Antique Chest Of Drawers

 

OAK PARTNERS DESK, ANTIQUE AND SATINWOOD BANDED SIDE TABLE, BURR-WALNUT BUREAU BOOKCASE, CARVED OAK COFFER

A BURR-VENEERED TABLE AMBULANTE, Louis XV style, with gilt-metal mounts and three drawers, on cabriole legs, cm. wide.

A PARQUETRY PEDESTAL, Louis XVI style, with a green marble top and gilt-metal mounts, cm. high

AN OAK PARTNERS DESK, 19th Century and 18th Century, with an arrangement of fourteen drawers and a pair of cupboard doors, on plinth bases, cm. wide. by cm. deep

A MATCHED SET OF SIX ELM AND FRUITWOOD RAIL BACK CHAIRS, George III, early 19th Century and 18th Century, with solid seats and square legs joined by stretchers, including

cushions

AN ANTIQUE AND SATINWOOD INLAID SIDEBOARD, Edwardian, with a raised back and tapering legs, on spade feet, cm. wide.

A PAIR OF CARVED PEDESTALS, late th/early 19th Century and 18th Century, with composite capitals above fluted pIIIars, formerly gilt or painted, cm.

A BURR-WALNUT BUREAU BOOKCASE, Dutch, 19th Century and 18th Century style, with inlaid interior stationery compartments including simulated book spines, cm.

AN ANTIQUE BOW-FRONT SIDEBOARD, George III, with an arrangement of drawers, on tapering legs and spade feet, cm. wide.

AN ANTIQUE BOW FRONT CHEST, George III, with an arrangement of five drawers, on bracket feet, cm. wide.

AN ANTIQUE CHEST-ON CHEST, George III, of bow front form, with an arrangement of six drawers, on bracket feet, possibly reduced in height, cm. high by cm. wide.”

AN ANTIQUE AND MARQUETRY BOMBE COMMODE, Dutch, 19th Century and 18th Century style, modern, with three drawers and square faults, cm. high by cm.

AN ANTIQUE SECRETAIRE BOOKCASE, Victorian, with arched glazed doors above a writing drawer and panelled doors, cm. high by cm. wide.

A BLACK JAPANNED AND CANE CHAIR, George IV, with neo-Classical painted decoration and square splayed
legs

A PAIR OF BLACK PAPIER MACHE CHAIRS, Victorian, with pierced spoon backs, bowed cane seats and slender cabriole legs

A PROVINCIAL WALNUT SIDE TABLE, George II, with three drawers, on cabriole legs, cm. wide.

A GILT GESSO WALL MIRROR, Regency with alterations, the verre eglomise anthemion frieze panel above columnar mouldings, cm. wide.

AN ANTIQUE AND SATINWOOD BANDED SIDE TABLE, part early 19th Century and 18th Century, of bow-front form, with three drawers, on cabriole legs, cm. wide.

A LARGE MAHOGANY WRITING TABLE, Victorian, the leather inset top above four drawers, on turned baluster legs, cm. wide.

A YEW-WOOD GAMES TABLE, early Victorian, possibly Irish, the circular top with a parquetry chess-board, on a pedestal support, cm. diam,—

A CARVED WALNUT AND BEECHWOOD REFECTORY TABLE, late Victorian, on four baluster turned and square legs joined by stretchers,  cm.
long

A SET OF EIGHT DINING CHAIRS,
Edwardian, with carved cresting rails and
tapered square legs, bearing trade label,
Boardman &f Sons, London, regd.

AN ANTIQUE CYLINDER DESK,
Edwardian, inlaid with stringing, on tapering
square legs with castors, faults. cm.
wide.

AN ANTIQUE EXTENDING
DINING TABLE, Victorian, the rectangular
top including two leaf insertions, on fluted
turned legs, cm. wide. by cm. long when
fully extended

A CARVED OAK COFFER, part th
Century, with a triple lozenge panel front,
cm. wide.

A SET OF SIX MAHOGANY
DINING CHAIRS, early Victorian, with
serpentine seats and reeded turned legs

AN ANTIQUE TRAY-TOP
COMMODE, George III. with shaped apron
and square legs. cm. wvit—

AN OAK CHEST, early 19th Century and 18th Century,
with an arrangement of six drawers, on
bracket feet, cm. wide.; together with a
mahogany Step Commode, Victorian, on
turned feet, cm. wide.; and an oak Hall
Chair, late Victorian

A walnut and featherbanded Chest,
George I, formerly the upper section of a
Chest-on-Chest, with an arrangement of six
drawers, flanked by fluted corners, cm.

