Antique Chest Of Drawers

George IV gilt-framed convex Wall Mirror, George III carved walnut Armchair Frame, satinwood semi-circular Card Table

A George III small mahogany
Sideboard, circa 1800, with kingwood
banding and satinwood stringing, the
cutlery drawer above a tambour
cupboard flanked by a pair of deep
drawers, 90cm. high by 122cm. wide;
2ft. 11 !/2in. by 4ft.

A Regency mahogany four-tier Whatnot, circa 1810, with ring turned supports and apron drawer, on brass capping and castors, 130cm. high by 51cm. wide; 4ft. 3m. by  8m.  ?350-500

A George IV rosewood and cross banded Sofa Table, circa 1825, with two drawers, the chamfered pillar above a base, on metal leaf scroll feet and castors, leaf partially

detached, 93cm. wide when closed; 3ft.

A George III mahogany
break-front secretaries Bookcase, circa
1780, the key pattern cornice above four
astragal doors enclosing adjustable
shelves, the pedestal base with a fitted
writing drawer flanked by eight
graduated drawers, below is a shaped
apron and splayed bracket feet, restored,
244cm. high by 186cm. wide; 8ft. by
6ft.

A George III carved Settee Frame,
circa 1780, the guilloche decorated
frame with arched cresting rail and
carved pattered, the serpentine-shaped
seat above baluster turned and fluted
legs, restored, lacking upholstery, formerly
gilt.

A George III carved walnut Armchair Frame, circa 1780, in the French manner, the cartouche-shaped back and bowed seat with carved pattered, on cabriole legs, lacking upholstery,

restored.

A George III satinwood semi-circular Card Table, circa 1780, with broad banding and kingwood cross banding, the fold-over top with a medallion and revealing a green baize

lining, the tapered square legs with bell-flowers surmounted by pattered, restored, 91.5cm. wide; 3ft.

A Regency mahogany Card Table, circa 1810, the fold-over top with a green baize lining, the frieze with ebonized and satinwood strung borders, the sacred legs surmounted by

yew-wood lozenge medallions, 91.5cm. wide; 3ft.

A Regency mahogany Pedestal Sideboard, circa 1810, the sunk bowed centre with an arched back and three drawers, the pedestals each with a frieze drawer and a paneled door

enclosing a drawer, including a cellaret, on receded sacred feet, 183cm. wide; 6ft.

A set of six William IV rosewood spoon-back Chairs, circa 1835, with carved clasp-shaped mid-bars and cane seats, on lappet-clad ring turned legs .

A Regency rosewood Sofa Table, circa 1810, with two frieze drawers, the ring-turned end supports with splayed feet ending in brass paw finials and castors, 89cm. wide when

closed; 2ft. l

A George III mahogany Chest, circa 1790, the slide above four long graduated drawers, on shaped bracket feet, restored, 82.5cm. high by 86cm. wide; 2ft. 8V2in. by 2ft.

A George IV gilt-framed convex Wall Mirror, circa 1825, with dual-headed eagle surmount and acanthus apron, faults, 104cm. high by 61cm. wide; 3ft. 5in. by 2ft.        ?300-500
200    A George III mahogany Secretaries Bookcase, circa 1800, the pair of arched astragal doors enclosing adjustable shelves, the base with ebonized banding, the fitted

writing drawer above three long graduated drawers and a shaped apron, 109cm. wide; 3ft. 7in.

A George II gilt-framed Wall Mirror, made-up, the ornate pierced surmount with vase and foliate scroll motifs, the rectangular plate with margin plates, 81cm. high by 39cm.

wide; 2ft. 8in. by  32in.

A George IV carved and gilt
essay-framed convex Wall mirror, circa
825, with eagle surmount and foliate
apron, 86cm. nigh by 48cm. wide; 2ft.
by  7in.

A George III mahogany kneehole
Dressing Table, circa 1790, the frieze
drawer above a recess flanked by four
short drawers, on chamfered square legs
and later ceramic castors, 107cm. wide;
3ft. 6in.

