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.

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.

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  serpentine, 1770-1800
A fine quality serpentine mahogany chest with canted fluted corners, a slide and bracket feet. The handles are possibly original. 1770-1780
A Sheraton design mahogany serpentine chest featuring inlaid shell motifs and boxwood and ebony stringing lines. The plate handles may be original. Note the heavy bracket feet.
1780-1800
A mahogany serpentine chest of drawers without slide and with a narrower corner with fluting, on bracket feet. The drawers are cross-banded and the swan-neck handles are original. 1770-1790
A mahogany serpentine chest on splayed feet with inlaid boxwood. stringing lines and mahogany crossbanding. Note how the corners terminate in a sharp edge without a canted surface or decoration. The splayed feet follow the late eighteenth century designs of Hepplewhite. 1780-1800
CHESTS  dower, and trunks, on stands
A walnut chest on a more elaborate stand, with cabriole legs incorporating shell motifs and ball-and-claw feet. Carrying handles are again fitted. Legs and stands of this type were extensively reproduced between the wars. 1725-1735
A mahogany domed chest/trunk on a square fluted stand. Again the domed top affects the price as does the size and the stand which, despite the use of fluting to lighten up appearance, does nothing to disguise the bulk of the piece.

Serpentine chest of drawers

Curving shapes began to come into furniture design from the reign of Queen Anne onwards, as can be seen from the pediments of secretaire bookcases and, in particular, the spoon-back chair with cabriole legs. Techniques of cutting wood into curved shapes took time to master, and it was not until the Chippendale period, when many features of French design were incorporated into English taste, that serpentine-fronted desks and chests of drawers came into fashion, around c.1750 onwards.
Those at the top of the social scale in England who were privileged enough to own and enjoy beautiful, immaculately furnished houses were not allowed to keep them all to themselves however. All the country seats of wealthy landowners and aristocratic families had ‘open days’ when groups of people came to look over every room in the house, bedrooms included. Provincial ladies and gentlemen arrived to demand entry whether the owners were in residence or not, and all furniture became as much a part of the show
as the house itself. Chests of drawers, up to now no more than functional domestic pieces of furniture, evolved into the English equivalent of the French ‘drawing-room commode’, and even the plainest pieces, derived from Chippendale’s grand designs, had curved aprons and feet, and were made in beautifully figured woods and veneers.
The serpentine-fronted chest of drawers was made throughout the mid-eighteenth century and was only replaced by the bow-fronted design during the Sheraton period.
Signs of authenticity
1. Fine-grained, well-figured San Domingo or Cuban mahogany on cheaper mahogany carcase, or imported red Scandinavian pine.
2. Flush-sunk escutcheons to locks with no ornamental surround.
3. Drawer handles with plain swan-neck handles, cast-brass bolt-heads with pummel pins, small circular backplates.
4. From c.1770 drawer bottoms with grain running side to side with central bearer for extra support.
5. Drawers and dustboards not running, full depth of, piece.
6. Dustboards in two joined pieces with front shaped piece added separately.
7. Where chest of drawers has canted corners, matching canted corners to bracket feet.
8. Where there are carved pillar motifs on sides with rounded
bases, there is a corresponding rounded profile to bracket feet.
9. Graduated drawer depths, sometimes with baize-lined fitted top drawer.
10. Brushing slides with polished surface, cleated edges, small loop handles.
11. Lip, thumb or reeded moulding to tops with good overhang, sometimes serpentine-shape on sides.
Likely restoration and repair
12. Plain canted corners with later carving or reeding to increase value. Wood will seem rough to the touch compared to rest of piece.
13. Dustboards in single piece of timber indicates a replacement for originals. Suspect more restoration if this is the case.
14. Plain square-cornered bracket feet replacing originals
with rounded or canted corners where originals have been damaged.
15. New tops where originals have been damaged with alcohol-based lotions, etc. or reveneered for same reason. Back edges of new top will not have same patination as sides, the veneer will be thinner.
16. Brushing slides damaged and removed: lock rail to top drawer should be examined for disturbance, top edges of sides with reeding or carving may finish abruptly.
17. Cockbeading too thick and secured with pins indicates replacement of originals, or new drawer fronts.
18. Drawer-front carcase with grain of wood running in continuous line  made from steam-moulded timbers of considerably later date.
Construction and materials
Serpentine-fronted chests of drawers were made in a similar way to spoon-back chairs. The timber was cut in curving shapes which were then veneered because of the partially exposed end-grain. The construction of carcases began to change from the mid-eighteenth century onwards, with new joints for sides, such as the mitred dovetail which joined woods at right-angles on the end-grain and allowed the sides of chest furniture to be built with vertical timbers, as opposed to the earlier method of horizontal frame and panel
construction.
Many of these new techniques became possible because of the use of cheaper mahogany as carcase wood which did not split as easily as more coarsely grained oak. The tops of chests of drawers were no
longer made to conceal the joins with small cornice moulding, but could be laid over the carcase and secured, then edged like table tops with thumb or lip moulding. Canted corners were often part of the design of serpentine-fronted chests of drawers as an aid to
construction as much as a decorative feature.
Detail
Drawers were edged with elegant cock beading, handles were simple swan-necked brass with cast-brass bolts and pummel pins, bracket feet were joined with shaped aprons following the graceful lines of the serpentine front. Bracket feet were often curved and referred to as `French feet’ because of their resemblance to the scrolled feet of French commodes.
Variations
Curved shapes of any sort were difficult to make without sophisticated tools and techniques, and serpentine-fronted furniture of any sort is extremely rare among genuine country pieces. Some late eighteenth century plain-fronted, well-made oak chests of drawers might have tops cut in serpentine shapes as a concession to fashionable styles, but in general chests of drawers of the period continued to be made in traditional fashion, often still using the frame and panel technique which had long been superseded by mitred dovetailing on more sophisticated furniture.
If serpentine-fronted pine chests are found, they are sadly most likely to be later nineteenth-century pieces, originally veneered and recently stripped. By that period it was possible to shape softwoods by steaming and clamping them into shape and the timbers seen in the top edges of drawers will have the grain running in a continuous line.
Below left: an early George III chest in fine, well-figured walnut veneer.
Below: an example in the Chippendale manner, c.1770.
Reproductions
Nineteenth century
The serpentine front is the least copied and reproduced of all chests of drawers. The bow-front is much easier to manufacture, and serpentine-fronted designs are more heavily constructed and the shape is less commercial or convenient to manufacture. Nineteenth-century, so-called, serpentine-fronted chests of drawers on pine carcases with thin mahogany veneer were made in some quantities, but the positive sinuous curve is reduced to a mere wavy line lacking any authority. The bases presented problems, and were sometimes exaggerated with thick mouldings which protruded several inches out from the bottom drawer.
Many reproductions are Continental: French versions were much larger, originally well-veneered, but often on poor-quality oak carcases. Dutch `commodes’ in over-decorated marquetry, usually with a bulbous curved shape known as `kettle-shaped’, were made continuously and well into the nineteenth century. Ornate French serpentine commodes with heavy ormolu decoration on the canted corners, heavy drawer-handles and ornamental escutcheons were very popular at one time with the Victorians and there are still
large numbers of them around.
Price bands
Finest-quality mahogany with veneered drawer fronts and shaped bracket feet, c.1770, $2,750-3,250.
Georgian mahogany with fluted and canted corners, shaped bracket feet and brushing slide, $3,800-4,500.
Georgian with fine detailing and veneering, 14,000 5,000.
Nineteenth century versions,$1,000-1,750.