WING ARMCHAIR - DROP-LEAF DINING TABLE - MAHOGANY DRESSING TABLE - BEDSIDE STAND - CHEST OF DRAWERS

A GEORGE III BEDSIDE COMMODE with a hinged above a platform and a deep drawer, on square legs, 2ft. 6in. high by lft. wide (76.5cm. by 55cm.) second half of the 18th Century, altered.

A GEORGE III MAHOGANY WING ARMCHAIR with curved buttoned back, oval scrolled arms and raised on square legs joined by H-stretcher, circa 1780, pale jade green velvet upholstery.

A GEORGE III BEDSIDE CABINET, the galleried top pierced with carrying handles above a tambour-fronted
cupboard and a drawer, on square moulded legs, 2ft. 7in. high by lft. wide (79cm. by 50cm.) circa 1775,
altered.

A GEORGE III MAHOGANY WING ARMCHAIR with serpentine top, shaped sides, over-scrolled arms and
square legs, circa 1780    ?250-350

A GEORGE III MAHOGANY PEMBROKE TABLE with rounded corners and crossbanded in kingwood, with a
drawer and square tapering legs, 2ft. 7in. long by 3ft. 6lhin. open (79cm. by 106cm.) circa 1780.

A GEORGE III MAHOGANY CHEST of two short and three graduated long drawers, on bracket feet, 3ft. high by 3ft. 5lUin. wide (95cm. by 105cm.) circa 1780.

A GEORGE III DROP-LEAF DINING TABLE with rectangular flaps, on six square tapering legs inlaid with boxwood stringing, 2ft. 5in. high by 5ft. 4lhin. widefully extended (74cm. by 164cm.) circa 1785.

A GEORGE III MAHOGANY TOILET TABLE, the divided hinged top enclosing apertures for bowls, the square legs joined by a platform with a drawer, 2ft. 9in. high by lft. 2in. wide (84cm. by 35.5cm.) circa 1780.

A GEORGE III MAHOGANY INLAID CELLARET, the
cofFered hinged lid set with a roundel now containing a
tin liner, the front inlaid with an oval, with brass carrying
handles at the sides, the whole inlaid with satinwood
stringing, on later feet, lft. 6in. high by lft. lOin. wide
(46cm. by 56cm.) circa 1785.

A GEORGE III MAHOGANY DRESSING TABLE, the
ebonised serpentine hinged top with a moulded edge and
enclosing a mirror and lidded compartments, the square
legs joined by a platform stretcher, 2ft. 3in. wide (68.5cm.)
circa 1780.

A GEORGE III MAHOGANY PEMBROKE TABLE, the
top crossbanded in satinwood, with a drawer in the
frieze, on square tapering legs with block feet ending in
castors, 2ft. high by 3ft. 4in. wide (70cm. by
101.5cm.) circa 1790.

A GEORGE III MAHOGANY PEMBROKE TABLE with
semi-circular flaps and a crossbanded frieze drawer, on
square tapering moulded legs, 2ft. 4V2in. high by 2ft. 5in.
open (72cm. by 74cm.) circa 1790.

A LATE GEORGE III SATINWOOD ARMCHAIR with
panelled toprail above a pierced splat with downcurved
arms on ringed supports, the stufFed seat on ring-turned
legs, circa 1800, arms restored.

A GEORGE III MAHOGANY PEMBROKE TABLE with
serpentine top and circular tapering fluted legs, 2ft. 7in.
long by 2ft. lOin. open (79cm. by 86cm.).

A GEORGE III MAHOGANY SETTEE, the rectangular
back with downcurved padded arms and ringed baluster
supports, with stuffed seat and square tapering legs joined by stretchers,

6ft. 4in. wide (93cm.) circa 1805.

A PINE SHIP’S DESK, the hinged flap above a
compartment flanked by two short drawers on each side
with a kneehole cupboard door and three short drawers
in each pedestal, 3ft. lin. high by 3ft. 7in. zoide (94cm. by
109cm.) late 18th Century.

A REGENCY FOOTSTOOL,
covered in gros-point floral needlework, on lion-paw feet, circa 1820.

A GEORGE III BEDSIDE STAND with a crossbanded top, ogee
carved frieze above a platform containing a drawer,
on square legs joined by an X-stretcher, 2ft. 8in. high by lft.

2in. zoide (81cm. by 36cm.) circa 1790.

A GEORGE III MAHOGANY CHEST with hinged top
above four dummy drawers and four graduated long
drawers with fluted corners, on curved bracket feet,
3ft. 8lhin. high by 4ft. wide (113cm. by 134cm.)
circa 1800, possibly Scottish.

