Antique Chest Of Drawers

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.

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: DRAWING-ROOM COMMODES
About 1750-1800
Fine quality drawing-room commode in French style, about 17 75.
Valuable and prestigious objects made for the main rooms of fine houses. Probably seldom used in a practical sense; principally valued for their fine decoration. Usually made in pairs to stand at either end of a room or against the window piers. Gradually replaced by simpler cabinets during the Regency period.
Differently proportioned to bedroom chests; usually longer in relation to height.
Two, three or four drawers, sometimes en-, closed by doors (occasionally interior shelves instead). At first in French rococo style, or bomb shape (i.e. with swelling serpentine sides), keeled corners and splayed feet
with ormolu (gilt bronze) or gilt brass mounts with matched handles. Marble or wooden tops.
Ormolu, mounted on keeled front edges of serpentine commode.
Ousted from fashion about 1770 by straight-sided semi-circular shape with straight, tapering, later turned, legs.
Fine quality woods, particularly mahogany, satinwood. Tulipwood, kingwood, harewood (green-stained sycamore), chestnut, fruit and many other woods used for marquetry and inlay. Oak when japanned. Oak and pine for carcases. Marble or scagliola (a plaster-based material imitating rare marbles) was sometimes used for tops. The latter can be plain or patterned.
Generally standard methods were employed. Mostly veneered. Bombe sections coopered or laminated beneath veneer. On mid-century examples dustboards between drawers (not a feature of French commodes until late in the century).
Many have variously arranged mahogany veneers; often geometric patterns. Before about 1770 the finest have marquetry of floral patterns, musical instruments, trophies, birds. Neo-classical inlay from about 1770
onwards of urns, shells, husks, bell flowers, acanthus leaves, sometimes shaded with scorching or overlaid with pen and ink. Oval and fan shapes were popular.
Painted decoration (not all over) included ovals containing classical figures, borders of flowers, ribbons, garlands etc. Occasionally low-relief Wedgwood plaques incorporated, with gilt brass framing.
Chinoiserie decoration (especially for bedrooms and dressing-rooms) sometimes japanned, occasionally partly composed of genuine Oriental lacquer taken from broken-up imported screens.
Polish, japanning, paint.
VALUES
A specialist market, prices in four, five or even six figures. Not objects to be purchased without expert advice.

CHESTS  early oak with moulded fronts
A less decorated example, illustrated with one lower door open to show the three drawers fitted in the lower part. Many of the mouldings and applied split balusters are made of fruit-wood which would originally have been ebonised. The piece is typically Anglo-Dutch and the ivory and pearl inlay, of Flemish-Spanish origin, have been referred to in the introduction to this section. Notice the original iron loop handles on the drawers. c.1660
A typical early oak example in which the lower drawers are enclosed behind doors whose moulding and decoration matches that of the upper drawer. The piece is in two halves which can be lifted separately, the join being hidden by a case moulding, and the lower half is on bun feet. Note the applied decoration and the receding ‘chequer-board’ centre panel in the top drawer.
A small oak chest on bun feet missing some of its brass drop handles. There is a pleasant split bobbin decoration applied horizontally under the top and between each drawer.
The remaining decoration consists of pairs of split balusters applied vertically beside each drawer. The moulding on the drawer fronts is very simple, and the top drawer is simply panelled. Note the thicker top with its simple edge. Later handles. c. 1680
A small oak chest with fruitwood front, 34ins. wide, made in one carcase piece, with the typical deep top drawer which is left over from the two types above, where the lower drawers were cupboarded. Now, in this piece, the lower drawers have emerged in their own right and are suitably moulded. The decoration of the top drawer is interesting, with four ivory ‘buttons’ placed around an oval moulding. Note the ’stump’ feet, which are formed by a continuation of the vertical carcase frame. Handles missing. c. 1670
The simplest later form of these chests with each drawer divided into two panels by the mouldings. There is a simple half-round moulding applied across the carcase front between each drawer, a precursor of the half-round or D moulding of the walnut period. The bracket feet have been added later. Instead of the simple, thin top of the earlier examples, the top has now become thick enough to have a `thumb nail’ edge moulding around it. Replacement handles. 1700-1720
Veneered in very thick elm with fine bold mouldings not only at top and bottom but where the piece would originally have come in half. The veneers are still arranged on the drawers in two halves as they would have been had they been moulded first. Again, colour most important affect on price. c. 1680