A George HI mahogany Tripod
Table, circa 1790, the circular tilt-top
above a vase-shaped turned pillar.

A George III rosewood and
cross banded small drop-leaf Table, circa
1810, inlaid with stringing, the real and
opposing dummy frieze drawer above
tapered square legs ending in brass
capping and castors, restored, 48cm. when
closed;  7in.

A George III provincial oak Press, Queen Anne oak Chest-on-Stand, William and Mary oak Mule Chest, George I oak Blanket Chest

A William and Mary oak
rectangular Gate leg Table, circa 1690,
with two frieze drawers, the square and
baluster turned legs joined by stretchers,
102 by 130cm. extended; 3ft. 4in. by
4ft. 3m.

A Charles II oak and elm Cabinet,
made-up, with hinged cover and
twin-panel front, below is an apron
drawer, on stem feet with under tier,
96cm. high by 96cm. wide; 3ft. 2in. by
3ft. 2m.

A Queen Anne oak Chest-on-Stand, circa 1710, the molded cornice above a cushion frieze drawer, with two short and three long graduated drawers, the stand with three drawers and

an arcaded apron, on square cabriole legs, formerly with stretchers, restored, 152cm. high by 99cm. wide; 5ft. by 3ft. 3in.

A French provincial mahogany
Dough Bin, circa 1760, the serpentine-
fronted hinged cover above a tapering
body, the combined stand with a foliate
carved apron with matching stretchers,
the square and baluster turned supports
on scroll feet, 88cm. high by 130cm. wide;
A George II small oak Chest, circa 1750, with two short and three long graduated drawers, on shaped bracket feet, restored, 84cm. high by 90cm. wide; 2ft. 9in. by 2ft. 11 Van.

A William and Mary small oak Chest, circa 1690, with two short and two long cross banded drawers, on later shaped bracket feet, formerly the upper section of a chest-on-stand,

restored, 80cm. high by 83cm. wide; 2ft.

A William and Mary oak Mule Chest, circa 1700, with hinged cover and four-panel front, the two apron drawers with mitered moldings, on stem feet, 130cm. wide; 4ft. 3in.

A George II primitive ash comb-back Chair, circa 1750, the solid seat above chamfered splayed legs Joined by stretchers, restored.

A Dutch walnut standing Corner
Cupboard, circa 1750, the domed
cornice above a pair of paneled doors
enclosing a painted interior with
serpentine shelves, below are a smaller
pair of paneled doors enclosing a shelf,
with bowed corners and raised on
shaped bracket feet, 241cm. high by
135cm. wide; 7ft. l by 4ft. 5m.

A William and Mary carved oak Press Cupboard, circa 1690, bearing date 1691, the frieze carved with scroll motifs and the date and raised on a pair of pillars with a pair of

carved doors, the base similarly carved and with a pair of four-panel doors, 143cm. high by 163cm. wide; 4ft. 8in. by 5ft. 4in.

A George I oak Settle, circa 1720, with five arched and fielded panels to the back, the solid seat above square cabriole legs, 193cm. wide; 6ft. 4in.

A George III oak Dresser, circa
1780, the raised open-shelf back with a
molded cornice, the base with two
frieze drawers and an arched apron, on
chamfered square legs with an under tier,
on stem feet, altered and restored.

A Charles II oak Coffer, circa
1680, the triple-paneled front carved
with quatrefoil and pattered motifs, on
stem feet, restored, 132cm. wide; 4ft. 4in.

A George I oak Blanket Chest, circa 1720, now with a fixed cover, the front with four ogee arched and fielded panels and now forming a pair of doors, below are three drawers and

a shaped apron, on stem feet, altered and restored, 147cm. wide; 4ft. 7in.

A George II oak Clothes Press, circa 1750, the adjustable platform on solid end supports, below are three long drawers and later bun feet, 76cm. wide; 2ft. 6in.

