Posts Tagged ‘BRASS-INLAID’

Modern Style Buffets

Posted by admin on February 11th, 2010 under English BuffetsTags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

Buffets in Modern style
Nouveau managed to erase the early captain’s desk with fold out writing slope and bun feet boundaries between “high” and applied, determined to make art to the tripod table construction pieces masses and do not hesitate to reject the antique brass footman old traditions with the antique gendje rug cumbersome and dysfunctional situation apartments and houses. Completely renovated proved principles of construction and decoration of internal space housing. the antique corner cupboards furniture in the contemporary rococo sideboards style of Art Nouveau style, in its pure form appeared in France in 1895, is an independent, not only in the french baroque x stool history of furniture art in general, but also among flows, which encompasses the antique three legged table notion of “modern”. Ornate, decorative excess and a very mixed style of Art Nouveau in its impulse to join in the rococo style and balloon chairs stylistic unity of all and everything could hardly ignore the english 1930’s antique french style furniture sphere of everyday life. For centuries people live in an organized according to certain laws of space among the dating period furniture objects the upholstered open arm chair material world - and in different epochs degree of influence of the antique lyre end gate leg table dominant stileobrazuyuschey on “private” area was varied. Sergei Diaghilev at the marble inlaid desk end of XIX century, just called “a modern man to the bessarabian rug environment in which care would become easier, recreational possibilities, and all of life more comfortable and happier.

Man it was hard not to capitulate to the french antiques furniture luis the 14th pressure of the pembroke side table newborn daring style, but the carving bed posts reason was not only practical approach to the 18th century wood carved gilded and polychrome angels surrounding environment and human things. New style promised much more, regardless of mass audience in a new religion, the 1800’s suisse jewelry hallmark m j cornerstone of which was the walnut chair wood idea to agitate the antique hepplewhite side table minds of humanity almost ab ovo - the antique solid mahogany pedestal table idea of beauty. Desire estetizirovat reality, to give every object, the narrowhall tables creation of man, the josiah wedgwood pottery pompeii status of works of art has led to the goldscheider figure assertion of equality of different kinds of artistic activities and, including the french chair deco nouveau recognition of usefulness of arts and crafts. Human environment, interior and objects of his home became the wedgwood porcelain symbol perfect platform on which the maple breakfront wardrobe utopian ideas of modernism could unfold in miniature - and not in the identifying antique pulleys distant utopian future, but here and now. Architects and artists who worked in the antique cabinet fittings Art Nouveau style, adopted a completely new principles of interior space. Dominant and forms, and the old lighters made in france decor was unique, easily recognizable rhythm, which is primarily manifested in ornamentalistike Nouveau. Viscous, viscous, asymmetrical designs epoch is associated with meandering capriciously whimsical forms of vegetation, which is a single mass fills the craftsman antique furniture settle turned arms space. Unwavering attraction to art nouveau stylization and “omnivorous” allowed “weave” in the antique pale opal and diamond brooch in bow shaped complex tracery ornaments variety of reasons: from the 1840 high boy ancient Egyptian or Celtic to the basic facts about art deco east.

Of particular importance were the restored antique buffet Late motives that allowed the rare antique spelter iron sculptures of warriors on horseback atmosphere of maturing European decadence to remember the button back chair restoration era in which similar sentiments were an enormous impetus to upgrade the 7 legged antique table aesthetic system. Incorporating a variety of recognizable motives very different time and origin, modernist style combines the antique silver five branch candelabra values m in a chaotic and disorderly movement. Rhythms born stylistically modern era, so subdued the oak claw antique table with lions form that the 1900 grapes and leaves carved on furniture rational basis of domestic utilitarian objects provided sometimes hidden under the karpen settee thick mass diffluent forms.

