Antique Chest Of Drawers

A Swiss walnut pedestal Table, Victorian large mahogany Library Bookcase,  Victorian papier-mache Chairs

A George Ill-style painted and
upholstered Berger, circa 1910,
covered in brocade, the padded arms
with turned facings, the bowed seat with
a cushion, on turned tapering legs.

A Victorian large mahogany Library Bookcase, circa 1850, formerly part of a larger bookcase, with receded terminals and acanthus carved corbels, the molded cornice above six

glazed paneled doors enclosing adjustable shelves, below are four paneled doors and a plinth base, altered and restored, 238cm. high by 366cm. wide; 7ft.  by 12ft.

A Victorian walnut ‘Savonarola’ Chair, circa 1900, with ladder back and stuffed velvet seat, the splayed legs joined by an ‘X’-shaped stretcher.

A Victorian teak and brass-bound secretaries Military Chest, circa 1860, in two parts, the fitted writing drawer flanked by four short drawers.

A Victorian olivewood Work Table, circa 1850, the octagonal molded top enclosing a fretted lid and yellow moire silk-linear interior, on concave splat supports, a molded

baluster pillar and concave-sided platform with molded scroll feet, 71cm. nigh by 48cm.2ft. 4in. by  7in.

A parquetry Side Cabinet, late
19th Century, in the Louis XV/XVI
Transitional style, with bowed ends and
cabriole legs, the frieze inlaid to simulate
fluting and containing four drawers,
with four quarter-veneered cupboards
below inlaid with baskets and sprays of
flowers, with gilt-bronze mounts, 117cm.
high by 89cm. wide; 3ft. by
7ft. 22in.

A pair of George Ill-style
satinwood and floral painted shield-back
Chairs, circa 1890, with pierced splats
and stuffed bowed seats covered in
brocade, the tapered square legs ending
in collars.

A Victorian rosewood
Bonheur-du-Jour, circa 1900, inlaid with
satinwood stringing and arabesques, with
rear hinged domed cover revealing
stationery compartments, pen tray and
inkwell, the fold-over top revealing an
inset, the two apron drawers above
tapered square legs and galleried
under tier, on brass capping and castors,
69cm. wide; 2ft. 3in.

A pair of Victorian papier-mache
Chairs, circa 1860, with foliate painting
and gilt festoons, the spiral-twist back
supports with a needlework splat, the
matching seat above turned legs joined
by bobbin turned stretchers

A Victorian rosewood Stool, circa 1860, the rectangular stuffed seat covered in green brocade, the scroll carved apron above acanthus-clad cabriole legs, on scroll feet .

A Victorian rosewood Pole Screen, circa 1850, with scroll carved velvet framed panel, the brass and baluster pillar above a circular base, on triple molded feet, 144cm. high;

4ft. 82in.

An Edwardian mahogany Display
Cabinet, circa 1910, the pierced fret
pediment with vase-turned finials, the
pear-drop cornice above a pair of arched
astragal doors enclosing a pleated
fabric-lined interior with glass shelves,
the combined stand with chamfered
square legs and pierced angle brackets
joined by a fretwork under tier, fitted for
electric light, 174cm. high by 112cm. wide;
5ft. 82in. by 3ft. 8in.

CONTINENTAL FURNITURE

A Continental 18th Century-style
walnut Chest, circa 1850, with specimen
parquetry banding and canted corners,
the den tilled cornice above three long
drawers, on shaped bracket feet, 97cm.
high by 114cm. wide; 3ft. 2in. by 3ft. 9in.

An Italian carved and gilt framed
Wall Mirror, modern, in the George
II-style, with pierced foliate scroll
surround, the pagoda surmount above
wave and flame motifs, the apron
centered by a cartouche, 160cm.
high by 82cm. wide; 5ft. 3in. by 2ft. 8in.

