Antique Chest Of Drawers

A Swiss walnut pedestal Table, Victorian large mahogany Library Bookcase,  Victorian papier-mache Chairs

A George Ill-style painted and
upholstered Berger, circa 1910,
covered in brocade, the padded arms
with turned facings, the bowed seat with
a cushion, on turned tapering legs.

A Victorian large mahogany Library Bookcase, circa 1850, formerly part of a larger bookcase, with receded terminals and acanthus carved corbels, the molded cornice above six

glazed paneled doors enclosing adjustable shelves, below are four paneled doors and a plinth base, altered and restored, 238cm. high by 366cm. wide; 7ft.  by 12ft.

A Victorian walnut ‘Savonarola’ Chair, circa 1900, with ladder back and stuffed velvet seat, the splayed legs joined by an ‘X’-shaped stretcher.

A Victorian teak and brass-bound secretaries Military Chest, circa 1860, in two parts, the fitted writing drawer flanked by four short drawers.

A Victorian olivewood Work Table, circa 1850, the octagonal molded top enclosing a fretted lid and yellow moire silk-linear interior, on concave splat supports, a molded

baluster pillar and concave-sided platform with molded scroll feet, 71cm. nigh by 48cm.2ft. 4in. by  7in.

A parquetry Side Cabinet, late
19th Century, in the Louis XV/XVI
Transitional style, with bowed ends and
cabriole legs, the frieze inlaid to simulate
fluting and containing four drawers,
with four quarter-veneered cupboards
below inlaid with baskets and sprays of
flowers, with gilt-bronze mounts, 117cm.
high by 89cm. wide; 3ft. by
7ft. 22in.

A pair of George Ill-style
satinwood and floral painted shield-back
Chairs, circa 1890, with pierced splats
and stuffed bowed seats covered in
brocade, the tapered square legs ending
in collars.

A Victorian rosewood
Bonheur-du-Jour, circa 1900, inlaid with
satinwood stringing and arabesques, with
rear hinged domed cover revealing
stationery compartments, pen tray and
inkwell, the fold-over top revealing an
inset, the two apron drawers above
tapered square legs and galleried
under tier, on brass capping and castors,
69cm. wide; 2ft. 3in.

A pair of Victorian papier-mache
Chairs, circa 1860, with foliate painting
and gilt festoons, the spiral-twist back
supports with a needlework splat, the
matching seat above turned legs joined
by bobbin turned stretchers

A Victorian rosewood Stool, circa 1860, the rectangular stuffed seat covered in green brocade, the scroll carved apron above acanthus-clad cabriole legs, on scroll feet .

A Victorian rosewood Pole Screen, circa 1850, with scroll carved velvet framed panel, the brass and baluster pillar above a circular base, on triple molded feet, 144cm. high;

4ft. 82in.

An Edwardian mahogany Display
Cabinet, circa 1910, the pierced fret
pediment with vase-turned finials, the
pear-drop cornice above a pair of arched
astragal doors enclosing a pleated
fabric-lined interior with glass shelves,
the combined stand with chamfered
square legs and pierced angle brackets
joined by a fretwork under tier, fitted for
electric light, 174cm. high by 112cm. wide;
5ft. 82in. by 3ft. 8in.

CONTINENTAL FURNITURE

A Continental 18th Century-style
walnut Chest, circa 1850, with specimen
parquetry banding and canted corners,
the den tilled cornice above three long
drawers, on shaped bracket feet, 97cm.
high by 114cm. wide; 3ft. 2in. by 3ft. 9in.

An Italian carved and gilt framed
Wall Mirror, modern, in the George
II-style, with pierced foliate scroll
surround, the pagoda surmount above
wave and flame motifs, the apron
centered by a cartouche, 160cm.
high by 82cm. wide; 5ft. 3in. by 2ft. 8in.

A Dutch mahogany and
cross banded bow-front Cabinet
Bookcase, circa 1890, inlaid with
chevron banding and satinwood urns
and maidens, the blind-fret cornice
above a pair of paneled doors enclosing
adjustable shelves, below are two frieze
drawers and a pair of paneled doors, on
shaped bracket feet, restored, 221cm. high
by l05cm. wide; 7ft. 3in. by 3ft. 51.

