Antique Chest Of Drawers

VICTORIAN, EDWARDIAN FURNITURE, A Victorian rosewood Canterbury, A Victorian rosewood pedestal Table, Dwarf Bookcase

A George Ill-style mahogany four-poster Bed, circa 1900, with key pattern cornice and damask-lined canopy, with twin receded baluster pillars and damask drapes, the box-spring

base with a feather mattress, on square lock feet and castors, 142cm. wide; 4ft. 8in.

A George Ill-style mahogany kneehole Dressing Table, made-up, with brass carrying handles and three frieze drawers, the arched kneehole flanked by two drawers and a pair of

cupboards simulating drawers, on shaped bracket feet, 84cm. wide; 2ft. 9in.    ?150-250

A pair of Victorian walnut and they wood corner Display Cabinets, circa 1855, formerly part of a side cabinet, with ormolu mounts an inlaid with stringing and arabesques, the

bowed glazed door enclosing a velvet-lined and shelved interior flanked by four baluster turned and fluted Corinthian pillars, on a plinth base and turned feet, altered, one

cabinet with cracked glazed panel, 89cm. high by 80cm. wide; 2ft. 11m. by 2ft.

A George Ill-style mahogany
serpentine-fronted Chest, circa 1900,
with kingwood banding and satinwood
stringing, the four long graduated
drawers flanked by canted corners, on
shaped bracket feet, together with a
plate glass top, 81cm. high by 102cm. wide;
2ft. 8in. by 3ft. 4in.

A George Ill-style mahogany
framed shield-shaped Toilet Mirror,
circa 1900, the serpentine-front plinth
with three drawers and canted blind-fret
corners, on ogee bracket feet, restored,
61cm. wide; 3ft.

A George Ill-style satinwood and
painted Armchair, circa 1900, with
caned back and arms, the bowed cane
seat with a cushion, the ring turned legs
ending in brass capping and castors.

A Victorian rosewood
Canterbury, circa 1870, in the manner of
Edwards & Roberts, inlaid with satinwood
stringing, the open tier above a recess
with mirror back and scroll carved
terminals, below is a fall-front paneled
door inlaid with vase and fruit within
arabesques and pattered, the interior with
three shelves, the gadrooned turned feet
ending in ceramic castors, 97cm. high by
65cm. wide; 3ft. 2m. by 2ft.

A George Ill-style stained beech
and upholstered Armchair, made-up, in
the French Hippie white manner, the stuffed back, padded arms and bowed seat covered in blue striped fabric, on baluster turned and fluted legs.

A George Ill-style mahogany
Armchair, made-up, the leaf carved
cresting rail above a pierced and
interlaced vase-shaped splat, the slip-in
seat with gadrooned apron, the acanthus
carved cabriole legs ending in claw and
ball feet.

A Victorian rosewood pedestal
Table, circa 1840, the circular tilt-top
with a den tilled border, the gadrooned
and jeweled baluster pillar above a
carved tripod base, on claw feet and
concealed castors, faults, 135cm 4ft. 5in.
A set of twenty-eight Victorian oak rail-back Chairs, circa 1860, the stuffed leather cloth seats above an apron with quart form and lancet motifs, on ring turned tapering legs

.

A George Il-style mahogany and parcel-gilt framed Wall Mirror, modern, the acanthus scroll pediment with an eagle, the rectangular plate above a scroll apron, 91.5cm. high by

91.5cm. wide; 3ft. by 3ft.

A George Ill-style mahogany ‘D’-end twin-pedestal Table, made-up, extending with two leaf insertions and with two rail bearers, the baluster turned
pillars above tripod supports ending in rasps capping and castors, 100 by 221cm. fully extended; 3ft. 3V2in. by 7ft. 3in.

A set of six George Ill-style
satinwood Chairs, circa 1900, with
ebonized-strung borders, the shield backs
with pierced vase-shaped splats and lotus
carved surmounts, the stuffed bowed
seats covered in gold damask, on tapered
square legs and spade feet.

A George Ill-style mahogany
Dwarf Bookcase, circa 1910, with a
pierced brass gallery and satinwood
banding, the three open shelves above
tapered square feet, 92cm. high by 53cm.
wide; 3ft. by  9in.