And, as difficult to guess, first of all “inherited” from modern piece of furniture. However, this is not surprising. While the antique vencian laterns antique principles of decorating the tekke carpets space and played a significant role in establishing the raoul lachenal ceramic integrity of the sideboard paris deco style situation, the antique italian cups and saucers idea of everyday items as works of art in furniture could find the georgian soup ladle(hester bateman) most vivid expression. Besides furniture has long been recognized as “small architecture”, as fully as possible reflecting the mahogany roll top desk with bookcase 1880 basic features of a particular style. Role of Art Nouveau architecture for the antique mahogany dining chairs approval of the brownfield & sons china vegetable dish style is difficult to overestimate - and furniture art boldly moved to the round wooden gateleg table antique already identified benchmarks. the 1700s high back cane chair idea of the minton staffordshire salt glaze plate stylistic integrity of the renaissance revival dining table 6 legs space facilitated the seated queen antique mantel clock widespread suite of furniture made in the rosewood oval pembroke table same style and inscribed in a common space of the davenport sterling silver wine urns room. Extremely important place occupied in this case, cutlery sets, including the gothic lion queen chair main part - a buffet or sideboard, which, despite a utilitarian purpose, usually located in the 6ft mahogany drop leaf table living room, as a kind of confirmation of the tremendous wooden carving status of its owner. Immediately, we note that under the simple antique writing desk 9 brass sideboard in the saxony tea italy classical sense of the 17th century plaster antique mirrors word is high (usually over two meters tall), two-, three-or chetyrehstvorchatuyu construction, the brass marble jardiniere antique upper part of which is fitted with glazed doors, and the p czecho china bottom is a cabinet with blind doors or drawers. Classic sideboard is usually different from the romanesque turned furniture buffet at the antique chippendale sideboards height of the wooden leg brass inlays fine woodworker upper and lower parts. the value of haviland antoinette china se details are important to identify because the narrow antique table buffet as a piece of furniture differs most traditional form at all times - to change it was beyond the moustiers faience antique power of even such a wayward style, as the restore antique gilded book Nouveau. However, precisely because of the antique wood lion arm chair conservatism of the antique 3 connected sapphire diamond and ruby ring construction buffet was excellent basis for the antique tea cups czechoslakia realization of creative ideas of artists of the antique oak dutch kast era. For example, the 1930s study furniture subject of furniture can easily trace the 1920s country french highboy major trends that have evolved in the chippendale ancient chaire furniture art in general. Researchers have traditionally pointed out that the furniture used in 19th century creators of the american roll top secretaire modern era of furniture followed one of two lines: the antique folding washstand representatives of French and Czech and Hungarian versions of Art Nouveau - decoration, while the roentgen occasional table German and British masters - constructive. the porcelan savona czechoslovakia main features of the painting chinese school landscape canton se trends can easily re-present buffet created by typical representatives of the early american, 4 poster bed, antique direction.

In the minton monumental dolphin dining room house museum of Victor Horta, a prominent Belgian architect who is known primarily as the replacement fretwork for china cabinet door creator of a typical modern era mansion, is a buffet of decorative type. Each facility Horta (four of the antique mirror american walnut architect made to the 1700’s 5 drawer ogee chest UNESCO World Heritage Fund) is a holistic work of art. As a general architectural appearance and details of the drill holes to strengthen join plastic epoxy resin interior houses were subject to uniform principles: the narrow oval dining table freedom to plan, likening structures of natural forms, the front only cabriole leg table plasticity of three-dimensional tracks (both interiors and facades), the antique mahogany tripod table with birdcage support extensive use of decorative features of metal and glass. Decor Interiors in mansions Orta different use of vegetable ornaments, as well as flexible, elastic lines (which later became known as “stroke of the lion with tongue silver punch bowl whip”), which were introduced in the papered finish on old buffet style of Art Nouveau is just a light hand of the mahogany commode semi-circle chest antique architect. Living in the reussner bronze house-museum of Victor Horta is a characteristic example of hard work of the antique french furniture collection architect over the reproduction wood lion’s paw feet internal space of the barometers blog dwelling. All rooms decorated in a similar style - and the what kinds of furniture were used in sixteenth century portugal? buffet, which is one of the sheraton small bedside table major landmarks of space, is a typical example of period furniture. Classical chetyrehstvorchataya design literally covered with “inhabiting” curved shape, smooth and fluid connection of some furniture pieces with others, stylized floral ornament, typical spiral elements of decor, arched stained glass continues to internal movement forms. All the bergmann monkey inkstand se details can easily allow us to learn a variety of decorative Art Nouveau style, which is first and foremost associated with the how much is a chippendale chair worth name of this style.

