 more often
pierced.
Largish centrally placed decorative lock escutcheons.
Varnish (diluted glue applied in layers and sanded down between applications) to fill the grain and produce a smooth surface, followed by wax polish.
Unfortunately many ‘antiques’ were French polished by the Victorians and have subsequently had to be re-polished, thereby losing their original finish and the mellow colours produced by patination.
VALUES
Prices invariably in four figures, many in five. Being particularly valuable  and rarely in totally original condition  false versions are not uncommon. Watch out for all-oak or all-pine construction. In both cases the chest probably started life without veneer; the first in the 17thC or 18thC, the latter in the late 19thC (although it could possibly be an imported Continental version). Look carefully at the construction of the drawers.
Carcase construction revealed.

CHESTS ON STANDS
About 1680-1730
Many fashionable chests of drawers of this period were raised about 2 feet/60 cm from the ground on turned stands. By 1730 these seem to have been replaced by the more capacious tallboy. The information below
relates to the stands only; for details of the chest sections see under CHESTS OF DRAWERS: PANELLED OAK p.84 and CHESTS OF DRAWERS: VENEERED, p.86.
Late-17thC chest on stand of William & Mary type.
Pre-Queen Anne stands have one long (or after 1690 three short) drawer(s) supported on six turned legs joined by a platform, or turned stretchers with bun feet below. Cabriole legs with pad or hoof feet and without stretchers introduced about 1700. On both types, there is sometimes a shaped apron below the drawer(s). On three-drawer types, the central drawer is shallower than the side ones. Inverted projecting moulding at top of stand (into which chest slots) echoes similar moulded cornice at top of chest.
Early-18thc type with base in form of a lowboy or side-table.
Oak; solid walnut for legs; walnut veneer on pine for drawer sections and platform stretchers; oak for drawer linings (except for the drawer fronts).
Glued mortise-and-tenon joints. Turned legs dowelled into frame. Cabriole legs extend upwards to form corner stiles of framing.
Structural weakness and the partiality of wood-beetles for walnut have often contributed to the disappearance of the stand. The remaining chest section can easily be converted into a standard chest of drawers by the addition of a polished top  the original top being rough and concealed by the cornice and bun feet. These can often be identified by the presence of three rather than two small drawers at the top.
Drawers and drawer frieze as for chests, otherwise very plain.
Wax polish after varnish. Occasionally japanned. Spiral turnings occasionally ebonised (i.e. stained black).
VALUES
It is unusual to find a chest on stand without at least replacement feet, if not legs too. Even so, prices are well into the thousands. Replacement legs and stretchers, even if the drawer section is right, may reduce the
value by as much as 40 per cent. Fine and extensive marquetry is a huge bonus, possibly raising the price to a five-figure sum.

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

ENGLISH CHESTS OF DRAWERS: VICTORIAN AND EDWARDIAN
About 1840-1915
Huge numbers of very simple chests were produced, in a wide range of qualities; a few followed fashionable styles in their decoration. After about 1860 they often formed part of a suite -chest, wash-stand, wardrobe and chair.
Early-Victorian bow-fronted chest of drawers, still of Hepplewhite type, but with coarse-grained veneers and large wooden knob handles.
Usually two short drawers above three long, but can be taller, with five or six drawers. Bow-fronted were most popular until about 1860, thereafter straight fronts were more common. The majority have turned bun feet-longer and less spherical than previously -otherwise bracket feet, or a continuous plinth.
Overhanging top; curved or flat-edged when veneered, moulded when solid (usually thumb or ovolo). Drawers flush with carcase, with almost flat cockbeading around edge. Until end of century all drawers fitted with locks (usually Bramah after 1846).
Around 1800, chests were sometimes combined with wash-stand or with dressing-table.
Predominantly mahogany followed by walnut; occasionally satinwood, rosewood, maple, ash, oak. Sometimes solid, mostly veneered on pine or, on better quality pieces, cheap Honduras mahogany. Pine when stained to resemble other woods, or when painted.
Use of machinery widespread by this period, seen in even saw marks on timber, very thin veneers (about 1/16th inch/1.5 mm) and regularly shaped and cut dovetails. On best pieces dovetails are fine, almost pointed.
Base of larger drawers comprises two panels with central batten (or muntin) supported at sides on runners and held down with narrow quarter mouldings (this feature replaced rebates around 1830). On best quality examples, back of drawer is sometimes fixed to base with three countersunk screws in gouged-out slots. Drawer linings are occasionally lightly polished.
Knobs fixed in V2 inch/cm diameter holes with screw-turned dowel, or shank glued into threaded hole. Sometimes just dowelled and glued, others fixed with metal bolt.
Many very poor quality chests were mass-produced in East End of London using cheap, knotty, improperly seasoned woods and poor quality glues, resulting in lifting of veneers.
Some restrained carving or inlay when in a specific style, otherwise plain, relying only on figured (often burr) veneers.
Handles: Large turned wood knobs from about 1825; white porcelain knobs on painted chests from about 1870. Brass handles re-introduced where style demanded.
French polish; sometimes stained to produce a reddish colour beforehand. Stain and varnish used to simulate quality timbers, particularly on cheap servants’ furniture. Paint popular towards 1900: typically white or green.
VALUES
Prices very variable, closely related to quality of construction and choice of veneers. The majority still in three figures, the best in four. Pine still the cheapest buy.

