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.

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 oak Dresser, A George III ivory painted Settee, A George III satinwood Pembroke Table, A Regency rosewood Games Table

A George III oak Dresser, circa
1770, the raised open-shelf back above
three drawers, on tapered square legs,
197cm. high by 156cm. wide; oft. 5l/nn.

An Italian walnut Cass one, circa
1690, hinged cover with a den tilled
frieze, the canted corners with scroll
carving and cherub heads, with mitered
moldings and carved feet, 173cm. wide;
5ft. 8in.

A Regency mahogany Wardrobe,
made-up, formerly part of a bookcase, with
receded terminals, the molded and
inlaid cornice above a pair of brass grille
doors, with pleated silk panels and
enclosing a lined interior with hanging
space, on a plinth base, 240cm. high by
150cm. wide; 7ft.

A George III ivory painted
Settee, circa 1800, the arched cresting
rail above solid vase-shaped splats with
foliate motifs, the button-upholstered
bow-fronted seat with ring turned legs
and castors, restored, 175cm. wide; 5ft. 9in.

A Regency mahogany Bedside Commode, circa 1810, with ebonized stringing, the sides with pierced carrying handles, with a cupboard above a converted drawer, on square legs,

restored, 48cm. wide

A George III mahogany Side Table, circa 1760, with two drawers, on molded and chamfered square legs,114cm. wide; 3ft. 9m.

A George III mahogany kneehole Dressing Tame, circa 1800, the frieze with a drawer, the recessed cupboard flanked by six short drawers, on shaped bracket feet, 86 by 110cm.;

2ft. by 3ft. 7in.

A George III mahogany serpentine-fronted Dressing Chest, circa 1780, with canted fluted corners, the frieze drawer with a baize-lined slide and compartments, below are three

long graduated drawers and shaped bracket feet, 81cm. high by 91.5cm. wide; 2ft. 8in. by 3ft.

A George III satinwood Pembroke Table, circa 1790, the rectangular top with broad burr walnut banding and kingwood cross banding, the whole inlaid with satinwood and hardwood

stringing, the frieze with a drawer, the tapered square legs ending in brass capping and castors, restored.

A George II mahogany kneehole Dressing Table, circa 1750, the cross banded top above a frieze drawer and apron drawer, the recessed cupboard flanked by six short drawers, on

shaped bracket feet, restored, 77cm. wide; 2ft. 62in.

A George II mahogany Bureau
Bookcase, circa 1750, the swan-neck
pediment with eagle finial, the pair of
fielded panel doors enclosing adjustable
shelves, the fall revealing a serpentine
and fitted interior with eagle-head
finials, below is an arrangement of two
short and three long drawers, on later
shaped bracket feet, faults, 240cm. high by
94cm. wide; 7ft.

A George III mahogany
break-front Sideboard, circa 1800, with
satinwood-strung borders and shell
medallions, the cutlery drawer and
arched apron drawer flanked by bowed
wings with a deep drawer and a
cupboard enclosing two short drawers,
the side with a pot cupboard, the
tapered square legs with collars, 94cm.
high by 198cm3ft.  by 6ft. 6in.

A George III mahogany Bureau,
circa 1780, the fall revealing a fitted
interior, below are four long graduated
drawers, on ogee bracket feet, distressed.

A George IV mahogany bow-front
Sideboard, circa 1825, the cutlery
drawer and arched apron drawer
flanked by a cellaret drawer and two
short drawers, the projecting corners
above ring turned legs, 174cm. wide;
5ft. 82in.

A George II mahogany
rectangular drop-leaf Table, circa 1750,
on circular tapering legs with pad feet,
92 by 116cm. extended; 3ft. by 3ft.

A Regency rosewood Games Table, circa 1815, the bowed ends with hinged covers and pierced brass gallery, the reversible top with chessboard inlay and revealing a lined

backgammon inset, the frieze with two narrow drawers, the solid end supports surmounted by an arched stretcher rail, the splayed feet ending in brass paw finials and castors,

restored, 122cm. wide; 4ft.