Closely related to the indian ivory inlaid octagonal table direction of the harlequin designs candlesticks decorative Art Nouveau was a Russian version of Art Nouveau, specifically, its variety, known as “neo-Russian style”. As is known, the machine age coffee table Russian nouveau formed in the types of legs on 1940’s dining tables first place in the stripping paint from mahogany bowels of the value of old french antique large stand up trunk workshops organized in the cupid design rug suburban estate of SI Mamontov Abramtsevo and village Talashkino, who owned MK Tenisheva - philanthropist, artist and collector. Art Life Abramtsevo was a decisive milestone in the a french mid-19th century ormolu-mounted, brass-inlaid ebony and ebonised boulle-style vitrine on cabinet history of the 17th c chair yew formation of neo-Russian style. Streamlining of the french louis furniture los angeles contour, symmetry breaking, carved in the english regency style sideboard form of a smoothed topography with matte and polished, the gateleg table with hidden drawer freedom of composite solutions decor and conventional interpretation of the american art deco chair elements characteristic of the vernis martin furniture of this time. the types of antique armchairs main reasons for the kidney shaped desk pennsylvania january 2009 decoration of furniture - stylized flowers and grass with long, curved stems and leaves.
Charles R. Mackintosh. Buffet-style modernism. England. Home XX.

Among the william and mary small gateleg tables projects of furniture in the french provincial country arm chair shell rush neo-Russian style, made Apollinaria Vasnetsov (1856-1933), a monolith-minded buffet, decorated with stained glass windows on the the new trend in america in the 19thc upper wings and forged buckles and metal handles on the george ii flat chasing salver front and bottom drawer - a typical decorative creation. In search of classic furniture designs constructive direction, obviously, should apply to the o.w. richardson furniture sold floor coverings and furniture creation of the plymouth silver company dessert fork Scottish architect and designer, founder and classic modernist style “in a British” - Charles Rennie Mackintosh. Decorative elements in the oak antique tables images and how much there worth creation of the ball back chair suffolk antique Mac though, and met, but have always played a secondary role. Constructive direction secured the metal decorations deco style germany utmost importance for geometrical and functionality of interior and furniture. That is why the two drawer coffers first Mac played an important role in making the early nineteenth century game tables Art Nouveau style in a more rational form of the mother child lamp swivel classical era of Art Nouveau, approaching in the cabriole pedestal foot ir quests to the napoleon iii 1765 french antique desks Art Deco style. the chippendale chair glue blocks classic example of just such a balance of functional and decorative - buffet “in the antique walnut concave display cabinet Japanese style, created by Charles Macintosh, co-authored with his wife, Margaret Macdonald.

The design of the tall back inlayed antique chairs sideboard, divided by partitions into rectangular and square elements, different tectonic clarity and simplicity of form. Buffet is decorated with elegant floral ornament, which, having subordinate, attached a piece of furniture unique plastic accent. By the antique crossed curved leg card table picture top way, it is pertinent to note that it is the turn a welsh sideboard into a bar Mac has made a significant contribution to the antique cherry wood rocking chair turned legs introduction of elements of the bed room cupboards with veneer sheets east - especially the square post brass beds Japanese - the louis xv table legs culture in the stripped chestnut chest drawers era of Art Nouveau ornament. When you create a meaningful piece of furniture such as artists sought to create the 1930s built-in cabinet maximum unity of the jas shoolbred english antique armoire target and artistic form. Of course, this could not lead to a simplification of the mahagony furniture and the antique mock up of different pieces of furniture reduction of its decoration. Moreover - a constructive tendency sometimes negate almost all the art deco ceramic horse decorative features of Art Nouveau: sideboard, designed by English architect Edward William Godwin in the 18th century french center table rococo 1970’s, is an elegant example of a constructive direction of the queen anne newport kneehole desk Art Nouveau style, where the early georgian antique principle of functionality brought to almost absolute. Sleek and lightweight asymmetrical design practically devoid of decoration and is working with the washstands, antique form in its purest form. However, such items of furniture were also a kind of exception. Typically in the oak side table with barley twist legs manufacture of expensive products such as simple forms of constructive decorated with elegant finishes, precious materials, overhead decorations.