A GEORGE III MAHOGANY SIDE TABLE
with moulded top, a frieze drawer and square
tapering legs, 2ft. 5in. high by 3ft. wide (74cm. by 91cm.) circa 1790.

A GEORGE III MAHOGANY CHEST OF DRAWERS with
a crossbanded top inlaid with boxwood stringing above
two short and three graduated long drawers, on splayed
bracket feet, 3ft. high by 3ft. wide (110cm. by
100cm.) circa 1800.

ANOTHER, similar but smaller, 2ft. 4in. high by 2ft. 73Ain. wide (72cm. by 80.5cm.) circa 1790.

A LATE GEORGE III MAHOGANY CHEST with a large
panelled drawer above three further graduated drawers,
3ft. 4′/2in. high by 3ft. lVhin. wide (103cm. by 121cm.)
circa 1800.

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TRIPLE-TOP GAMES TABLE - DROP-LEAF TABLE - WALNUT TALLBOY - MAHOGANY BUREAU - CHEST OF DRAWERS

A GEORGE II MAHOGANY TRIPLE-TOP GAMES TABLE
with projecting rounded corners, polished and baize-lined
interiors with candle-stands and counter wells and a
surface inlaid for chess and backgammon above a well,
the piain cabriole legs with pad feet, 3ft. wide (91cm.)
circa 1740.

A GEORGE II MAHOGANY DROP-LEAF TABLE, the oval top and
cabriole legs carved with scallop-shells, husks and leaves
and ending in claw and ball feet, 2ft. bin. high by 5ft. 2in. wide (73.5cm. by 157.5cm.)

A GEORGE III MAHOGANY DROP-LEAF TABLE with
well figured rectangular top and square, slightly tapering
legs, 3ft. 6in. high by 5ft. 3in. open (107cm. by 160cm.)
circa 1760.

A GEORGE II WALNUT TALLBOY in two parts with a
moulded cornice and two short and six long drawers, on
bracket feet, 5ft. IVhin. high by 3ft. 4in. wide (181cm. by
102cm.) mid-18th Century.

A GEORGE II MAHOGANY TALLBOY of dark colour with a dentil
cornice, two short and three graduated drawers with fluted
canted corners, the base with three long drawers, on bracket feet, 6ft. lin. high by 3ft. 8in. wide (185cm. by 112cm.)
circa 1735, handles replaced.

A GEORGE II GILTWOOD WALL MIRROR, the plate
with fruit and flower side pieces, the shaped apron
centred by a scallop-shell and swan-neck cresting above a
leaf-decorated frieze, 4ft. high by 2ft. Vhin. wide (122cm.
by 65cm.) circa 1750.

A GEORGE II MAHOGANY BUREAU, the Aap enclosing
a fitted interior above four graduated long drawers, on
ogee bracket feet, 3ft. 4in. high by 3ft. wide (102cm. by
91.5cm.) mid-18th Century.

AN UNUSUAL EARLY GEORGE III MAHOGANY
SHALLOW CUPBOARD, the moulded top with rounded
corners and the recessed front with a pair of doors each
panelled to resemble two rows of six short drawers
with original gilt-brass rococo loop handles, the panelled
side pieces centred by a patera with rounded reeded
corners, 4ft. lin. high by 5ft. ‘hin. wide (125cm. by 167cm.)
circa 1760.

A GEORGE II MAHOGANY CHEST of four graduated
drawers, with moulded crossbanded top and bracket feet,
2ft. Hin. wide (89cm.) circa 1750.

A RARE GEORGE III LABURNUMWOOD ARMCHAIR with a
moulded serpentine toprail, pierced vase-shaped
splat and outcurved arms, the drop-in seat on square
chamfered legs joined by plain stretchers, circa 1765.

AN EARLY GEORGE III SMALL MAHOGANY SIDE TABLE,
the moulded top with rounded corners and with three drawers
above a shaped apron on moulded chamfered legs, 2ft. 7in. wide (89cm.) circa 1760.

AN UNUSUAL MAHOGANY SECRETAIRE CABINET ON CHEST,
the upper part with egg-and-dart and dentil mouldings
and an arrangement of three drawers above one large and two small glazed cupboards applied with fretwork and two banks of three small
drawers above a secretaire flap, the serpentine-fronted lower
part with a gadrooned moulding, a brushing slide and four drawers, on ogee bracket feet, 7ft high by 3ft. 9in. wide
(213cm. by 114cm.) base circa 1760, upper part circa 1760, remodelled.

AN EARLY GEORGE III MAHOGANY SIDE TABLE
with serpentine top and chamfered legs, 2ft. llin. high by 5ft. 8in. wide (89cm. by 173cm.) circa 1765.