A George II red walnut Bureau Bookcase, circa 1740, the molded cornice above a fielded paneled door, the fall revealing a fitted interior, below are four long graduated drawers,

on shaped bracket feet, 194cm. high by 74cm. wide; 6ft. 5l/zm. by 2ft. 5in

A George IV mahogany pedestal Table, circa 1825, the rectangular top above a bold turned pillar and large molded quadruple splayed legs ending in brass capping and castors,

altered, formerly part of a larger table, 125 by 160cm.; 4ft.  by 5ft. 3in.

A George III mahogany Side Table, circa 1760, with three drawers and a shaped apron, on chamfered square legs, restored, 79cm. wide; 2ft. 7in.

A George III mahogany Drawing
Table, circa 1790, the rectangular
hinged top with gilt-tooled leather inset,
on ratchet support, the frieze with a side
drawer, the sides with saddle-shaped
hinged leaves, the apron drawer above
chamfered square legs and castors,
restored, 52cm. wide;  91/2m.

A William IV rosewood drum-top
Table, circa 1835, the tooled claret
leather-inset top above alternate real and
dummy drawers, the lotus-clad pillar
with a reform base, on bun feet and
concealed castors, 132cm. dial.; 4ft. 4in.

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.

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.

WALNUT OCCASIONAL TABLE, ANTIQUE BOW-FRONT CHEST, GILT-METAL MOUNTED TABLE, ANTIQUE WARDROBE

A WALNUT OCCASIONAL TABLE, Victorian, with circular top and triform galleried undertier, cm. high

A SET OF TWELVE BEECHWOOD CHAIRS, Louis XVI style, with oval button upholstered backs and bowed seats, on fluted turned legs

AN ANTIQUE EXTENDING DINING TABLE, Regency, comprising: two D-shaped ends and a leaf insertion, on ring-turned legs, cm. wide. by cm. long fully extended

A BOW-FRONT CHEST, George III, with two short and three long graduated drawers, on bracket feet, cm. high by cm. wide.

A PAIR OF WALNUT DINING CHAIRS, George I, with vase-shaped splats and drop-in seats, on cabriole legs

AN ANTIQUE BOW-FRONT CHEST, early 19th Century and 18th Century, the inlaid top above an arrangement of five drawers, on bracket feet, cm. wide.

AN ANTIQUE AND PARCEL-
GILT WALL MIRROR, George III style,
the bevelled glass within a fretwork frame
surmounted by a carved eagle, cm.
high

A WALNUT BUREAU, Queen Anne style, the fall above three inverted serpentine drawers, on shell carved cabriole legs, cm. wide.

A WALNUTX-FRAME STOOL, Victorian, with a needlepoint cover, the supports joined by a jewelled stretcher and with dolphins head feet

A ROSEWOOD WORK-TABLE, mid-19th Century and 18th Century, with a serpentine hinged top and cabriole legs, cm. wide.

AN ANTIQUE WARDROBE, Victorian, the lower central chest with two short and three long drawers, flanked by a pair of cupboards, on a plinth base, with reel mouldings throughout,

cm. high by cm. wide.

A KINGWOOD AND GILT-METAL
MOUNTED VITRINE, Louis XV style, with
Vernis Martin decorated panels on cabriole
legs, cm. high by cm. wide.

AN ANTIQUE CHEST, George III, with two short and three long drawer, on bracket feet, cm. wide.

ANAMBOYNA AND CROSSBANDED COMMODE, Louis XVI style, modern, with a serpentine alabaster top and gilt-metal mounts, on fluted turned feet, cm. wide.

A PAIR OF CARVED AND PAINTED FAUTEUILS, Louis XVI style, with pierced ribbon crestings and claret damask upholstery, on fluted legs

A PAIR OF CARVED BEECHWOOD FAUTEUILS, Louis XVI style, with floral crestings and striped damask upholstery, on fluted turned legs

A GILT-METAL MOUNTED TABLE, Louis XVI style, with a tulipwood and amboyna veneered top, cm diam.

A MARQUETRY COMMODE,
Louis XV style, with a green marble top and
gilt-metal mounts, cm. wide.

A KINGWOOD PARQUETRY CABINET, Louis XV style, with a green marble top above a door enclosing a mirrored interior, cm. wide.

A BURR-VENEERED TABLE OUVRAGE, Louis XV style, with gilt-metal mounts and cabriole legs, cm. wide.

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.