A Queen Anne walnut Chest, circa
1710, now with a hinged oak top, below
are three long graduated drawers, on
shaped bracket feet, altered and restored,
81cm. high by 99cm. wide; 2ft. 8in. by
3ft. 3in.

A Charles II oak Press Cupboard,
circa 1680, the molded cornice and
frieze with initials D.I. and date 1725,
with turned supports flanking a pair of
cupboards and two central drawers,
below are a pair of paneled doors and
stem feet, restored and including later
timber, 173cm. high by 154cm. wide;
5ft. 8m. by 4ft. 5in.

A George II oak and pine Dresser,
circa 1750, the raised open-shelved back
with a molded cornice, the two frieze
drawers above a shaped apron, on
square legs and platform base, 200cm.
high by 155cm. wide; 6ft. 7 in. by 5ft.

A James I large oak Press
Cupboard, made-up, carved with
strap work and foliate motifs, the
S rejecting cornice with turned pendants asking a pair of cupboards centered by twin panels, below are four paneled doors, on stem feet, 170cm. nigh by 244cm. wide; 5ft. 7in. by

8ft.

An oak Dresser Base, late 17th Century, with molded top and three two-panel drawers, on two turned front legs, originally with four front legs, 84cm. high by 188cm. wide; 2ft.

9m. by 6ft. 2in.

A George III provincial oak Press, late 18th Century, with a pair of cupboard doors each with two arched fielded panels, the lower part with two drawers, on bun feet, 192cm.

high by 168cm. wide; 6ft. 31. by 5ft. 6in.

A George II oak Mule Chest, circa 1725, the frieze carved with initials and date 1727, below are triple fielded panels and two drawers, on stem feet, 138cm. wide; 4ft. 6in.

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 carved rosewood and upholstered Suite of Seat Furniture, Louis XV-style kingwood and marquetry Writing Table, French boulle and ebonised Pier Cabinet

A French carved rosewood and upholstered Suite of Seat Furniture,  covered in nailed turquoise dralon, the moulded frames with foliate motifs, on cabriole legs, comprising: four

Salon Chairs, a pair of Armchairs and a Canape, cm. wide. ft. in.

A Dutch oak Display Cabinet-
on-Chest,  the foliate carved
domed cornice above a pair of geometric
astragal doors flanked by Corinthian
pilasters, the ogee-shaped base with a
valanced apron, the fluted canted
corners ending in splayed feet, cm.
high by cm. wide. ft. Vin. by
ft. in.

A Louis XV-style kingwood and
marquetry Writing Table,
with gilt-metal mounts, the serpentine top now with a floral embroidered inset covering an inset tooled leather writing surface, the cabriole legs ending in sabots, cm. wide.

ft. lVin.

A French rosewood and inlaid
Cylinder Bureau,  the marble
top with a three-quarter gallery above a
guIIIoche frieze, the parquetry and
marquetry fall revealing an inset slide,
four drawers and a recess, below is an
arrangement of four drawers and a
shaped apron, the square cabriole legs
ending in sabots, cm. high by cm.
wide. ft. in. by ft. Wfrxn.

A French boulle and ebonised
Pier Cabinet,  in two parts,
with gilt-metal mounts, the raised back
with a drapery surmount and open tier,
below is a door with oval panel flanked
by canted corners, on a shaped plinth
base, bearing paper labels of Passemard
Freres, Paris, cm. high by cm. wide.
ft. lin.

An Austrian mahogany Vide-
Poche,  with brass mouldings,
the oval top with a moulded gallery and
a drawer, the lyre-shaped end supports
joined by a platform with turned vase
finials, the turned end supports joined
by a pole stretcher, on castors, cm.
wide. lft. Vin.

A French boulle and ebonised
Bonheur du Jour,  with
gilt-metal mounts and canted corners,
the raised back with a pierced gallery
above a pair of doors with oval panels
and two apron drawers, the base with a
serpentined dual-action slide above a
drawer, the square cabriole legs ending
in sabots, cm. high by cm. wide.
ft. Vin.