A set of six George Ill-style carved mahogany Chairs, circa 1910, the acanthus carved cresting rails above pierced and interlaced vase-shaped splats, the individual slip-in

seats with carved cabriole legs, on claw and ball feet, bearing trade label of Graham and Banks, 445 Oxford Street, London .

A set of eight George Ill-style
mahogany Chairs, modern, including
two armchairs, the scroll and foliate
carved cresting rails above pierced
vase-shaped splats, the slip-in seats
covered in rose-pink fabric, the carved
cabriole legs ending in claw and ball feet.

A set of six George II-style
mahogany Chairs, circa 1910, the scroll
cresting rails with a receded medallion
surmount above a pierced and interlaced
vase-shaped splat, the slip-in seats
covered in pale-green damask, the
cabriole legs ending in claw and ball feet.

A set of four Queen Anne-style
walnut Chairs, circa 1900, the drapery
carved cresting rail above a solid
vase-shaped splat, with a slip-in seat, the
cabriole legs joined by a turned
‘H’-shaped stretcher, on pad feet .

A set of six George Ill-style
mahogany Chairs, circa 1900, including
two armchairs, the carved backs with
splats, the seats covered in gold brocade, the chamfered tapered square legs joined by stretchers.

A set of eight George Ill-style
mahogany Chairs, circa 1910, including
two armchairs, the carved backs with
arched cresting rails, the pierced
vase-shaped splats surmounted by a
cartouche, the slip-in seats covered in
distressed hide, the acanthus carved
cabriole legs ending in claw and ball feet.

A George II-style carved
mahogany and upholstered Library
Armchair, circa 1900, the arched back,
padded arms and stuffed seat covered in
needlework, with grotesque mask
arm-facings, the acanthus carved and
scroll apron with masks and scallop-shell
motifs, on cabriole legs and claw feet.

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.

CHESTS  dressing
The dressing chest appears to be a Victorian invention and, although out of favour for some years, it was quite a good idea. The addition of a mirror to a normal chest of drawers was a quite common form but
sometimes the chest top was modified into a minor dressing table top with small drawers and cubby holes. A lot of such chests have had the mirrors removed to convert them into ordinary chests of drawers, but the
pine dressing chest appears to be less subject to such modification.
Two pine dressing chests with characteristic, shaped cresting rails to the mirrors, also shown under Pine Furniture, as 382. 1890-1920
A bamboo and rattan dressing chest with a small drawer under the mirror and three long drawers below. Decorative and now quite fashionable. 1890-1900
An Edwardian pedimented dressing chest, available in a stained oak or mahogany colour, with the characteristic broken pediment to the top rail of the mirror. The top of the chest has been fitted with two
small drawers under a shelf. 1900-1920
An oak dressing chest known as a ‘combination’ chest due to the tiled splashback to the washstand section, the swing mirror and the cupboard, with a towel rail to the side. A combination of washstand and  dressing chest or table with incised grooving across the drawers.  1900-1920
A white enamelled chest with mirror between turned uprights. Many such chests have had the mirror removed and been treated to the pine stripper’s caustic tank.
Another ‘combination’ chest, this time white enamelled, with tiled splash-back and towel rail. Note the shaped cresting rails above mirror and splash-back.
A dressing chest from Percy Wells’ book on furniture for small houses of 1920. The form is simplified but stiffer and rather Spartan. Utilitarian, yes; cheerful, no.
CHESTS  military
A mahogany military chest fitted with a secretaire drawer. This secretaire arrangement can be extended for the whole drawer length or confined to a smaller central section as shown here. 1845-1865
A military chest on turned feet. These chests were used by army officers up to the 1870s. The flush-fitting drawer handles and brass-reinforced corners are their characteristic features, as are the carrying handles to each half. Usually made in mahogany, but padouk, cedar and camphorwood examples are found. Now much reproduced in a variety of woods, including ‘distressed’ yew veneers and available in large quantities in
reproduced form. There is not a lot of difference in price between reproductions and 19th century examples.
1800-1870
A camphorwood military secretaire chest of Anglo-Indian origin. This example is slightly more ornate than usual, since it includes a wooden gallery rail around the top which incorporates scrolled carving for
decoration. The style of the carving derives from rococo ornamentation of earlier Victorian popularity. The central secretaire section contains a fitted interior. The brass reinforcing plates at the joints and the flush
handles are characteristic and the turned feet are removable. A high quality version in a desirable wood.
CHESTS  Wellington and specimen
A figured walnut secretaire Wellington chest with the usual turned wooden drawer knobs. Again there is a sub-classical scroll at the top of the locking side flaps like that used on 302. Similarly, the third and fourth
drawers conceal a secretaire section and are on false front which lowers to act as writing surface. The wood surfaces are more decorative and lighter in tone  hence the higher price. 1850-1880
Wellington chests should more correctly be called specimen chests, since that is what they are for. Why the Great Duke’s name has been used for them is not clear; he was an inventive man, although he disliked
inventors, but there does not seem to be any record of his hand in their design. The lockable flaps, which hold the drawers in place, might make the piece a useful campaign item but when Loudon illustrated a similar chest in 1833 the Duke had not campaigned for nearly twenty years. The type was long-lived, being illustrated by Smee (1850), Shoolbred (1876) and Light (1881).
A rather plain Wellington chest of sub-classical Loudon-like design made in mahogany. The third and fourth ‘drawers’ down are in fact false; the fronts are trompe-l’oeil on a single flap which lowers for a writing surface, revealing secretaire fittings inside.
A Wellington chest in feathered satinwood with ebony stringing lines. There is a brass gallery rail around the top. Furniture in woods with ’satin’ finishes is often associated with Holland & Sons who produced items in this style in the 1850s and 1860s.
A carved oak ‘Wellington’ chest with lion-mask carved handles to the drawers. A version of the popular form of Wellington or specimen chest which meets the vogue for carved oak furniture of medieval appearance
which started in the 1880s.
Not really anything to do with Wellington chests, but a 20th century specimen chest-onchest made of oak with wooden drawer knobs having carefully-faceted front surfaces. Very much designed in the manner of
Gimson or one of the Arts and CraftsCotswold school of the first quarter of the 20th century. 1900-1925