AN EARLY GEORGE III MAHOGANY TEA TABLE, the
rectangular top with a Chinese fret frieze, on moulded
squared legs applied with pierced brackets, 2ft. 3in. high
by 2ft. 9′/2in. wide (68cm. by 85cm.) circa 1765, brackets
replaced, originally with a gallery.

A GEORGE III MAHOGANY TEA TABLE, the
serpentine fold-over top above a plain frieze, on cham-
fered legs, 2ft. 4′hin. high by 2ft. 5′/2in. wide (72cm. by
75cm.) circa 1770.

A GEORGE III MAHOGANY CHEST OF DRAWERS with
a brushing slide and four graduated drawers raised on
bracket feet, 2ft. 9V2in. high by 2ft. 6in. wide (85cm. by
76cm.) circa 1770, restored.

AN EARLY GEORGE III CARVED GILTWOOD LOOKING-
GLASS, with shaped rectangular plate contained within a
border of scrolls and flame motifs, 3ft. 3in. high by 2ft. 3in.
wide (99cm. by 68cm.) circa 1760.

AN EARLY GEORGE III MAHOGANY GENTLEMAN’S
WARDROBE with a dentil cornice and the pair of fielded
doors enclosing five tray shelves, with two short and two
long drawers on bracket feet, 6ft. high by 4ft 2in. wide
(183cm. by 127cm.) circa 1765.

A GEORGE III MAHOGANY TALLBOY with a dentil
cornice and two short and three long drawers,
with fluted chamfered corners, the lower part with a slide above three further long drawers on bracket feet, 6ft. ‘hin. high by 3ft. 8in.
wide (184cm. by 112cm.) circa 1770.

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GEORGE II CIRCULAR MAHOGANY BUCKET - LACQUER CUPBOARD - A QUEEN ANNE WALNUT CHEST ON STAND - GEORGE II MAHOGANY TOILET MIRROR - RED WALNUT SIDE TABLE

A WROUGHT-IRON TRIVET on ringed baluster legs,
9in. high by 2ft. 6in. long (22cm. by 76cm.) 18th/19th
Century.

A SMALL LACQUER CUPBOARD, the doors and sides
composed of fragments of an 18th Century Chinese
coromandel screen, the doors carved with objects from
the Hundred Antiques, lft. 7V2in. high by 3ft. 2in. wide
(49cm. by 97cm.)partly 18th Century.

A MINIATURE MAHOGANY CHEST OF DRAWERS, tWO
short and three graduated long drawers, on turned
tapered feet, lft. 73Uin. high by lft. 6in. wide (49cm. by
46cm.) early 19th Century.

A WALNUT TOILET MIRROR with serpentine-topped bevelled
plate and conforming moulded frame, with turned supports
and three drawers in the inverted break-front base, lft. 5in.

wide (42cm.)partly early 18th Century.

A QUEEN ANNE WALNUT CHEST ON STAND with moulded,
quarter-veneered, crossbanded top and two short and three
long drawers, the sides with three drawers above a shaped apron, on

later feet, 3ft. 8V2in. high by 3ft. lin. wide (113cm. by 94cm.) circa 1710.

A QUEEN ANNE WALNUT-VENEERED TOILET MIRROR,
the bevelled rectangular plate with moulded surround
and the base with three chevron-banded concave-fronted drawers, lft. 5′/2in.
wide (44.5cm.) circa 1710, plate relaced.

A PAIR OF WALNUT AND SEAWEED MARQUETRY SIDE
CHAIRS, with curved toprails and serpentine supports
with solid splats inlaid with elaborate arabesque floral
marquetry, with drop-in seats on cabriole legs ending in
pad feet.

A GEORGE II MAHOGANY TOILET MIRROR, the
rectangular plate with parcel-gilt surround and three
concave-fronted drawers in the base, lft 5in. wide (43cm.)
circa 1740.

A GEORGE I WALNUT AND PARCEL-GILT WALL
MIRROR, with a moulded and leaf-carved cornice above
a rounded bevelled plate flanked by C-scrolls and flower-
heads with a serpentine apron, 3ft. 7in. high by 2ft. 3in.
wide (110cm. by 69cm.) circa 1720, originally with a
triangular pediment.

A GEORGE II MAHOGANY TOILET MIRROR with
parcel-gilt crossbanded rectangular frame, shaped
cresting and simple trestle supports, Hin. wide (28cm.)
circa 1740.