A French mahogany and gilt-metal mounted Bijouterie Cabinet,  the bevelled glass top and bowed glazed sides with a velvet-lined interior and a glass shelf, the shaped apron

above square cabriole legs ending in sabots, cm. wide. ft. in.
H A Louis XV-style kingwood Table-en-Chiffoniere, with segmented veneers and gilt-metal mounts, the two serpentined drawers above cabriole legs ending in sabots, faults, cm.

wide.
lft. Vin.

A North Italian walnut and fruitwood serpentine-fronted Commode,  with segmented veneers, the four long graduated drawers above a shaped apron, on cabriole feet, restored, cm.

high by cm. wide. ft. in. by ft.

A Dutch mahogany Tea Table,
the top with moulded border and
projecting corners, the fold-over action
revealing a well, formerly with divisions, the
frieze with a drawer, the sides with
moulded slides, the cabriole legs joined
by an undertier, on pad feet, cm. wide.
ft. in.

A French kingwood Bonheur du
Jour,  with gilt-metal and
Sevres-style porcelain mounts, the whole
with quartered veneers, the raised back
with a pierced gallery, a pair of doors
and two apron drawers, the base with a
frieze drawer and revealing a baize-lined
slide, the square cabriole legs ending in
sabots, cm. high by cm. wide.
ft.  lin.

A French ebonised Meuble
dAppui,  inlaid with brass
banding, with gilt-metal and Sevres-style
porcelain plaques, the terminals
surmounted by caryatids, the panel door
flanked by a pair of bowed glazed doors
enclosing a velvet-lined and shelved
interior, on a plinth base and turned
feet, cm. high by cm. wide. ft. llin.
by ft.

A quantity of French ormolu and
gilt-metal Mounts,  including
mouldings

A South German or North Italian
carved giltwood and gesso Console
Table,  of serpentine shape,
with a mottled pink and green marble
top, a drawer in the frieze and cabriole
legs carved with foliage and scrollwork,
cm. high by cm. wide. ft.

A Louis XV-style parquetry
Commode,  the serpentine
top centred by a floral marquetry oval,
the front with two long graduated
drawers and bronze metal mounts, on
splayed legs ending in sabots, cm.
wide. ft. /n.

A George III-style satinwood and inlaid oval Tray,  with pierced brass gallery and brass carrying handles, cm. wide. ft. in.

A George IV ebonised and cut-brass inlaid Standish,
with brass moulded border, brass carrying handle, lidded compartment and two ink bottles, below is a drawer and bun feet, cm. wide. lft. lin.

A Victorian coromandel Games
Box,  with brass inlaid
key-pattern borders, the hinged cover
with playing card motifs, the lined
interior with compartments, accessories
and card scorers, cm. wide. llin.

A George III small tortoiseshell
veneered Tea Caddy,  of
elongated octagonal form, with hinged
cover and lidded compartment, on bun
feet,  cm. wide.

A Victorian coromandel Work
Box,  with mother-of-pearl
inlaid medallion and escutcheon, the
lined interior with a mirror, tray and
compartments, together with mother-
of-pearl accessories, cm. wide. 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.