A Dutch mahogany and
cross banded bow-front Cabinet
Bookcase, circa 1890, inlaid with
chevron banding and satinwood urns
and maidens, the blind-fret cornice
above a pair of paneled doors enclosing
adjustable shelves, below are two frieze
drawers and a pair of paneled doors, on
shaped bracket feet, restored, 221cm. high
by l05cm. wide; 7ft. 3in. by 3ft. 51.

A Dutch parquetry and walnut serpentine-fronted side Table, circa 1750, with an arrangement of four drawers and a shaped apron, on cabriole legs and pad feet, drawer stamped

From Geoffrey R. Edwards Furniture Warehouse, 12 Dotcom Street, S. W.

A Florentine ornate carved frame Mirror, circa 1730, the shaped plate with bold floral scroll surround, gilt tarnished, 74cm. high by 63cm. wide; 2ft. 5in. by
2ft.

A Dutch parquetry and
mahogany bow-front Corner Cupboard,
circa 1800, the door above shaped and
tapered square feet, 84cm. high by 69cm.
wide; 2ft. 9tn. by 2ft. 3m.

A German mahogany Bureau,
circa 1870, the raised back with three
drawers, the piano molded fall-front
revealing a maple veneered interior with
leather cloth inset and three drawers,
below are three apron drawers, on
turned and receded tapering legs, 112cm.
high by 130cm. wide; 3ft. 8in. by 4ft. 3in.

An Empire mahogany Side
Cabinet, circa 1820, the frieze drawer
above a pair of paneled doors flanked
by Corinthian pilasters, on block feet,
95cm. high by 93cm. wide; 3ft. by
3ft. 2in.

A Swiss walnut pedestal Table, circa 1860, the oval serpentine top with satinwood vine inlay and medallions, decorated in pinwork with a reclining lion, deer and goats, the

pierced apron above an ornate carved scroll tripod base, 93cm. wide;

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.

French maple musical Etui Case, Queen Anne Bureau Bookcase, Victorian mahogany shoe Snuff Box, Victorian birds-eye maple Work Box

A Regency tortoiseshell veneered and ivory banded Tea Caddy,  with silver-coloured metal monogram and stringing, the hinged cover revealing a pair of lidded divisions, on ball

feet, cm. wide. Ain.

A Regency tortoiseshell veneered Tea Caddy,  with a shaped front and two lidded divisions, on bun feet, faults, cm. wide. in.

A George III harewood and inlaid Tea Caddy,  the
hinged cover revealing a pair of lidded divisions, each inlaid with a carnation, veneers partially lacking, cm. wide. JAin.

A French maple musical Etui Case,  in the form of a miniature grand piano, the hinged cover with an ivory keyboard and revealing a mirror, tray and lined interior, together with

accessories and a compartment enclosing a mechanical musical action, on turned tapering legs, cm. long lVhin.

A George III mahogany Tea Caddy,  with lozenge and segmented veneers within a chequer banded and satinwood strung borders, the hinged cover revealing an inlaid conch-shell

medallion and six lidded canisters, with lion mask carrying handles and ball feet, cm. lft. Vin.

A Queen Anne scarlet lacquered and gilt miniature Bureau Bookcase, reconstructed, the double domed cornice above a pair of mirror doors enclosing adjustable shelves, the apron

with a pair of candle-slides, the fall revealing a stepped and fitted interior with a well, below are two short dummy drawers and two long real drawers, on bun feet, cm. high by

cm. wide. ft. by lft.

A WIIIiam IV rosewood Box,  the cube pattern rectangular top with a geometric border, cm. wide. in. and a French amboyna Tea Caddy,  with metal mounts and ebony mouldings,

bearing the label of Pelve Freres, cm. wide.

A Victorian rosewood two-
division Tea Caddy,  the
rectangular domed top with a boxwood
reserved mosaic castle bordered by
geometric bandings, the concave sides
with a broad band of floral mosaic, cm.
wide.