A Dutch parquetry and walnut serpentine-fronted side Table, circa 1750, with an arrangement of four drawers and a shaped apron, on cabriole legs and pad feet, drawer stamped

From Geoffrey R. Edwards Furniture Warehouse, 12 Dotcom Street, S. W.

A Florentine ornate carved frame Mirror, circa 1730, the shaped plate with bold floral scroll surround, gilt tarnished, 74cm. high by 63cm. wide; 2ft. 5in. by
2ft.

A Dutch parquetry and
mahogany bow-front Corner Cupboard,
circa 1800, the door above shaped and
tapered square feet, 84cm. high by 69cm.
wide; 2ft. 9tn. by 2ft. 3m.

A German mahogany Bureau,
circa 1870, the raised back with three
drawers, the piano molded fall-front
revealing a maple veneered interior with
leather cloth inset and three drawers,
below are three apron drawers, on
turned and receded tapering legs, 112cm.
high by 130cm. wide; 3ft. 8in. by 4ft. 3in.

An Empire mahogany Side
Cabinet, circa 1820, the frieze drawer
above a pair of paneled doors flanked
by Corinthian pilasters, on block feet,
95cm. high by 93cm. wide; 3ft. by
3ft. 2in.

A Swiss walnut pedestal Table, circa 1860, the oval serpentine top with satinwood vine inlay and medallions, decorated in pinwork with a reclining lion, deer and goats, the

pierced apron above an ornate carved scroll tripod base, 93cm. wide;

Flemish 17th Century-style oak Press Cupboard, Commonwealth oak Cupboard, William and Mary stained beech wood Side Chair

A Flemish 17th Century-style oak Press Cupboard, made-up, with inlaid
panels within strap work and mitered orders, carved with cherub and lion masks, the terminals with split baluster moldings, the molded cornice above a pair of paneled doors and

two shallow doors, below are a larger pair of paneled doors and stem feet, 216cm. nigh by 163cm. wide; 7ft.  by 5ft. 4in.

A Charles II carved walnut and cane Day-Bed, made-up, with putt and vase cresting rail with matching stretchers, on spiral-twist supports and turned feet, faults, 183cm. Lang;

6ft.

An Elizabeth I-style oak Coffer, made-up, the hinge cover above a fluted frieze, the twin arched panels with geometric inlay flanked by caryatid terminals, on scroll bracket

feet, 136cm. wide; 4ft. 52in.

A Continental walnut Stool, circa 1700, the rectangular stuffed seat above scroll feet joined by stretchers, restored, 69cm. wide; 2ft. 3in.

A Charles II oak Coffer, made-up, the five arched panels above stem feet, 168cm. wide; 5ft. 6in.

A Charles II-style walnut and cane Day-Bed, circa 1870, with pattered and scroll cresting rail and similar stretchers, with spiral-twist supports, on turned feet, 175cm. bug;

5ft. 9in.

A Charles II-style walnut and cane large Stool, made-up, the rectangular seat above square and spiral-twist supports joined by pierced and carved stretchers with foliate and

coronet motifs, 153cm. long; 5ft.

A Charles II walnut and cane-back Stool, made-up, with scroll cresting rail and matching stretchers, on square and turned supports, 79cm. wide; 2ft. 7in.

A William and Mary red walnut oval Gate leg Table, circa 1700, the square and baluster turned legs joined by stretchers, on molded scroll feet, restored, lacking section from

one leaf, 122 by 122cm. extended; 4ft. by 4ft

A Commonwealth oak Cupboard, made-up, the molded cornice and bolection frieze above a pair of paneled doors with metered moldings enclosing hanging space, below are triple

panels and two apron drawers, on stem feet, faults, 193cm. high by 142cm. wide; 6ft. 4in. by 4ft. 8in.

A Charles II oak box-seat Steed, made-up, the multi-paneled back with foliate stylized carving and initials A.T. and M.T., the hinged seat above a triple-paneled and fluted

apron, on stem feet and castors, 175cm. wide;

An Adige cedar wood Cass one, circa
1700, now with a pine hinged cover,
decorated with pokerwork on a stipple
ground, faults, 181 cm. wide;
A Commonwealth-style cedar wood
and oak Chest-on-Stand, made-up, with
mitered moldings and paneled sides,
the distressed den tilled cornice above
four long drawers, the associated stand
with arcaded frieze, the stem feet with
bobbin turned pilasters and split bun
feet, faults, 150cm. high by 91.5cm. wide;
4ft. l by 3ft.