AN EARLY GEORGE II WALNUT AND PARCEL-GILT WALL MIRROR
with a swan neck cresting above a rec¬tangular plate set
within a moulded frame hung with •ribbon swags, with a serpentine
apron, 4ft. 2in. high by 2ft. 2′/2in. wide (129.5cm. by 67cm.) circa 1725.

A JAPANNED CABINET ON STAND, the cabinet with engraved
brass strap handles, corner mounts and escutcheon plates,
the doors decorated with chinoiseries in gilt and red on black

and enclosing similarly decorated drawers, the stand
with convex frieze on square-cut cabriole legs,
similarly decorated, 5fi. 6in. high by 3ft. 4in. Wide (168cm. by 103cm.)

early 18th Century.

A GEORGE II MAHOGANY MIRROR, the rectangular
plate within a moulded surround with a shaped apron
and the cresting with a gilt bird, 2ft. 3in. high by lft. 4in.
wide (69cm. by 41cm.) circa 1740.

ANOTHER of similar shape, the apron and cresting
with incised decoration, 2ft. ‘hin. high by lft. 2′hin. wide
(64cm. by 37cm.)

A GEORGE II PARCEL-GILT MAHOGANY WALL MIRROR,
the rectangular plate with piain moulded Surround,
shaped apron and pierced cresting, 2ft. 7in. high by lft. 63Ain. wide (76cm. by
47.5cm.) circa 1740.

A GEORGE II WALNUT AND PARCEL-GILT WALL MIRROR,
with a C-scroll cresting, pierced with a floral roundel,
the rectangular bevelled plate within a moulded carved frame with a
scrolling apron, 3ft. 9in. high by 2ft. ‘hin. wide (114cm. by 62cm.) circa 1740, apron damaged.

A GEORGE II RED WALNUT SIDE TABLE with a rec-
tangular top, three drawers in the shaped frieze, turned
legs with lappets at the knees on pad feet, 2ft. 3′hin. high
by 2ft. 5′hin. wide, circa 1735.

A GEORGE II CIRCULAR MAHOGANY TRIPOD TABLE
with hinged top, piain baluster stem and piain cabriole
legs, 2ft. 4in. high by 2ft. lOin. diameter (71cm. by 87cm.)
circa 1740.

A GEORGE II PARCEL-GILT MAHOGANY WALL
MIRROR, the bevelled rectangular plate within a simple
moulded Surround, shaped apron and the shaped cresting
pierced with a gilt bird, 2ft. 5in. high by lft. 9in. wide
circa 1730.

A SMALL GEORGE II CIRCULAR MAHOGANY BUCKET, the
tapering body with brass bands, lft. high by 11′hin.
wide (30cm. by 29.5cm.) circa 1755, with metal liner.

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ROSEWOOD INVERTED BREAKFRONT SIDE CABINET - MAHOGANY CHEST OF DRAWERS - WRITING AND TOILET CHEST - BUREAU CABINET - GEORGE III SECRETAIRE CABINET

A MAHOGANY CHEST OF DRAWERS, the moulded top
above a frieze drawer with two deep drawers with a
D-shaped recess in the middle forming a kneehole, on
curved bracket feet, 2ft. 6Vzin. high by 3ft. 3in. wide
(77cm. by 99cm.) circa 1770.

A GEORGE III MAHOGANY KNEEHOLE WRITING AND TOILET CHEST with
a fitted frieze drawer above a
recessed cupboard flanked by three drawers at each
side, on panelled bracket feet, 2ft. Hin. high by 3ft. lin.
wide (89cm. by 94cm.) circa 1775, possibly Scottish,
altered and now with a tambour-fronted superstructure
enclosing drawers and pigeon-holes.

A GEORGE III MAHOGANY TALLBOY with a moulded
dentil cornice above two short and three graduated long
drawers, with chamfered fluted corners, the lower part
with a brushing slide and three graduated long drawers,
on bracket feet, the drawers inlaid with satinwood string-
ing, 6ft. 4in. high by 3ft. Hin. wide (193cm. by 119cm.)
circa 1780.

A GEORGE III PAINTED BONHEUR-DU-JOUR, the
superstructure fitted with two cupboards and a shelf
above the writing surface, the three frieze drawers
painted overall with rinceaux foliage and sepia pictures,
on four reeded legs joined by turned stretchers, 3ft.
high by 3ft. 3in. wide (92cm. by 99cm.) circa 1790,
repainted.

A GEORGE III MAHOGANY CHEST with four graduated
long drawers, a curved apron and splayed bracket feet,
2ft. 5′/2in. high by 2ft. 9V4in. wide (74cm. by 84cm.) circa
1780.