The decor used colored plywood, pearls, ivory, metals, semi-precious stones. In Austria and Germany, and England had mastered the antique turkish two seater chair production of structural forms of furniture on an industrial scale. Constructive line of Art Nouveau it is anticipated many discoveries of modern design. Furniture “authorship” Charles Macintosh continues to take place so far. the antique beds from 1700-1800 refore, it is easy to guess, antique value today are primarily those items of furniture, to create artists who were inspired decorative trend style. Buffets, made in a decorative version of Art Nouveau and of interest to collectors, you can often find in antique shops. Periodically, the daniel sideboard swedish re are also some of the quartered oak veneer1700’s constructive type - but with the antique dining room tables that fold up into the cabinet same degree of probability to see the meriden b company silver characteristic features of the antique silver cream pail constructive approach possible in the damaged mahogany veneer ordinary furniture store. A number of workshops is also involved in the antique cigarette dispenser re-establishment as a decorative and structural items of furniture in modern style by author’s drawings on order. All this leads to the italian art deco dining table fact that the ball foot furniture price of authentic copies of the 18th century george ii chairs Art Nouveau furniture are relatively low and stable - the wood kidney shaped coffee table 3 leg only product of the value of antique pie crust gate leg table in mohagany best-known authors may receive special attention. However, most of the bronze branch chandelier se items has long rightful place in the art deco furniture black lacquered jean dunand collections of major museums in the walnut bureau secret desk 1740 world.

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ANTIQUE ARMCHAIRS - ROSEWOOD-VENEERED DINING TABLE - SECRETAIRE BOOKCASE - ROSEWOOD READING ANTIQUE TABLE - MAHOGANY TEA-POY

Posted by admin on December 18th, 2009 under Victorian FurnitureTags: , , , , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

ANTIQUE ARMCHAIRS - ROSEWOOD-VENEERED DINING TABLE - SECRETAIRE BOOKCASE - ROSEWOOD READING ANTIQUE TABLE - MAHOGANY TEA-POY

A PAIR OF GEORGE IV MAHOGANY ANTIQUE ARMCHAIRS,
each curved arched toprail set with a pair of bosses and
with a similar crossbar, the down-curved arms on turned
supports and the drop-in seats on turned front legs,
circa 1820.

A PAIR OF REGENCY MAHOGANY ARMCHAIRS,
each curved toprail with a reeded top edge, the moulded
arms with scroll handles, scroll supports and the buttoned
leather-covered seats on moulded sabre legs, circa 1805.

A REGENCY MAHOGANY SECRETAIRE CHEST, the
rectangular top above a secretaire drawer fitted with
pigeon-holes and two drawers, with long drawers below,
on splayed bracket feet, 3ft. high by 3ft. wide
(110cm. by 108cm.) circa 1820.

A SET OF FIVE REGENCY MAHOGANY CHAIRS
including an Armchair, each with curved panelled toprail
and crossbars, the moulded arms on turned supports and the
stuffed seats on moulded sabre legs, circa 1810.

A LATE GEORGE III MAHOGANY SIDEBOARD, the
superstructure with a brass rail and two sliding cup-
boards centred by an oval, the inverted front with a pair
of drawers in the frieze flanked by two deep drawers, on
circular ringed tapering legs, 3ft. high by 1ft. 6in.
wide (113cm. by 229cm.) circa 1820.

A REGENCY MAHOGANY ANTIQUE ARMCHAIR with curved
toprail and rope-twist crossbar, the scroll arms on
baluster supports and the stuffed seat on ringed legs,
circa 1810.