Bow-fronted chest of drawers

1. Fine, well-figured solid mahogany with well-matched mahogany veneer on drawer fronts.
2. Oak-lined drawers to c.1800 with slim cockbeaded outline and plain swan-necked drawer handles. Oval backplates from C.1810.
3. Delicate, double or triple reeding or thumb moulding to sides of the top on the overhang. Plain back edge is flush with backing planks.
4. Backs in unfinished timber of same age and patination, with gaps where shrinkage has occurred with time.
5. Curved fronts of dustboards in separate piece.
6. Graduated drawer depths.
7. Four full-width drawers to c.1800 when a pair of top drawers replaced the single one.
8. Bracket feet made separately to c.1800 with a thin line of moulding around the base. From c.1800c.1840 feet are integral with side timbers.
9. After c. 1830, chests of drawers taller, often with five flights of drawers, on round, turned feet.
Likely restoration and repair
10. From c.1850 made in much larger sizes, which may be cut down to better-looking
`Sheraton’ shape. Top pair of drawers removed, piece raised with splayed bracket feet to add height; new top with ‘Sheraton’ reeding often added as a separate fillet which can be seen from the back.
11. Later, five-flight chests of drawers cut down in similar fashion, with turned feet
replaced with splayed bracket feet and shaped apron added the join will show on the sides.
12. Drawer handles set too close to edge on small chest, which indicates it has probably been cut down, the turned wooden handles removed and new brass backplates added to conceal the original holes. No patination around the new backplates.
Historical background
It is probable that the bow-fronted chest of drawers was an evolution of the flamboyant French commode and the bombe shape so favoured by the Dutch. The bombe shape, with its double curves and sinuously swelling sides, was never as popular in England as plainer, serpentine shapes, although Chippendale incorporated the curved sides into many of his French-influenced designs. There is evidence of Hepplewhite’s use of bow-fronted shapes, particularly in his designs for bedroom and boudoir furniture, but it would seem that it was Sheraton who first produced this enduring shape which has become, like his sideboard, a standard piece of English furniture.
Few bow-fronted chests of drawers can be directly attributed to a particular
designer, and most of the fine early examples are more often described as ‘George III’, a generous label since it covers 60 years, from 1760 to 1820. The finest early mahogany examples fall into the early part of this period, when they were made with curving bracket feet, fine cockbeading on the graduated drawers and brushing slides. Later versions are of the more familiar early nineteenth-century design, with shaped aprons and slightly splayed feet, made in mahogany veneer on a red pine or, sometimes, a cheap mahogany
carcase.
Bow-fronted chests of drawers are seldom found in any other wood or veneer except dark mahogany, and it is fair to assume that they were intended for gentlemen’s dressing rooms and bedrooms, at least until the end of the nineteenth century.
Construction and materials
Early bow-fronted chests of drawers followed the same construction principles as serpentine-fronted chests of drawers, in that they were made in solid wood with veneered drawer-fronts and deep thumb moulding around three sides of the top. There was no overhang at the back. A line of moulding ran round the base, which was mounted on curving or slightly splayed bracket feet. From c.1780 reeded moulding was introduced around the tops, and was believed to have been originated by Thomas Sheraton. Drawers were still oak-lined and veneered, and were outlined with a thin, typically late eighteenth century, line of cockbeading.
There were four graduated single drawers until c.1800 when frequently a pair of drawers replaced the single one in the top flight. Up to this date the slim top drawer was sometimes fitted as a writing drawer, with the brushing slide serving a double purpose.
Drawers had runners on small blocks on either side of the dustboards. They were made in two pieces, with the curved front edge cut separately. As with all other storage pieces, the drawers and
dustboards did not run the full depth of the piece, but stopped a little short to allow air to circulate inside. Backs were of unfinished planking, oak or cheaper-grade mahogany.
From c.1820 the bow-front became more accentuated as techniques of bending and steaming timber began to be used, and from this date carcases were often made of red pine.
Detail
Plain brass-rimmed locks were replaced with Victorian Bramah locks from c.1846, and all drawers, at least until the end of the nineteenth century, were fitted with locks. From c.1850 the front edge of the top was often given an exaggerated curve to add visually to the line of the bow-front. Top edges of veneered chests of drawers were mainly flush from c.1810-30, while solid tops had rounded moulding. Few bow-fronts after c.1820 incorporated brushing slides, and by c.1850 turned wooden knobs often replaced brass
drawer handles, and rounded turned feet replaced the splayed bracket feet and curving apron.
Variations
There are many Continental variations of the bombe-shaped chest of drawers with its double curve and swelling front. They were often made in walnut, and were sometimes late variations of earlier walnut marquetry pieces. They tend to have very decorative handles and escutcheons and oak-lined drawers, but although at first glance they seem to resemble a bow-front, they are more serpentine in shape.
It is extremely unlikely that bow-fronted chests of drawers were ever originally made in pine. The main point about pine furniture in the nineteenth century was that it was cheap to make in quantity, which would not have been true of a bow-fronted piece. If these are encountered, it is more likely that they were originally well-made carcases of chests of drawers which have been stripped of their thin veneer to add value during the fashion for stripped-pine furniture.
George III bow fronted mahogany commode.
Reproductions
The most common reproduction is the Sheraton copy, with the familiar late Victorian or early Edwardian version of the conch shell or spray of flowers inlaid in paler-coloured panels, as seen on other bedroom furniture of the same period. The mahogany veneer is thin and without good figuring, the escutcheons frequently of bone or ivory, and the piece may well have been French polished to increase the glossiness of its appearance. American pine carcases were common for these reproductions, and the quality of the
finish in many cases is poor, with rough edges under the machine-cut curved apron, and drawers which do not fit properly.
However, much good-quality `Sheraton revival’ furniture was made during the first decades of the twentieth century, and among the favourite pieces for gentlemen’s dressing rooms and bedrooms was the bow-fronted chest of drawers, in many cases far better made than those of the late nineteenth century. They were made by furniture-makers who supplied the main
furnishing department stores of the day. Once seen and handled, they are not easily confused with the cheap run-of-the mill reproductions with shoddy workmanship of the same period.
Price bands
Hepplewhite period, fine figured veneer and brushing slide,$1,100-1,500.
Satinwood veneer, top quality, some inlay and decoration, 2,000+.
George III splayed feet, good veneer, 900-1,200.
Early Victorian good quality c.1850, 600-900.
Late nineteenth-century, variable quality, $300-750.