CHESTS OF DRAWERS - 1860-1930
The period 1860-1930 is not particularly associated with beautiful chests of drawers in the traditional antique collector’s view. Wooden knobs and nasty turned feet are what spring immediately to mind. Unlike the 18th century, where the chest played a decorative role, the chest of drawers was relegated to the bedroom in the 19th century and replaced by display cabinets and other pieces in the more public rooms. Thus the pieces tend to be commodious and very functional, with some design aberrations as a gesture to current taste, but not very lovely.
At the end of the century, back went the chest to 18th century styling in addition to current forms. It was perhaps the Arts and Crafts Movement who reclaimed the chest of drawers as a more interesting piece and,
subsequently, the Cotswold designers  Gimson, the Barnsleys and Gordon Russell  produced pieces in solid native woods that were based on traditional forms but clean in line and of pleasing appearance. The trade
always produced pine and deal chests in quantity and the chest also appeared, of course, in Jacobethan, burr walnut bedappled and plain forms.
A mahogany chest of drawers with twist-turned columns down the sides and a heavy, serpentine-moulded top drawer. The mahogany veneers used are of high quality, with well-matched figure repeated from drawer to drawer, but the overall effect is heavy. It is a type popular from the 1840s onwards, although by 1880 it must have been out of fashion. 1840-1870
Another chest in mahogany of sub-classical design of a type originating in the 1840s and based on French classical types. Well made, with well matched veneers but nowadays considered ponderous. 1840-1860
A mahogany chest with three deep drawers at the top. Sometimes the middle deep top drawer is fitted as a secretaire, which adds to value. The quality of veneers is good but the effect is ponderous, particularly
the bottom apron which appears to have a drawer in it. These chests, like the previous two, were built usually of deal, with mahogany veneer, for cheapness and many now suffer from missing pieces of veneer due to wear. It is not difficult to repair small missing pieces but the effect before repair tends to put purchasers off. 1850-1870
Another ponderous chest, but this time bow-fronted. Not really of the correct proportions for modification to an ‘18th century’ bow front on splayed feet by a `converter’, so has to be sold more or less for what
it is. 1850-1880
Possibly the epitome of the good quality Victorian mahogany chest of drawers  tall, bow fronted, with splendid use of `feather’ mahogany veneers. Capacious, well-built and with drawers fitted to run
smoothly. The wooden knobs have been turned with some decorative ridging which refines the bluntness of the ordinary bulbous knob. The bun-shaped and tapered turned feet are also typical. The gradation of the
drawer depths is also well handled on this example. Altogether a very professional piece of furniture but, unlike 18th century chests, not very suitable for rooms other than the bedroom and therefore restricted in price accordingly. 1850-1870
Back to the 18th century  a mahogany bow-fronted chest on splay feet in the ‘Hepplewhite’ style but with original wooden knobs, whereas Hepplewhite would have had pressed brass plates and handles.
Made in quite large quantities and now often `converted’ to an 18th century piece by modification back to brass handles. If a bit tall for 18th century proportion, then it might be further modified by having a drawer