A GEORGE III MAHOGANY BUREAU CABINET, the
pierced architectural comice above a pair of diamond
pattern glazed doors inlaid with stringing and enclosing
shelves, the base with a moulded flap enclosing a satin-
wood-veneered fitted interior, with four graduated
drawers and shaped bracket feet, 7ft.high by
3ft. 8in. wide (242.5cm. by 112cm.)

A GEORGE III OVAL GILTWOOD WALL MIRROR, the
frame with a bead and petal moulding, 2ft. 5in. by lft. 7in.
(73cm. by 48cm.) circa 1780.

A GEORGE III MAHOGANY SERPENTINE-FRONTED SIDEBOARD, the three
frieze drawers with boxwood
stringing, on square tapering legs with block feet,
3ft. 3in. high by 6ft. lin. wide (95cm. by 185.5cm.) circa
1780.

A GEORGE III MAHOGANY CELLARET, with a hinged
coffered lid enclosing bottle compartments, above a
cupboard, the frieze of each set with ovals and with
brass carrying handles at the sides, on plinth base,
2ft. 3lhin. high by lft. 4in. wide (69cm. by 47cm.) circa
1785.

A GEORGE III MAHOGANY SIDEBOARD with brass
gallery, the bowed breakfront containing two central
drawers flanked by two deep drawers, on square tapering
legs, 2ft. Hin. high by 5ft. 6in. wide (89cm. by 168cm.)
circa 1785.

A GEORGE III MAHOGANY SERPENTINE-FRONTED
SIDEBOARD, the top set with an oval and crossbanded in
kingwood and boxwood stringing, with a frieze drawer
fianked by two deep drawers, one with a lead liner and
both inlaid with shell medallions, on square tapering
legs and block feet, 3ft. lin. high by 6ft.

A CABINET ON STAND, the upper part with a pair
of satinwood and rosewood-crossbanded glazed doors
enclosing shelves, the serpentine base veneered in satin-
wood and crossbanded in rosewood, with a single frieze
drawer veneered in panels above a kneehole fianked by
a pair of small drawers, on square tapering legs, 5ft. high
by 2ft. 8in. wide (152cm. by 81cm.) both parts circa 1790,
but not originally together.

A PAIR OF MAHOGANY BEDSIDE CABINETS, each
galleried top above a cupboard door, on square tapering
legs, 2ft. 8in. high by lft. 3in. wide (68.5cm. by 38cm.) circa
1790.

A GEORGE III MAHOGANY BUREAU CABINET, the
shaped comice above a lancet frieze, with a pair of doors
with ogee bars, containing shelves and two short
drawers, the lower part with a Aap enclosing a fitted
interior above four graduated long drawers, on bracket
feet, 7ft. Win. high by 3ft. 9in. zvide (237cm. by 114cm.)
circa 1790).

A GEORGE III SECRETAIRE CABINET, the upper pan
with dentil cornice, above two glazed doors with
astragal mouldings, the lower part with a deep secre-
taire drawer above three graduated long drawers, on
splayed bracket feet, 7ft. 6in. high by 3ft. lin. wide
(229cm. by 109cm.) circa 1800.

A LARGE GEORGE III MAHOGANY SECRETAIRE CHEST,
the drawer panelled to resemble two long drawers
flanked by a pair of panelled doors and enclosing
drawers and pigeonholes, the lower part with three drawers flanked by a pair
of real front doors, on a moulded base, 3ft. 9in.
by 4ft. 9′/2in. wide (114cm. by 146cm.) circa 1800.

A GEORGE III MAHOGANY CHEST with
a moulded top inlaid with boxwood
stringing above two short and three
graduated long drawers, on bracket feet,
3ft. ‘Mn. high by 3ft. 8in. wide (93cm. by 114.5cm.) circa 1770.

A LATE REGENCY GILTWOOD CONVEX MIRROR, the
cresting surmounted by an ebonised eagle above a plinth
applied with a mask and vine leaves, the moulded
frame applied with ebonised balls and with a scrolling
shell apron, 3ft. 7in. high by 2ft. wide (109cm. by 61cm.)
circa 1820.

A LATE REGENCY PAINTED AND PARCEL-GILT BREAK-
FRONT SIDE CABINET, with a three-quarters gallery, a
“plum pudding” mahogany top above a frieze set with
paterae and a central pair of cupboard doors flanked by
shelves and fluted pilasters, on a solid plinth base and
block feet, 3ft. 2in. high by 5ft. zvide (97cm. by 152cm.) circa
1820.