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

CHESTS OF DRAWERS (BUREAUX) AND DRESSING CHESTS (DRESSERS)
About 1890-1940
Nine-drawer oak chest designed by Frank Lloyd Wright, about 1902.
In modern American usage, a bureau is a chest of drawers; in Britain it is a slope-front desk. In the USA, a dresser is a dressing-table or dressing-chest with a mirror; in the UK it is a kitchen cupboard or country-made sideboard, usually with shelves above.
From their positions of honour in the living. room, where they were repositories of heirlooms and dowries, epitomized by the ‘bottom drawer’ in which the bride-to-be tucked away her trousseau, chests of drawers were relegated to the bedroom, eventually to become ’storage units’, oak dressing bureau by Buckley, 1890-1910: The chest of drawers survived as an independent piece of furniture, often bow-fronted with pilasters and turned feet, but was also adapted to form part of a bedroom suite as a drawing-chest (dresser) with mirror attached.
1910-25: The need to economize on living space made the bulky chest of drawers a prime candidate for rationalization.
1925-40: The Art Moderne style did little in its defence beyond lavishing expensive veneers on it. Under reformist influence, it became at first purely functional but still autonomous, until absorbed into a storage system of shelving, hanging and drawer space composed of units, either built-in or flexible, often put together by early DIY enthusiasts.
For them, a New York cabinet-maker wrote a book called How to Make Your Own Bedroom Furniture. In the first six months, it sold I I copies. The publishers changed the title to How to Do It in the Bedroom, and  dressing chest with asymmetrical Mirror came a best-seller. DIY was not really a 20thC invention. From the days of the Pilgrim Fathers, much was made by unskilled homemakers, and in the late 19thC, amateur woodwork became a cult that accounts for many otherwise inexplicable departures from the norm.
1890-1910: Mahogany, walnut, oak, used in the solid or as veneers on pine base. Drawers often lined with cedar.
1910-40: Oak, ash, walnut, mahogany, satin birch, Canary whitewood, used in the solid for drawer-fronts. Veneered plywood on softwood frames for carcases.
Custom-built pieces hand-made, mass-produced merchandise heavily reliant on machines. Some DIY artefacts remarkable for methods previously unknown and never- repeated, e.g. a highboy converted from an upright piano, the drawers assembled with screwed-on angle irons.
1890-1925: Carving, by hand or machine; mass-produced marquetry motifs, many in pseudo-Federal style, available by the dozen for insertion at furniture factory.
1925-40: Little decoration other than on reproductions and pastiches of ‘Jacobean’ (vaguely 17thC) chests of drawers with geometric mouldings and split banister turnings on drawer-fronts.
Traditional types stained dark and French polished; dressing-chests fitted with mirrors in matching frames.
Handles: Turned wood, ornate metal simulating brass or bronze.
Art Moderne types veneered in exotic woods or, if solid, limed or painted and cleaned off, leaving pigment in grain. Dressing-chest fitted with frameless, bevelled mirrors, sometimes of eccentric shape.
Handles: Wooden bars, oxidized or chromium-plated metal grips.
Late-19thC mahogany chests of drawers with cedar drawer-linings a good buy for those who like their rich, heavy look. Good examples of Art Moderne highly priced, poor ones not worth having.
Many a late-19thC chest of drawers with bow front, heavy pilasters, turned feet and wooden knobs has been made into a Federal type by removing the pilasters, reducing the width, replacing the turned feet with brackets and the wooden knobs with reproduction brass handles.