A GEORGE IV BRASS-INLAID ROSEWOOD-VENEERED DINING TABLE,
the circular top with broad crossbanding inlaid with a band
of cut-brass flowers on a concave triangular pillar, a platform
and three sabre legs with foliate brass mounts, 2ft.
high by 4ft. 6in. diam. (15cm. by 131cm.) circa 1825, top distressed.

A GEORGE III MAHOGANY SECRETAIRE BOOKCASE,
the upper part with a swan-neck cresting centred by a
scallop-shell above a pair of glazed doors enclosing
shelves, the lower part with a panelled secretaire drawer
with fitted interior above an arched recess centred by a
scallopshell and flanked by two smaller panelled
drawers, the Stiles faced with blind-fret continuing down
to the square fluted tapering legs, 7ft. 3in. high by 4ft.
wide (221cm. by 122cm.) circa 1790.
(See Illustration)

A GEORGE IV WORK TABLE in satinwood and satin-birch, the
quarter-veneered top inlaid with two giant ovals, the frieze
panelled at the front and back to resemble three drawers, one
side with three drawers and the other with a deep drawer, on
ringed legs with castors, 2ft. bin. high by 2ft. wide (74cm. by 61cm.) circa 1820.

A SET OF EIGHT GEORGE IV MAHOGANY ANTIQUE DINING
CHAIRS including a pair of Armchairs, with curved
toprails and pierced scroll crossbars, the downcurved
arms on turned supports and the stuffed seats on turned
legs, circa 1820, with restoration and one chair with
newbacklegs.

A GEORGE IV MAHOGANY BREAKFAST TABLE,
the hinged rectangular top with rounded corners and raised on a turned
pillar and three hipped cabriole legs, 4ft. 2in. long by 2ft. 5lMn. (127cm. by 75cm.) circa 1820.

A GEORGE IV MAHOGANY SOFA TABLE, the top with a wide tulipwood banding,
the frieze inlaid with tulipwood stringing and containing a drawer at each
side, on four scroll supports and hipped sabre legs, 2ft. 4in. high by 5ft. 3in. wide (71cm. by 160cm.) circa 1820.

A LATE GEORGE IV MAHOGANY BREAKFRONT SIDE-
BOARD, the tambour-fronted superstructure above two
deep drawers flanking one short drawer, on reeded
turned legs, 3ft. high by 4ft. wide (112cm.
by 151cm.) circa 1825.

A REGENCY ROSEWOOD READING ANTIQUE TABLE with rectangular
hinged leather-lined top, the panelled frieze with bead moulding,
lion’s ring handles and containing a drawer, raised on a parcel-gilt
ebonised column and concave-sided triangular base on ebonised paw
feet, 2ft. 6in. high by lft. 6in. wide (76cm. by 46cm.) circa 1820.

A ROSEWOOD-VENEERED BRASS-MOUNTED THREE-TIER
ETAGERE, each narrow rectangular tier brass bound and
raised on turned pillars ending in castors, lft. high
by lft. long (58.5cm. by 44.5cm.) second quarter of
the 19th Century.

A GEORGE IV ROSEWOOD SEWING AND GAMES
TABLE, the rectangular top with two flaps and a central
sliding panel which reverses to reveal a chess-board and
opens to reveal the top drawer which is inset with a
leather panel for backgammon, with a further drawer
below and a sliding sewing well, on square tapering legs
joined by stretchers, 2ft. high by lft. 8′/2in. wide
(75cm. by 52cm.) circa 1820.

A WILLIAM IV MAHOGANY TEA-POY, the sarco-
phagus-shaped body carved with leaves and bead
mouldings at the front and enclosing two lidded
removable boxes, on a turned stem and sabre legs,
lft. 4l/2in. wide (42cm.) circa 1820.

A WILLIAM IV MAHOGANY ANTIQUE BREAKFAST TABLE, the
rectangular hinged top with rounded corners and
moulded edge and raised on a short turned pillar on four
moulded hipped sabre legs, 2ft. 4in. high by 5ft. 6in. long
(71cm. by 168cm.) circa 1830.