A WILLIAM IV ROSEWOOD INVERTED BREAKFRONT SIDE CABINET
with two central glazed cupboard doors below a moulded
cornice flanked by a pair of projecting cupboards, panelled
within leaf-carved gilt frames, on a plinth base, 3ft.
‘Mn. high by 5ft. 6in. wide (92cm. by 67.5cm.) circa 1830,
top stained and damaged.

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Antique Night Tables

In the second half of the 18th century a form of cupboard on legs became very popular as an antique night table or commode to hold a chamber pot. It is known that Chippendale supplied this type of article and that Ince and Mayhew as well as Sheraton, illustrated various designs of this type of furniture. Some types are designed to look like a small chest of drawers, but the top is hinged at the back to act as a lid to lift up and stand perpendicularly. There were examples which were quite ornate, being, in the later years of the century, veneered in satinwood and subject to decoration in the prevailing styles. Even small convertible sets of steps were made for the purpose. In recent years they have again become popular as occasional tables for bedside use or even for containing gramophone equipment.
A mahogany night table with fretted tray handles to the top edge c. 1780. The front has a lifting shutter and the shaped apron beneath is the front of the pot holding drawer; it draws forward with the legs, which are
split across the section.
A mahogany night table of c. 1790 with cupboard panelled doors and ‘tray’ top. The complete front lower section is attached to the front of the pot drawer and all slides forward. The front legs are split diagonally so
that adequate support is obtained when the drawer is open.
A good quality mahogany night table with tambour shutter which slides horizontally across the front, and ‘tray’ top, with handles fretted into the rim. The tambour shutter, when opened, slides round the inside edge of the cupboard space. The pot holding drawer front has been simulated to look like two cock-beaded and veneered drawers. The front legs are again split so that support is given to the drawer front when open.
A smaller mahogany night table with tambour shutter and tray top. The pot drawer is similar to the previous examples with split front leg and a simple turned wooden knob.
Value points: Tambour shutter.  Colour and patination.  Figured woods and inlays. Tray top.
An antique  mahogany night table with fretted tray handles to the top edge, c.1780. The front has a lifting shutter and the shaped apron beneath is the front of the pot holding drawer; it draws forward with the legs,
which are split across the section.
A mahogany night table of c.1790, with cupboard panelled doors and `tray’ top. The complete front lower section is attached to the front of the pot drawer and all slides forward. The front legs are split diagonally so
that adequate support is obtained when the drawer is open.
Figured woods and inlays. Tray top
A good quality mahogany night table with tambour shutter which slides horizontally across the front, and ‘tray’ top, with handles fretted into the rim. The tambour shutter, when opened, slides round the inside edge of the cupboard space. The pot holding drawer front has been simulated to look like two cock-beaded and veneered drawers. The front legs are again split so that support is given to the drawer front when open, c.1790. A smaller mahogany night table with tambour shutter and tray top. The pot drawer is similar to the previous examples with split front leg and a simple turned wooden knob, c.1800.
Value points: Tambour shutter
A circular antique Victorian night table with marble top of c.1855. These pieces are usually made of mahogany and represent something of an achievement in veneering on a curved surface and in steaming. Inside they are  predictably simple.
A Victorian night table of c.1870. Made in mahogany or veneered in walnut, these cabinets have yet to find their collectors. They must have been produced for many years and do not represent any particular achievement of construction.