FRENCH CHESTS AND CHESTS OF DRAWERS About 1675-1760
Polychrome bootie commode, about 1700.
Lidded chests continue to be made, but mainly in rural areas; regional variations become firmly established.
Chests of drawers in mid-17thC styles also made in provinces until well after 1700, but in major centres, panelled ends give way to flush surfaces, applied mouldings disappear from drawer-fronts, veneering, parquetry and marquetry are widely practised. Chests on stands with turned legs in the Netherlands. Rectilinear carcases until after 1700.
France is leader of fashion under Louis XIV, for whom a pair of curved chests of drawers – commodes en tombeau– were made by Boulle in 1708-9, derived from Roman sarcophagus shape already re-created for Italian Renaissance cassoni. During the transitional baroque/rococo period (Regence, 1715-30, covering childhood of Louis XV), serpentine-fronted and bombe (blown up) three-drawer commodes are made, until the Louis XV rococo form, with only two drawers, raised on cabriole legs, is created by Cressent. In the 1730s the full bombe shape, with gently undulating curves from top to bottom and side to side, has become popular throughout most of Europe, but provincial types often have curve on one plane only. In some centres, curves are exaggerated, e.g. ‘high-bosomed’ in Venice, ‘low-bellied’ in Holland.
Local timbers for country types, exotic woods for veneers, e.g. varieties of Dalbergia – rosewood, kingwood (’prince wood’), palisander (purpleheart). Pine or oak as foundation for veneering and with chestnut and poplar, as drawer-linings. Marble in various colours was used for tops of commodes, ormolu for handles and mounts.
1675-1720: Flush ends made with rub joints (glueing boards edge to edge, rubbing them together until surplus glue is expunged, clamping until set). Rails between drawers tenoned into ends. Drawers dovetailed, not always very finely; fronts extended to overlap rails; side-runners abandoned in favour of runners on bottoms of drawers.
Cross-section of drawer-fronts of bombe commode, extended to Conceal rail.
1720-1760: Serpentine and bombe shapes built up (see NEW WORLD, TABLES 1790-1840, p. 323). By about 1750, drawer-fronts in fine examples overlap rails sufficiently to conceal them and present a virtually uninterrupted surface for decoration.
Marquetry: Inlaying veneered surface with a figurative design composed of other veneers. The usual material was wood, sometimes tinted with coloured stains; but other materials were used, e.g. ivory, while Boulle per-Ormolu: Cast bronze, chiselled, gilded and burnished, used for handles and mounts. Commodes made by the Spindlers for Frederick the Great were loaded with ormolu mounts made by the Swiss-born Kambli.
Carving: In some areas, e.g. Scandinavia, carved and gilt mounts substituted for ormolu. Carved scrolls, flowers, foliage decorate fine French provincial commodes.
Marquetry was brought to a brilliant colourful finish by sanding down and coating with varnish before waxing. Coloured varnishes patented by the brothers Martin (vernis Martin) were used for special effects on fronts and ends of commodes, e.g. imitating oriental lacquer (see also EUROPEAN CUPBOARDS AND CABINETS, p. 213). Venetians used their own varnish – lacca– to paint vivid flowers on coloured grounds. A cheaper- version, lacca povera, was executed by glueing prints to surfaces before colouring and varnishing. The interiors of Venetian commodes – even the best – are often very poorly finished.
A first-class signed French commode is a millionaire’s status symbol, but many lesser items made in the provinces or in other parts of Europe sell at much more modest prices and can be every bit as agreeable.
MAKERS’ STAMPS
From 1743 every piece made in Paris was supposed to be stamped with the maker’s name and, after vetting by a member of the guild’s jury, with their stamp – J.M.E.’ Uure des Menuisiers et Ebnistes). If the marble top is lifted off, these marks are frequently found stamped in the woodwork of a commode made between 1743 and 1791, but their absence is not necessarily damning (see GUIDE TO PERIODS AND STYLES, ROCOCO, P. 193) the technique of inlaying arabesques of engraved metal (brass, pewter) into a turtleshell veneer backed with coloured mica.