removed and the carcase re-jigged. 1880-1900
A chest made by Shoolbred & Co. in emulation of a French Empire style, with a marble top. It is made in solid mahogany with mahogany veneered drawer fronts and solid mahogany mouldings, so must have been expensive. Now considered somewhat dark and sombre, so not particularly valued.
A ‘Chippendale’ mahogany serpentine fronted chest of drawers, with a brushing slide and canted corners with blind fretted decoration, on bracket feet. A good reproduction of a mid-18th century chest.
A mahogany serpentine- fronted chest on chest incorporating two short drawers, six long drawers and a brushing slide. The canted corners are embellished with blind fretwork of Chippendale pattern and the
top moulding is dentilled. Although the quality of workmanship appears to be good, the proportion is too cramped for 18th century work. Doubtless a useful piece for the smaller rooms of the early 20th century.
1910-1930
A typical Edwardian chest of drawers, with solid plinth base. Available at the time in either ’satin walnut’  which is a kind of solid yellow-brown wood, imported from America  or oak. It has pressed bronze
handles and plates. The incised horizontal moulding machined across the drawer fronts and down the sides is a feature of the period. 1900-1910
An Edwardian mahogany chest of drawers, on a solid plinth base, with satinwood crossbanding and oval pressed brass handles to give a ‘Sheraton’ look.
Another typical Edwardian form of chest, known at the time as a ‘Scotch’ chest. The drawer edges are bevelled or fielded. The arrangement of the top drawers, with one deep central unit and pairs of small
drawers flanking it, dates back to press chests of the 18th century. Available in walnut or mahogany. 1900-1910
A cupboard chest of drawers favoured by Percy Wells for use in the bedroom, where the fall-front cupboard, intended for hats, had ‘met with cordial approval’. Presumably this was intended for ladies, since the vision of lustful 1920s male cottage visitors, dashing into the bedroom with their hats still on, having missed the hall stand or rack recommended by Wells (elsewhere) in their ardour on the way, and stuffing the offending garment into the top of the cupboard chest (before or afterwards) ‘with cordial approval’ is even more than D.H. Lawrence might conceive. Actually Wells also recommended similar cupboard chests, with added boot and book shelves below and above respectively, for the living room. There is a hint that the fall front chest might replace the bureau, using the flap for writing purposes. c.1920
An oak chest of drawers of slightly progressive design with ‘oxidised’ metal handles. A reduction by a commercial manufacturer of ‘art nouveau’ styling to a simpler form Plain Furniture is on the way. 1900-1910
Three waxed oak chests by Maurice Adams, showing reliance on late 17th and early 18th century designs. A turned-leg stretchered variety for the raised first example, called a ‘Cromwell’ design by the maker; bracket feet and bun feet for the more conventional types.
Three mahogany reproduction style chests from Maurice Adams. The feet are a semi-cabriole splayed variety in deference to prevailing I good’ taste, i.e. for quasi-Queen Anne. c.1925
Chest of drawers in oak with walnut handles by Gordon Russell. Wardrobe and mirror to match. Note the inlaid ebony-andbox chequer lines beloved of the movement, particularly the Cotswold Crafties. Simple and
functional: the wooden handles are a particular trademark of Russell’s. c.1930

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.