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Antique Escritoire

Signs of authenticity of antique escritoire
1. Backs of top and base same colour and patination.
2. Carcase wood dry and dusty to the touch.
3. Fine grain of carcase and veneer both vertical on sides, always running in same
direction.
4. Oak drawers with grain running front to back on drawer bottoms in more than one piece to allow for shrinkage of wood.
5. All veneer banding cross-cut with mitred edges  never straight grained.
6. Wide variety of woods for inlays: cherry, laburnum, olive wood, harewood (dyed sycamore, greenish-grey in colour) and, from c.1685, boxwood, holly, burrwood, ebony and yew wood.
7. Figuring of veneer particularly oyster pattern should be asymmetrical.
8. On quartered veneer and parquetry, geometrically cut shapes should not be in identically figured veneer.
9. Veneer should be almost 1 in thick.
10. Heavy pin hinges to fall-front.
Likely restoration and repair
11. Doors removed from Continental chest and replaced with fall-front. Newly veneered edges to cabinet or plugged holes where hinges have been removed.
12. Marriage of original escritoire on stand and chest of drawers of roughly same period. Drawers in base will have no locks or escutcheons breaking design of drawer fronts, indicating recent addition.
13. Cornice directly above fall-front where cushion drawer has been damaged and removed.
14. Pine carcases, drawers usually indicating Italian, Portuguese, Spanish, German chests of far later date.
15. Fall-front recut to make double doors.
After the Restoration (1660) desk furniture developed with the writing box on stand and the escritoire  or scrutoire built on the same principle as the chest-on-stand so typical of the William and Mary period
(1689-1701). The large exterior surface of the fall-front provided a magnificent opportunity for the new art of veneering which had been introduced to England from the Netherlands.
The decorative stands proved too unstable to support these grand writing chests and by the end of the seventeenth century escritoires were mounted on chests of drawers. They were still made as two separate
pieces, with the join concealed with plinth moulding which matched that on the base.
The cornice mouldings surmounting the escritoire show the beginnings of an architectural influence on furniture design, and the interiors demonstrate the skill of early cabinet-makers.
Escritoires were made all over Europe and although they were superseded in England by the bureau and the secretaire, they continued to be made in Holland, Germany, Italy, Spain and Portugal until the beginning of
the last century.
As with chests on stands and chests of drawers of the same period, escritoires were made with a carcase construction, with finely figured walnut veneer on soft imported oak. The backs of both component parts were of saw-cut oak planking fixed to the carcase with iron nails. The sides of the top and base were in well-matched veneer. The fall-front had cleated sides to prevent warping and bending. A cushion drawer was concealed in the moulding above the fall-front and below the cornice, occasionally with an escutcheon and lock.
Until c.1700, escritoires stood on plain bun feet, but after that date bracket feet formed an integral part of the base moulding. The base had a flight of three drawers, made of oak with cross-cut veneered surrounds and mitred corners.
Interiors were made with a wide variety of fittings  usually numbers of tiered small drawers and friezes which often concealed secret compartments. A central door with a lock provided secure storage for documents.
Wide bands of cross-cut veneer framed the central panels of the fall-front and, on the interior, was a writing surface of velvet or baize cloth.
From c.1660 to 1685 parquetry veneer in richly figured walnut was typical, where geometrical patterns fitted together like a jigsaw. From c.1685 to 1715 oyster veneer and seaweed or scrolled marquetry replaced
earlier patterns and from c.1700 inset panels of lighter woods with leaves, flowers and birds in the central panels were also characteristic.
Brass chains or elbow hinges took the weight of the open fall-front. Up to c.1700 steel lock casings and brass escutcheons were used, but after that date lock casings were made of brass.
Dowry chests without stands were imported in considerable quantities from the Netherlands, crudely made and inlaid with pale woods in primitive designs such as doves, hearts and flowers. The stands for them were
made in England. Chests of small drawers with two doors instead of a fall-front were more
common in the average household where writing was not a daily or regular habit. Otherwise the writing box on stand or portable writing box with sloped front hardly comparable with the grand escritoire — served the
same purpose.
Reproductions
Nineteenth century
Cheaply made, imported Dutch, German, Spanish, Italian and Portuguese escritoires on made-up bases had coarse-grained pine carcases with pine drawers, sometimes stained to look like red pine. Italian versions
often favoured tortoiseshell in place of veneer, surrounded with ebonized string-of-beads mouldings.
A close relation to the escritoire is seen in the `secretaire de dame’ or `secretaire a abattant’, made mainly on the Continent but also in England during the late eighteenth and early nineteenth centuries.
Escritoires on stands had a certain vogue during the early Victorian period when considerable numbers were imported from southern Germany and mounted on bun-footed, twist-turned stands made in England and
conforming to the old William and Mary pattern.
Price bands
William and Mary escritoire. Fine figured walnut veneer, $3,000-5,000.
Early eighteenth-century walnut with marquetry escritoire, $2,700-3,500.
Nineteenth century secretaire A abattant, $1,200-2,000.
Spanish, Italian, German, Dutch ninteenth century cabinet on stands
Walnut fall-front escritoire on bracket feet, c.1710.