A Victorian birds-eye maple Work Box,  inlaid throughout with floral and geometric mosaic borders, the domed top with a sycamore reserved panel depicting a ruined abbey, cm.

wide. Win.

A Victorian framed Picture of the Pantiles,  the glazed panel within floral and geometric mosaic borders, cm. wide. Vin.
Cf. Edward H. and Eva R. Pinto, Tunbridgeware and Scottish Souvenir Woodware, plate .

A Victorian rosewood and floral mosaic Pin Cushion,  with tapered sides, cm. wide.  and a mosaic Sealing Wax Container,  of octagonal section, cm. long

A rosewood Ink Stand,
with a cut-glass bottle, the chamfered
base with a floral mosaic border, cm.
wide. in.

A Victorian mahogany shoe Snuff
Box,  with pique decoration,
cm. long Vin. and a Continental
carved hardwood miniature Clog, th
Century, .cm. long in.

A Regency tortoiseshell veneered
Tea Caddy,  of chamfered
rectangular outline, inlaid with pewter
and ivory stringing, the moulded top
revealing a twin-division interior, cm.
wide. Vin.

A George III partridgewood Tea
Caddy,  inlaid throughout
with boxwood stringing, the cavetto
moulded top revealing a twin division
interior, one gilt-metal foot detached, cm.
wide. Vnn.

CHESTS: MULE, DOWER OR COUNTER CHESTS
About 1630-1800
Late-17thC oak mule chest.
Alidded chest with one or two drawers added below. A transitional piece in the 17thC, marking the change from simple chest to full chest of drawers; a country piece in the 18thC.
Thought by some to have been used by tradesmen; many have a small till or partitioned area in the drawer(s), suitable for coins. Early inventories sometimes refer to the drawers themselves as ’tilles’.
Three, sometimes two, panels, with one long or two (occasionally three) short drawers
below. In 17thC often made in two sections, a projecting mitred moulding  echoing that on base  concealing the join. Can be very simple, resembling plain panelled coffers, or more sophisticated, with applied and/or
inlaid decoration. 18thC versions have fielded, and sometimes shaped, panels. Stile, bun or bracket feet according to date.
Oak, walnut, occasionally mahogany; elm, chestnut and other local woods (though few examples survive).
Framed and panelled; earliest with pegged, but most with glued, mortise-and-tenon joints. Early drawers rebated and nailed; later dovetailed and glued (see CHESTS OF DRAWERS: EARLY PANELLED OAK.
DECORATION AND HANDLES
Carving, inlay, applied mouldings in 17thC. Turned wooden knobs replaced by brass ball handles after 1700.
Stain; wax polish.
RELATIVE VALUES
Earliest and most decorative invariably in four figures; plain 18thC in three. Prices considerably reduced if stand is wrong.
For further details of all points see CHESTS OF DRAWERS: EARLY PANELLED OAK, P. 84 and CHESTS OF DRAWERS, VENEERED.
The term ‘dower’ is self-explanatory, but is also used to describe the 18thC chest of trunk form mounted on a low frame, with a flat or domed top, heavy brass carrying handles, a shaped and/or carved apron or frieze,
and cabriole, bracket or straight feet according to date. Imported Oriental lacquer trunks were often displayed in this way (on English-made stands) in the 18thC and 19thC.
Late 17th learly- 18thC leather bunk mounted on a stand.

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.