English Chests on Stand

William and Mary walnut chest on stand. Cross banded drawers and top with inlaid stringing line. Note early period thumb-nail top edge moulding. Half-round moulding on carcase front. c. 1690.
Price Range: $200-$400
Value points: See section notes

William and Mary Period - c. 1690 - oyster and marquetry chest on stand of superb quality. The twist turning which remained so popular after the Restoration is well illustrated in the legs. The flat, shaped stretcher is veneered in walnut on the top face. The mouldings are first class examples of the cross-grained type of the period and the thick inlaid boxwood lines are bold examples of the type. Note that the sides are also veneered and inlaid with boxwood stringing. A half round moulding on the carcase front follows the
drawer edges.
Price Range: $800-$1,200
Value points: Quality of marquetry decoration

William and Mary Walnut and Marquetry chest on stand. Half-round moulding on carcase front around drawers. ‘Concave’ top edge moulding. Panels of marquetry on drawer fronts. Convex-fronted cushion drawer in top of chest, under top moulding. Typical period stand in solid walnut with inverted cup turning, shaped stretchers and bun feet. c. 1690-1700.
Price Range: $350-$1, 000. Large range scale accounted for by originality of base or stand.
Value points: Quality of marquetry and veneer

William and Mary oak chest on stand with drawers cross banded in walnut. The projecting lip moulding, rather like a cock bead, around the shaped frieze of the base, is a feature found on dressing tables of the period. Note the double D moulding on carcase front around the drawers.
Price Range: $160-$I90
Value points: Drawers cross banding

Queen Anne period chest on stand. First quarter 18th century. Note the fine cabriole legs and shaped base. Carcase fronts now flat veneered - no moulding - and drawers have ovolo lip moulding around edges to ‘lip’ over carcase front. Drawers cross banded. Note concave typical top moulding.
Price Range: Walnut $200 - $400. Oak $85 - $140 Value points:
In Walnut: Quality and originality of cabriole legs
In Oak:    Colour and grain  Medullary rays (see A. C. C.
Wood Identification Supplement) across drawer
fronts tend to detract from value.
Drawer cross banding: If in walnut or fruitwood  Mahogany (after 1730)  Many country versions have no cross banding or ovolo moulding on drawers.

Queen Anne period chest on stand in veneer. Note that the cabriole legs have the shell motif on the knee - a mark of quality -and web feet, an unusual feature also of quality. The piece is boldly proportioned with shaped frieze to the stand, half round or ‘D’ moulding on the carcase front around the drawers and a simple cross banding. All the mouldings are cross-grained and of good proportionPrice
Range: $300-$400
Value points: Quality and originality of cabrioles

Queen Anne country walnut chest on stand. Ogee type top edge moulding; half-round or ‘D’ moulding on carcase edges around drawers. Note the ‘half-herring bone’ cross banding around drawers i.e. the cross banding is at 45 degrees - a cheaper variation of the full herring-bone or ‘feather’ type cross banding. This type of cross banding was used on country pieces until a later date, running concurrently with full herring-bone; it is easier and simpler to produce. The square-cut cabriole legs are rather clumsy - those on the illustrated piece are not original. The top is not veneered and it has plain pine sides and drawer linings. The handles and escutcheons are period reproductions. Walnut veneer has some figure but the piece has poor patination. A patch in the veneer can be seen on the second long drawer in the top half, on the left hand side.
Price Range: $120-$150
Value points: See section notes