The pieces of shell were fitted into the spaces left after cutting out the brass, and vice versa, to produce pairs of commodes with the decoration of one the reverse of that of the other. The Spindler family and Muller of Bayreuth were among the many German craftsmen who made bombe commodes with fine marquetry.
Parquetry: Small diamond-shaped pieces of contrasting veneer laid in juxtaposition to create intriguing illusions of three-dimensional perspectives.
CHESTS AND CHESTS OF DRAWERS About 1760-1800
First stage of neo-classicism brings discipline to design of sophisticated commodes. Bombe shape unfashionable in Paris during reign of Louis XVI but survives in Germany and Holland, often in modified form (with curve from top to bottom only) into 1770s. Full bombe shape is continued in Sweden with gilt channels in rails between drawers.
Many country-made lidded chests and provincial chests of drawers – especially in Denmark – interpret new style in naive ways, sometimes showing English influence in crisp, economical shapes.
Mainly as in previous period: mahogany added to French repertoire in 1780s.
Full bombe shape (curved on two planes) difficult for all but best craftsmen to manage – only a few made drawer-sides with curves following line of ends – so its abandonment in favour of rectilinear shapes, or of bowed or serpentine fronts (curved on one plane only, from side to side) results in more attention to sound construction. Even basic features, e.g. dovetailed joint, show improvement. The cabriole leg is retained during the transitional Louis XV/XVI period but is eventually discarded and a variety of straight, tapered legs, square or turned, is adopted. Some commodes more like cabinets, with doors concealing drawers.
Marquetry: From about 1760 to 1780, still lavish but with growing tendency to restriction within defined areas, e.g. an oval or octagon at centre of commode front by Maggiolini of Milan inlaid with figures from classical mythology. David Roentgen of Neuwied, supplier to French and Russian royal families and supreme practitioner of marquetry, is quick to jettison it when plain mahogany becomes fashionable in 1780s, shortly before French Revolution.
Carving: Delicately carved commodes on slim legs produced in Rhineland, richly carved flowers on angles of serpentine-fronted commodes in Portugal.
Ormolu: Handles and mounts first features to exchange asymmetrical rococo squirts for neatly balanced, neo-classical masks, acanthus leaves and wreaths, but high quality maintained.
Bronze workers had own guilds guarding demarcation lines until disbandment of all guilds in 1791.
Below poicelainplaqu.
Painting: Delicate trellis patterns painted with coloured varnishes in France, panels painted with Pompeiian figures in Spain.
Pietre dure: Florentine mosaic panels in coloured hardstones — often cannibalized from earlier cabinets — used to decorate Louis XVI commodes (see CUPBOARDS AND CABINETS, p. 211).
Folk art: Country-made chests of drawers in many areas (e.g. Switzerland, the Tyrol, Denmark) painted in bright colours with flowers, landscapes, formally arranged, in keeping with the neo-classical style.
Highly-decorated Louis XVI commodes almost as expensive as Louis XV types; plainer ones much less so and easier to live with, whether French or of another nationality in the French-dominated style.
Above, a plain mahogany commode With ormolu mounts and secielaire drainer, about 1790-1800,
FRENCH COMMODES
In French commodes of the Louis XV/XVI periods, it is usual, though not essential, for the top edges of drawer-sides to be slightly rounded. This is not a guarantee of authenticity, nor is it conclusive evidence of French nationality (the same feature is found on many of the best 18thC English chests of drawers), but it is a favourable sign when present in French commodes, as it is not usually evident on 19thC copies.
North Italian marquetry commode, 1790-1800.