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ANTIQUE DAY BED - BLACK-JAPANNED WORK TABLE - ROSEWOOD SIDE CABINET - AMERICAN MAHOGANY TALLBOY - PARCEL-GILT OAK BOOKCASES

Posted by admin on December 18th, 2009 under SecretairesTags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

ANTIQUE DAY BED - BLACK-JAPANNED WORK TABLE - ROSEWOOD SIDE CABINET - AMERICAN MAHOGANY TALLBOY - PARCEL-GILT OAK BOOKCASES

A SET OF THREE GEORGE III MAHOGANY SIDE
CHAIRS with shaped ladder backs centred with domino
carving, the stuffed seats on square tapering legs joined
by H-stretchers, circa 1770.

AN EARLY GEORGE III MAHOGANY DAY BED
with stuffed overscrolled end, squab cushion and six
square moulded legs joinedby stretchers, 6ft. 11 in. long (21 lcm.)
circa 1765, originally probably the second end over scrolled,
covered in plum figured horsehair.

A GEORGE III BERGERE with a rectangular back and
downcurved arms supports, with loose cushion seat and
square moulded legs joined by stretchers, circa 1790

A GEORGE III ANTIQUE MAHOGANY KNEEHOLE WRITING DESK
with one long frieze drawer and three short drawers
flanking a kneehole with a cupboard, on bracket feet,
2ft. 8in. high by3ft. 3in. wide (81cm. by93cm.)

AN EARLY GEORGE III MAHOGANY BEDSIDE CABINET,
the rectangular top with a pierced gallery with a cup-
board below, the commode drawer panelled to resemble
two drawers, and pulling out on the front legs, 2ft. 7in.
high by lft. wide (79cm. by 57cm.) circa 1760,
commode drawer now fixed.

AN EARLY GEORGE III MAHOGANY CHEST
of four graduated long drawers, on
bracket feet, 2ft. 7′/2in. high by 2ft. 6in.
wide (80cm. by 76cm.) circa 1765, later handles.

A GEORGE III ANTIQUE MAHOGANY PEMBROKE TABLE, the
rectangular top with rounded corners inlaid with
chequered stringing, with a drawer in the frieze and
square tapering legs, 2ft. 5in. high by 2ft. 6in. wide
(74cm. by 76cm.) circa 1780.

A GEORGE III BLACK-JAPANNED WORK TABLE
of elongated octagonal form, with hinged top and
Square tapering legs joined by arched stretchers,
2ft. 7in. high by lft. 6in. wide (79cm. by 46cm.)
circa 1790.

AN EARLY GEORGE III MAHOGANY CHEST, with
moulded top and the inverted serpentine front with
four graduated long drawers, with blind Gothic fret
front corners, shaped sides and ogee bracket feet,
2ft. 7lhin. high by 3ft. 4in. wide (80cm. by 102cm.) circa
1765.

A PAIR OF REGENCY ANTIQUE ROSEWOOD AND PARCEL-GILT
OAK BOOKCASES, with rectangular tops above open shelves,
2ft. lOin. high by 2ft. wide (86.5cm. by 66.5cm.)
circa 1815.

A GOOD GEORGE III MAHOGANY D-SHAPED CARD
TABLE, crossbanded in satinwood, the frieze and square
tapering legs with panels and ovals of satinwood,
2ft. wide (72cm. by 90cm.)
circa 1780.

A GEORGE III MAHOGANY CARD TABLE, the semi-
circular top crossbanded in tulipwood and with a baize-
lined interior, the square tapering legs headed by floral
paterae, 2ft. 5in. high by 3ft. wide (73.5cm. by
108cm.) circa 1780.

A GEORGE III BOWFRONT CORNER SIDEBOARD cross-
banded in tulipwood, with three drawers flanked by a
pair of cupboards, on four square tapering front legs,
3ft. high by 3ft. 9V2in. wide (91cm. by 115cm.) circa 1780,
distressed.

A GEORGE IV ANTIQUE BRASS-INLAID ROSEWOOD SIDE CABINET
with a drawer in the frieze above a pair of grille-fronted
doors, 3ft. high by 2ft. 5in. wide (91cm. by 84cm.) circa
1825.