CHESTS ON STANDS
About 1680-1730
Many fashionable chests of drawers of this period were raised about 2 feet/60 cm from the ground on turned stands. By 1730 these seem to have been replaced by the more capacious tallboy. The information below
relates to the stands only; for details of the chest sections see under CHESTS OF DRAWERS: PANELLED OAK p.84 and CHESTS OF DRAWERS: VENEERED, p.86.
Late-17thC chest on stand of William & Mary type.
Pre-Queen Anne stands have one long (or after 1690 three short) drawer(s) supported on six turned legs joined by a platform, or turned stretchers with bun feet below. Cabriole legs with pad or hoof feet and without stretchers introduced about 1700. On both types, there is sometimes a shaped apron below the drawer(s). On three-drawer types, the central drawer is shallower than the side ones. Inverted projecting moulding at top of stand (into which chest slots) echoes similar moulded cornice at top of chest.
Early-18thc type with base in form of a lowboy or side-table.
Oak; solid walnut for legs; walnut veneer on pine for drawer sections and platform stretchers; oak for drawer linings (except for the drawer fronts).
Glued mortise-and-tenon joints. Turned legs dowelled into frame. Cabriole legs extend upwards to form corner stiles of framing.
Structural weakness and the partiality of wood-beetles for walnut have often contributed to the disappearance of the stand. The remaining chest section can easily be converted into a standard chest of drawers by the addition of a polished top  the original top being rough and concealed by the cornice and bun feet. These can often be identified by the presence of three rather than two small drawers at the top.
Drawers and drawer frieze as for chests, otherwise very plain.
Wax polish after varnish. Occasionally japanned. Spiral turnings occasionally ebonised (i.e. stained black).
VALUES
It is unusual to find a chest on stand without at least replacement feet, if not legs too. Even so, prices are well into the thousands. Replacement legs and stretchers, even if the drawer section is right, may reduce the
value by as much as 40 per cent. Fine and extensive marquetry is a huge bonus, possibly raising the price to a five-figure sum.

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.

Antique English Chests on Chest and Tallboys

Walnut chest on chest, of first quarter of 18th century with half herring bone cross banding on drawers. Bottomdrawe has curved centre panel inlaid with ’sunburst’ and waved apron. Top and bottom halves with chamfered and fluted corners. Bracket Feet. Veneer fairly straight in figure and grain; carcase  fronts veneered and drawers lip-moulded on edges.
Price Range: $160-$300
Value points: Size 6′6″ high or under
Sunburst in bottom drawer
Chamfered and fluted corners

A Queen Anne period or possibly George I chest on chest or ‘tallboy’ in walnut veneer. In this example there is an ovolo ‘lip’ moulding around the drawer edges to lap over the flat veneered carcase front edges when closed. The drawers are not actually cross banded; an inlaid stringing line around the drawers, suitably inset from the edges, gives this effect. Note that the bracket feet are also veneered in the same vertical figure arrangement as the front of the piece - restorers sometimes forget to do this when replacing feet.
The sides are veneered, with a cross banding down the vertical edges only - a feature common to these pieces.
Price Range: $250-$350
Value points: As for other chests

Simpler mahogany tallboy, without brushing slide and with a plain frieze under the cornice. Chamfered and reeded sides to the top half and serpentine bracket feet add quality to this example.
Price Range: $75-$90
Value points: Chamfered and reeded sides  Serpentine and bracket feet

More ornate mahogany tallboy, with dentil moulding; the frieze under it is decorated with a blind fret pattern. The reeded pillars let into the sides have decorative brass mounts and the finely figured drawers have a cross banding inside the cock bead. Serpentine bracket feet complete a high quality example.
Price Range: $200-$250
Value points: Decoration and carving  Dentil frieze and blind fret