A French Louis XV provincial
large oak Armoire, circa 1/50, the
molded cornice above a pair of
paneled doors enclosing hanging space,
on stem feet, restored, 250cm. nigh by
173cm. wide; 8ft. 21/mi. by 5ft. 8m.

A pair of Continental walnut and oak Chairs, circa 1690, with arched cresting rails, the stuffed backs and seats covered in flame-stitch tapestry, the turned and square legs

joined by stretchers, restored.

A William and Mary stained beech wood Side Chair, circa 1695, the stuffed back and seat covered in brocade, the upturned vase-shaped legs joined by stretchers, restored
This lot was purchased in the Much Had ham house sale, lot 682, on the 1st October, 1980.

A Queen Anne oak four-poster Bed
Frame, circa 1710, of paneled
construction, with canopy and twin
pillars,, on stem feet, restored, 142cm. wide;
4ft. 8m.

A George II oak Dresser, circa
1750, the associated raised open-shelf
back with a pierced frieze and fluted
terminals, the base with three frieze
drawers, below are two drawers flanked
by a pair of fielded paneled doors, on
stem feet. 197cm. high by 185cm. wide;

A Queen Anne walnut and
cross banded Bureau, circa 1710, inlaid
with feather banding, the fall revealing a
stepped and fitted interior with a well
below are four long graduated drawers,
on shaped bracket feet, restored, 100cm.
high by 91.5cm. wide; 3ft. 31/nn. by 3ft.

A George I oak Cupboard, circa
1720, in two parts, the pair of paneled
doors enclosing hanging space, the base
with two dummy drawers and two real
drawers, on stem feet, 180cm. high by
132cm. wide; 5ft. l by 4ft. 4in.

A Queen Anne oak Cupboard, circa
1710, in two parts, the pair of fielded
panel doors enclosing hanging space, the
base with triple fielded panels, restored,
177cm. high by 136cm.

A George I oak Cupboard, circa
1720, the dentilled cornice above a pair
of fielded panel doors enclosing hanging
space, the base with triple fielded panels
and an apron drawer, restored, 185cm.
high by 130cm. wide; 6ft.  by 4ft. 3in.

A Charles II ambry Press Cupboard, circa 1680, the projecting cornice with turned pendants above three fielded panel doors, the three frieze drawers above a pair of fielded

panel doors with spindle turned insets, on stem feet, restored, 163cm. high by 134cm. wide; 5ft. 4in. by 4ft. 5in.

A George II oak Cupboard-on-
Chest, circa 1720, the pair of doors with
ogee arch and fielded panels, below are
four dummy drawers, the base with
three short and one long drawer, on
shaped bracket feet, restored, 153cm. high
by 136cm. wide; 5ft. by 4ft. 51/zin.

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.

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 OF DRAWERS  transitional
Retains the geometric cushion-shaped mouldings of the previous period but the mouldings are no longer the dominant feature, instead the eye is drawn to the fine burr walnut veneers. In this chest therefore are combined the decorative applied pieces and an almost dentil moulding with the new technique of veneering. The bracket feet are later. The price will very much depend on patina. c.1680
The transformation to all-over walnut veneered carcase is complete, but the maker had still the old designs very much in mind. The geometric design of the fragmented square is used on the veneered top and bottom drawer, while the second drawer continues the familiar cross design, see the bottom drawer of the chest above. Even the broad edges of the front have long thin straight shapes where applied balusters might previously have been situated and the centre of the drawers reflects the traditional division of the design
into two. Again the feet have been replaced. Note the half-round cross-grained moulding between the drawers  typical of the walnut period. c.1700
The increasing use of contrasting wood to add to the decorative quality of geometrically moulded chests might eventually have led to the idea of veneering on flat surfaces.
However the Continental influences which flooded into England at the Restoration brought foreign craftsmen as well as foreign ideas, among them veneering, so that the changeover took place quickly. These three examples show interesting transitional pieces.