GEORGIAN AND REGENCY FURNITURE, George III mahogany Sofa Table, Regency mahogany rectangular Pembroke Table, Chinese black lacquer Cabinet-on-Stand

A George III mahogany Sofa Table,  inlaid with ebonised stringing, the frieze with two drawers, the solid lyre-shaped end supports joined bv an arched stretcher, the splayed

legs ending in brass cappings and castors, cm. wide. when closed; ft.

A George III mahogany and rosewood crossbanded D-shaped Card Table,  inlaid with satin wood stringing, the fold-over top revealing a green baize lining, the turned and reeded

tapering legs ending in brass cappings and castors, the top warped, cm. wide.; ft. Whin.

A George III mahogany and brass-bound Wine Cooler,  of
elongated octagonal form, with brass
carrying handles, the hinged cover
revealing a zinc-lined and divided
interior, the combined stand with fluted
apron and fluted chamfered legs, cm.
wide.; ft. lin.

A George II red walnut Side Table,  the frieze drawer formerly with divisions, on cabriole legs with lappet knees and pad feet, restored, cm. wide.; ft. in.

A WIIIiam and Mary oyster walnut Cabinet-on-Stand,  with chevron ivory inlaid borders, the arrangement of eight drawers surrounding a cupboard enclosing five drawers, the stand

with a drawer and a shaped apron, the later turned japanned legs joined by stretchers, cm. high by cm. wide.; ft. in. by ft.  in.

A pair of George III mahogany and upholstered Armchairs, the oval backs, padded arms and bowed seats covered in pink damask, the tapered square legs carved with bell flowers and

surmounted by paterae, the feet with fluted collars, restored

A George III mahogany Bureau,  the cleated fall revealing a fitted interior, below are four long graduated drawers and shaped bracket feet, on modern castors, restored, cm.

high by cm. wide.; ft. Vin. by ft.

A set of eight Regency mahogany
Chairs,  including two
armchairs, with rail backs and X-shaped
splats, the striped brocade Trafalgar
seats above sabre legs, restored

A George III carved mahogany
pie-crust Table,  the
associated tilt-top above a birdcage
support, the stop-fluted and baluster
turned pIIIar above acanthus-clad tripod
supports, on castors, restored, cm. diam.;
ft.

A George III mahogany and
satinwood crossbanded Work Table,
with chequered banding and
ebonised stringing, the frieze with two
drawers simulating three drawers, the
ring turned legs joined by X-shaped
stretchers, veneers partially lacking, cm.
wide.; lft. Vin.

A nest of three Regency rosewood
Tables,  the larger table with
a chessboard inset, on turned end
supports, with scroll pole stretchers and
scroll feet, faults,  cm. wide.; lft. in.

A George III small mahogany
Bureau-on-Stand,  with
satinwood banding and inlay, the fall
revealing a fitted interior, the apron with
a drawer, on tapered square legs, restored,
including later inlay,  cm. wide.; ft.

A George IV mahogany and
rosewood crossbanded square Piano,
by John Broadwood    Sons,
London, inlaid with cut-brass, ebonised
stringing and with gilt-metal mouldings,
the turned and reeded legs with brass
cappings and castors, cm. wide.;
ft.
A Regency mahogany rectangular
Pembroke Table,  with a
drawer and ring turned legs, on brass
cappings and castors, cm. wide.;
ft. Win.

A George III mahogany kneehole
Dressing Table, made-up, the frieze
drawer and ogee arched apron above a
recessed cupboard flanked by six short
drawers, on shaped bracket feet, cm.
wide.; ft. in.

A Chinese black lacquer Cabinet-on-Stand,  decorated in gilt and rust-red, the pair of doors with engraved brass mounts and escutcheons, the interior with an arrangement of

drawers surrounding a cupboard, the George II stand with square legs, faults, cm. high by cm. wide.; ft. Van. by ft. in.

A pair of Regency mahogany
Chairs,  with brass strung
cresting rails, clasp-shaped mid-bars and
cane seats, on ring turned legs

A large George II mahogany and
parcel-gilt frame Wall Mirror, circa
, the scroll surmount with an eagle
within a roundel, the base with a scroll
apron, cm. high by cm. wide.;
ft. Win. by ft. m.

A George II mahogany and parcel-gilt painted frame Wall Mirror,  the later rectangular bevelled plate flanked by pierced festoons, the scroll surmount with an associated eagle

and later foliate pendant, below is a scroll apron, restored, cm. high by cm. wide.; ft. in. by ft. in.

A George III mahogany and rosewood crossbanded Pembroke Work Table,  the frieze with two drawers, including one with compart¬ments, the ring turned legs ending in brass cappings

and castors, top with partial split, cm. wide. when closed; lft. in.

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