English Chests and Chests of Drawers of 17th, 18th and 19th Century
The earliest forms of chest were simple coffer-like constructions with solid sides reaching to the floor to act as feet. By the 17th century, a joined frame construction with panels had appeared and these panels, and also sometimes the hinged lid, were decorated with carving and even inlays. The evolution of the clothing used in the later part of the 17th century made it undesirable to keep heaping clothes on top of each other inside these pieces and drawers appeared in sides to separate them.
The chest of drawers is said to have appeared about 1650 and the first forms were half chest and half cabinet. Usually there was one deep drawer either in the upper or lower part and shallower ones enclosed by doors. The drawers were grooved in the sides to run on bearers fixed to the carcase until after the Restoration, when bottom drawer runners appeared.
On the early types the fronts are often decorated with mitred geometrical mouldings and split balusters. Inlays of bone, ivory and mother of pearl are to be found on the more important pieces. With the advent of walnut fashions towards the end of the century, much more sophisticated and decorative chests of drawers, usually on stands with twist or cup-form legs appeared. The bun foot used on such chests gradually gave way, in ordinary chests to bracket feet, and to those on stands to the cabriole leg so popular in the first
half of the 18th century. Oak continued to be used during the evolutionary period of walnut from 1670-1730, after which mahogany became much more general except in country pieces, which were made in a variety of woods.
Value Points -
Oak Period (to 1690)
-Value points are given individually for early oak chests. For chests of drawers however the following points must be taken as common to all examples:-
Walnut Period (1670-1740)
-In chests on stands,the existence of an original stand gives a  factor. (The legs, stretchers and feet on such stands have nearly always been replaced due to damage and rot.
Marquetry
-Choice of veneers, figures and patination
-Original brass handles and keyhole plates
-Faded cross-grain mouldings in short lengths
-Veneered top (on chests or stands)  (this was left unveneered on pieces originally over about 5′6″ high).
-Veneered and cross banded sides  (country pieces left sidesoak or pine and the side mouldings were cut along the grain instead of across it).
-Oak drawer linings  (country pieces usually lined in pine). Original bracket or bun feet
For chests of drawers, or chests on stands the following notation applies -
-Quartered top. The best quality chests of drawers had the tops veneered in four matching pieces to form a fine formal pattern in veneers. Lesser quality pieces sometimes have the top veneered in two matching halves, while country pieces sometimes had one plain sheet of top veneer.
-’Feather’ or ‘herring-bone’ inlay or cross banding
Mahogany Period (1730 onwards)
In mahogany examples the following points may be taken to commonly affect value:-
Choice of wood and figure
(Early Spanish mahogany or decoratively figured wood add greatly to the price).
-Original handles and keyhole plates
-Oak linings
-Serpentine bracket feet on later examples
-Colour and patination
(Fading mahogany is considered particularly desirable).
For all chests, it may be taken that structural condition and originality are important value points.

CHESTS  on cabriole leg stands, 1700-1750
A fine quality walnut veneered chest on cabriole leg stand, the legs have a scroll at the shoulder. The veneers on the drawer fronts are matched and the carcase edges around the drawers have double-D cross-grained mouldings. c.1720
The introduction of the cabriole leg meant that stands as well as chairs had to have the new fashion, which was unfortunate for chests are heavy, the cabriole form is not even as strong as turning and walnut is not the strongest of woods. Add to this the addiction of furniture beetles for solid walnut and it is not surprising that after 250 years of varied treatment many legs have broken. All stands should be carefully checked. Note that tops are not veneered.
A quality walnut chest on stand. It appears here with cabriole legs which have rather effete shells on the knee. The contrast between the heavy William and Mary chest and stand and the rather thin legs raises doubts. It would look a great deal happier with a turned leg stand supported by flat stretchers like 336.
c. 1715
A fine small solid walnut chest on stand with original brasses and a nicely shaped apron to the stand. The small slightly stumpy cabriole legs and the deep moulding at the join of chest and stand give it a pleasantly robust, country look. The drawer edges have an ovolo lip moulding. The walnut is heavy and dense-grained. Thought to be from the slow growing northern areas, possibly Cumbria. c.1730
An oak chest on stand incorporating a secretaire drawer. Note the well-proportioned legs ending in the typically English pad foot, and the elaborately scrolled apron to the stand. The drawers have a lip mould which overlaps the carcase edge and they are cross-banded with walnut. The secretaire interior is a very pleasant design with elegant applied pillars flanking the central door. 1730-1750
A good quality chest of well matched walnut veneers with good grain and pleasant ripple effect. The base is a bit heavy (can one see here the move towards the chest on chest). The legs are replacements and are of a design sometimes known as Hackney Road after the main area of their production. c. 1725