FRENCH CHESTS AND CHESTS OF DRAWERS About 1800-1850
German commode in French Empire style, about 1810.
The lidded chest continues to be made as a purely utilitarian article – e.g. blanket chest, tool chest; and as a decorative one also in some areas – Scandinavia, Russia, Poland and the Baltic countries. Chests made by peasant communities in Catalonia in the mid-19thC can easily be mistaken for 17thC examples.
French mahogany commode, the drawers flanked by monopodia, about 1820.
The grand, commode-type chest of drawers survives as a salon piece in French Empire style, current throughout most of Europe, 1800-15; but from then until about 1850 (excepting revivals of Louis XV) is made in plainer, more functional fashion and banished to the bourgeois bedroom, where it is seen at its best in the Biedermeier style, originating in Austria about 1815, spreading to Germany, Scandinavia and Russia, so carrying on a sober version of Empire neo-classicism until
about 1830, after which historic revivals (Gothic, rococo, Renaissance, baroque) begin to intrude.
Mahogany popular at first but British blockade of Napoleonic Europe creates scarcity, thus stimulating use of native timbers – cherry, birch, pine, walnut, fruitwoods, poplar, ash (but not oak) – with growing preference for pale woods.
Empire-Biedermeier: Usually rectilinear, but semi-bombe shape used by Danhauser, Vienna, about 1815. In popular type, top drawer projects as if resting on a pair of cylindrical columns. A tall, slim type (called semainier in France) has seven drawers – one for each day of the week. Although guilds had been disbanded in France, Germany and Aus-Column capped by decorative metal ringmouldings.
trig, the strict training of apprentices continued as before, resulting in a high degree of craftsmanship, aided from the 1820s by English inventions, e.g. glass paper, improved saws and planes. New machines for planing, drilling, cutting mortises and producing veneers in large sheets were introduced during the Biedermeier period, and large factories set up (notably Danhauser’s, Vienna); but methods of assembly with traditional mortise-and-tenon and dovetail joints remained much the same as before. They are always concealed, the Biedermeier ideal being a flush surface, sometimes broken by a recessed arch set at the centre of the drawers, the rails also sometimes hidden by overlapping drawer-fronts.
Recessed arch, sometimes found on Biedermeier furniture.
Empire: Imperial symbols as gilt bronze mounts, imitated in brass for cheaper products. Marquetry in dark woods on light ground revived after restoration of French monarchy in 1815.
Biedermier chest of drawers, about 1825.
Biedermeier: Marquetry and mounts similar to Empire; ivory or bone escutcheon plates around keyhole — perhaps as an aid to finding key; it is often the only thing to grip, handles being sacrificed to Biedermeier passion for flatness.
French polishing introduced in France during Empire period. Austria and Germany used stains for first time during Biedermeier period, especially to simulate ebony (for bandings) and mahogany. Even then, walnut never stained. Grain of veneer on drawer-fronts runs vertically. Top edges of drawers masked with thick veneer except in Sweden, where pine foundation is usually visible; this also applies to many 18thC Swedish bureaux.
Chests of drawers of this period in pale woods not very fashionable but still not over-expensive. Darker woods, especially mahogany (the most expensive when new), now wanted rather less — excellent value.
MOCK-BIEDERMEIER
Much pretentious, poorly made, post-1850 Germanic furniture is now sold under the fashionable Biedermeier label. The best was made before 1830, is of high quality and severe-looking. Anything made after the 1840 revolution is unlikely to be true to the Biedermeier ideal of beauty — best expressed, someone once said, in the music of Schubert.
Continous vertical grain of veneer.
About 1850-1890
19thC Swiss traditional dough trough.
Contemporary chests of drawers commodious but not very elegant. Commodes in 18thC rococo style, but with original touches, produced by Leistler of Vienna, Linke and Zwiener of Paris, followed by revival of Louis XVI style. Copies of originals by Carlin (18thC ebeniste) incorporating oriental lacquer panels, made by H. Dasson but signed with own name.
In Holland, bombe commodes reproduced and marquetry flowers and birds added to plain old ones.
Lidded chests: French Provincial or Swiss dough trough (male or petrin) – a tapered chest resting on a stand, with Louis XIII-type turned legs and, very often, with Louis XV-type cabriole feet.
Swiss mahogany chest of drawers, about 1865.
Contemporary type: Mahogany, oak, walnut veneer.
Reproductions: Wide variety of exotic woods.
Rural types: Local timbers.
Traditional methods employed with great attention to detail on fine quality reproductions. Some contemporary types hand-made, many machine-assisted.
Veneered types: Marquetry, ormolu mounts (often poor).
Rural types (solid): Carving.
Veneered types: French polished.
Rural types: oiled and waxed or left in natural state. Painting of figures and flowers in Scandinavia and Eastern Europe.
Good quality 19thC copies of Louis XV and Louis XVI commodes now sell at fairly high prices, especially if signed by well-known maker, e.g. Linke or Dasson. Bulky, contemporary types often well-made, inexpensive but not easy to re-sell when they have outlived their usefulness.
19thC COPIES
The interiors of 19thC copies are generally better finished than those of the originals. Signatures, when present, are more conspicuous, and some (Linke’s especially) have been forged in recent years.