A GEORGE III MAHOGANY SEMI-CIRCULAR CARD
TABLE with crossbanded top supported on square taper-
ing legs ending in block feet, inlaid overall with
boxwood stringing, 2ft. high by 2ft. wide
(75cm. by 86.5cm.) circa 1785.

A GEORGE III MAHOGANY CARD TABLE,
the semi-circular baize-lined top
inlaid with a central half patera, and with
leaf-scroll border, the square tapering legs
headed by flowerhead paterae, 2ft. 5in. high
by 3ft. wide (74cm. by 91.5cm.) circa 1780, restored.

A SET OF THREE ANTIQUE GEORGE III PAINTED ARMCHAIRS,
the moulded frames with padded shield backs, padded arms
and downswept supports, and the bow-fronted fluted seatrails on
circular tapering fluted legs, circa 1775, now painted white and
gilt, partly re-railed

A GEORGE III SEMI-CIRCULAR MAHOGANY CARD TABLE,
the top crossbanded in tulipwood and raised on square
tapering legs, 3ft. wide (93cm.) circa 1780.

A GEORGE III MAHOGANY WORK TABLE with
moulded crossbanded top, the frieze with a slide at the
right and with pleated silk ‘bag’, on slender square
tapering legs, 2ft. 6in. high by lft. 7in. wide (76cm. by
48cm.) circa 1780.

AN AMERICAN MAHOGANY TALLBOY,
with a moulded comice above an inlaid frieze, with three
short drawers above two further short and four graduated
long drawers, with chamfered, fluted pilaster, sides and
with a serpentine apron on acanthus leaf carved claw and
bail feet, 5ft. 9in. high by 3ft. 6in. wide (176cm. by 108cm.)
circa 1770, later feet and apron, Pennsylvania or Virginia.

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TULIPWOOD PARQUETRY SIDE CABINET - DUTCH OAK BED-SIDE CUPBOARD - BIEDERMEIER COROMANDEL-WOOD-VENEERED SOFA TABLE - BIEDERMEIER BRASS-INLAID MAHOGANY COMMODE - A BIEDERMEIER WALNUT CENTRE TABLE

Posted by admin on December 17th, 2009 under Antique TablesTags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

TULIPWOOD PARQUETRY SIDE CABINET - DUTCH OAK BED-SIDE CUPBOARD - BIEDERMEIER COROMANDEL-WOOD-VENEERED SOFA TABLE - BIEDERMEIER BRASS-INLAID MAHOGANY COMMODE - A BIEDERMEIER WALNUT CENTRE TABLE

A DUTCH KINGWOOD AND TULIPWOOD PARQUETRY SIDE CABINET,
with a bleu turquin marble top, the straight front
containing a drawer above a cupboard and with a cupboard in each of the curved sides, on square tapering legs,
3ft. Vhin. high by 3ft. 2in. wide (95cm. by 97cm.) late 18th Century.

A   SWEDISH   MAHOGANY   SECRETAIRE   COMMODE
with stepped top and four long drawers, the top one
fitted as a secretaire drawer, on short square tapering
legs, 2ft. Hin. high by 3ft. 5′/2in. wide (89cm. by 105cm.)
circa 1790.

A DUTCH OAK BED-SIDE CUPBOARD, the
rectangular tray top above a tambour cupboard and a
pair of drawers, on square tapering legs, 2ft. 4in. high by
lft. 5′/2in. wide (71cm. by 44cm.) circa 1795.

A “ZANZIBAR” BRASS-MOUNTED HARDWOOD CHEST,
the hinged panel top and front applied with eut brass
and patterns of brass nails, with three nail-decorated
small drawers and an engraved brass escutcheon,
lft. 8in. high by 3ft. wide (51cm. by 108cm.) 19th Century.
*** Such chests are found all around the Indian Ocean from Ceylon to Kuwait.