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Antique German Buffets
Buffets  in XVIII century were more popular the German states than other European countries. This was partly the result of German guild restrictions, which primarily sought to protect those craftsmen who were not privileged enough to work in a Court workshop. By restricting the numbers of workshops in a city in order to guarantee work for all the masters, the guilds made it extremely difficult for foreign craftsmen to settle, so their influence was, at times, found to be lacking. Also, the conservatism of the middle classes meant that new fashions were less readily accepted.
The Spindler brothers were leading cabinet-makers who made buffet for Frederick 11. They were famous for their use of floral marquetry, and continued to make Rococo-style commodes up until the late 1760s. At
the height of their career, the two-drawer serpentine commode on long legs was popular, a shape that had already become passe in France. Commodes made for use outside court circles were less formal and
resembled a chest of drawers with three or four drawers. However, despite this simplicity, these commodes still favoured Rococo styling with curvilinear fronts and veneers in walnut, rather than mahogany. Abraham
Roentgen and his son, David, were the most famous German cabinet-makers to embrace the Neoclassical style. However. the buffet Abraham Roentgen initially produced was strongly influenced by the English Queen Anne and Low Countries designs. Much of the Roentgens’ early buffet was made in walnut, as mahogany became fashionable in German cabinetwork much later than in Britain and France. Both enjoyed a tremendous following at all the German Courts of their time.
NEOCLASSICAL buffet
It was not until the 1770s that the early Neoclassical style, or Zopfstil, became accepted. As in France, where enthusiasm following the excavations of Pompeii and Herculaneum had led to the emergence of the goof
grec style, German designers began to seek inspiration in the ancient Greco-Roman world. The term Zopfstil itself derives from Classical braided friezes
(der Zopf translates as “braid”) and hanging swags.
The Zopfstil continued to apply many of the decorative features seen in the marquetry of the late Rococo style: acanthus-shaped mounts, bay leaves, swags, medallions, triglyphs, and lion’s and ram’s heads. Initially, buffet was similar to that of the Louis XVI style, albeit with more exaggerated proportions. From the middle of the 1780s, however, buffet forms became lighter, more refined, and had very little decoration.
This shift was partly due to the increasing influence of the middle and merchant classes in matters of design. Although the Neoclassical style was popularized by Abraham and David Roentgen, their patrons remained exclusively at Court, while the Baroque and Rococo styles continued to have a greater influence on cabinet-makers in the provinces.
As elsewhere in Europe, the use of Neoclassical design was initially restricted to the application of decorative elements to traditional forms. Marquetry had never fallen from favour in the German states and it was still used in the latter half of the 18th century However. designs became more geometric and. rather than completely covering a case. often
focused on the centre of a piece.
POPULAR FORMS
The cylinder bureau devised by Francois Oeben at the courts of Louis XV and Louis XVI. the flat desk with a functional top with drawers or doors, and the commode were popular pieces. Legs were mostly fluted
columns or conical squares. Commodes tended to have two or three drawers and square, tapered legs. The china cabinet remained popular, but, again influenced by French fashion, became rectangular, with restrained ornament. Seating buffet also followed French examples with oval or square backs, painted or gilt seat frames, and tapered legs.
Towards the end of the century, imported mahogany became the most favoured wood. Brass-mounted buffet with well-figured mahogany veneers became popular, although regional woods such as walnut or cherry
wood were also used.The gallery is carved.
The antique buffet has been laid on the diagonal.
Rococo marquetry includes floral and musical motifs.
The brass lock is integral to the architectural design.
The gilded bronze fittings are original,
ROLL-TOP BUFFET
This pine buffet from Munich has a geometric veneer in walnut, fruitwood, and naple. The carved gallery has a central medallion if an emperor surrounded by laurel leaves. The supper section has architectural
marquetry across two large doors, with drawers and pigeonholes inside. The roll-top desk front has marquetry flowers and musical instruments in a geometric border. The lower drawers have similar marquetry. The desk stands on short, fluted, tapering legs. c.1775.
SOUTHERN GERMAN BUFFET
This Louis XVI-style buffet has a rectangular and architectural pine case with a veneer in walnut, plum, maple, and oak. The central medallion-and garland motif is thought to have been influenced by the work of
David Roentgen.
The handles on the two drawers, constructed sans traverse, are in the form of four different bronze portraits on a silver ground. The case is set on four squared, tapering legs. Attributed to Cornelius Pentz.

PIER BUFFET

This pine, squared buffet is veneered with cherry, plum, and maple woods in a geometric pattern. Below the rectangular top is a frieze containing a drawer, and two further drawers, flanked by inlaid flat columns. Slightly flared feet support the case. c.1795.GERMAN SIDEBOARD
This Sheraton mahogany demi-lune (half-moon) sideboard from Berlin is inlaid with various woods. The elliptical top has an inlaid edge. Three crossbanded central drawers are
flanked by cupboard doors, which are inlaid to resemble a drawer above a door and open to reveal shelves. The case stands on turned, reeded legs. This design was popularized by English pattern books. c.1795.

SWISS BUFFETS
This pair of buffet is designed in the style of Louis XVI. They are made of walnut and veneered with cherry and local fruitwood. The tops slightly overhang the bases and the friezes are decorated with
Neoclassical-style ormolu mounts. Each cabinet is glazed on three sides – opening to the front with a single-lock escutcheon –and is fitted with three shelves. The cases are supported on short, tapered legs, which terminate in metal casters. c.1800.

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