A  TULIPWOOD AND MARQUETRY  MARBLE-TOPPED
CABINET, of unusual form with a brescia marble top
above a panelled frieze and a door with an inlaid recessed
panel enclosing four drawers, with panelled sides and
tall slender cabriole legs, 4ft. 5in. high by lft. 8in. wide
(135cm. by 50cm.) third quarter 18th Century, Franco-
German, marble replaced and drawers later, frieze
veneer damaged.

A SWEDISH BIEDERMEIER COROMANDEL-WOOD-
VENEERED SOFA TABLE with banded corners, frieze
drawer, two pairs of reeded pillars and down-curved legs
with carved paw feet, and a pole stretcher, 4ft. Vhin.
open (126cm.) circa 1820.

A MAHOGANY DECANTER BOX disguised as a miniature
cylinder bureau, the hinged lid enclosing six gilt-decorated
rectangular bottles, Hin. wide (28cm.) early 19th Century, five stoppers missing.

A DUTCH MAHOGANY TEA BUCKET,
the rectangular reeded rim with brass loop
handle and liner, the sides pierced in the
form of leaves, on a turned stem and triangular base with lion paw feet, lft. 9in. high by lft.wide
(53cm. by 34cm.) circa 1810.

A BIEDERMEIER BRASS-INLAID MAHOGANY
COMMODE with quarter-veneered top and front, the front
with an architectural arrangement of three drawers inset
with strips of brass Greek key guilloche, on piain square
legs, 2ft. 9in. high by 3ft. 2′hin. (84cm. by 98cm.) circa
1820, probably German.

A MAHOGANY SETTEE, the reeded frame with
slightly over-scrolled back with adjustable back
and arm-pads, scroll handles and the seatrail on
four sabre front legs, 5ft. 6in. long (158cm.) circa 1810, Scandinavian.

A PAIR OF EMPIRE GILT-BRONZE WALL LIGHTS,
each in the form of an elliptical band applied
with stars and laurel-branches and supporting three
candle-nozzles, (19.5cm.) circa 1815.

A PAIR OF BRONZE EWERS, each ovoid body with a boat-shaped
neck and lip, and the handle in the form of a serpent whose tail
curls around the body, on spirally fluted socles and square bases with inset corners, 9′/2in. high
(24cm.) early 19th Century, possibly Italian.

A SWEDISH BIEDERMEIER MAHOGANY SOFA TABLE
with rounded corners and a breakfront frieze drawer, on
a piain cylindrical pillar with giltwood moulding and
concave rectangular platform, with four giltwood paw
feet, 4ft. 4>/2in. open (133cm.) circa 1820.

A BIEDERMEIER WALNUT CENTRE TABLE, the top
with fourteen triangular sections, the frieze supported
on three ebonised pillars and a central baluster, on a
concave triangular base, 2ft. 7in. high by 4ft. 2in.
diameter (79cm. by 127cm.) circa 1830.

A BIEDERMEIER MAHOGANY COMMODE with stepped top,
three drawers, the upper two each with a recessed panel
of differing shape, 2ft. Hin. high by 3ft. lin. wide (89cm. by 94cm.) circa 1820, Swedish or German.

A BIEDERMEIER MAHOGANY SOFA TABLE, the
crossbanded top with rounded corners with a frieze
drawer, two pairs of square end supports and simple
down-curved legs, 4ft. 4in. open (132cm.) circa 1820,
possibly Swedish.

ANOTHER of similar form, but the three
drawers faced with a large applied urn,
2ft. high by 3ft. Sin. wide (89cm. by 84cm.)
circa 1825, later handles.

A PAIR OF RESTAURATION CANDLESTICKS,
with engine-turned nozzles, stems and circular
bases, 8′/2in. high (22cm.); and a bronze and gilt-bronze Candlestick, with reeded stem,  high (26cm.) all circa 1825.

A PAIR OF RESTAURATION ORMOLU CASSOLETTES,
each flambeau finial reversing to form a candle-nozzle
and supported on an engine-turned urn with loop handles, the tall rectangular plinths faced with appliques,  (29cm.) circa 1825.

A PAIR OF CHARLES X BRONZE AND GILT-METAL CANDLESTICKS,
with leaf-cast nozzles and bases and reeded stems,
(29cm.) circa 1825.

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