Posts Tagged ‘commode’

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

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

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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BEDSIDE COMMODE - BUREAU CABINET - MAHOGANY ARMCHAIR - SERPENTINE-FRONTED CHEST - GILTWOOD ARMCHAIR

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

BEDSIDE COMMODE - BUREAU CABINET - MAHOGANY ARMCHAIR - SERPENTINE-FRONTED CHEST - GILTWOOD ARMCHAIR

A GEORGE III MAHOGANY BEDSIDE COMMODE with
three-quarters gailery pierced with carrying handles above
a pair of cupboard doors and sliding pot drawer, on
square legs, 2ft. 9in. high by lft. Hin. wide (84cm. by
58.5cm.) circa 1765.

A GEORGE II MAHOGANY TEA OR GAMES TABLE
with a hinged top above a frieze drawer and square
chamfered legs, 2ft. 5in. high by 2ft. 5in. wide (74cm. by
74cm.) circa 1760.

A GEORGE III BRASS-BOUND MAHOGANY HEXAGONAL
CELLARET, on tripod stand with chamfered fluted legs
joined by a platform stretcher, 2ft. 4in. high by lft.
6lMn. wide (71cm. by 47cm.) circa 1765.

A GEORGE III MAHOGANY BUREAU CABINET with a moulded blind
Chinese fret-carved cornice above a pair of ogee-moulded
glazed cupboard doors enclosing shelves, the lower part

with a Aap enclosing a fitted interior above four graduated
long drawers, on bracket feet, 7ft. 6in. high by 3ft. 9in.
wide (229cm. by 140.5cm.) circa 1770.

A GEORGE III MAHOGANY SIDE CHAIR with an
arched toprail and elaborately pierced urn-shaped splat,
the drop-in seat on square tapering legs joined by
stretchers, circa 1785.

A GEORGE III MAHOGANY SIDE CHAIR
with an arched toprail, pierced splat, stuffed seat
and square tapering legs joined by stretchers, circa 1785.

A GEORGE III MAHOGANY ARMCHAIR
with scrolling toprail and pierced splat, with
outcurved moulded arms, the stuffed seat on square chamfered legs joined by an H-stretcher,

circa 1775, arms possibly later.

A GEORGE III MAHOGANY PEMBROKE TABLE with
rectangular flaps and a frieze drawer, on square
chamfered legs and castors joined by a turned stretcher
centred by a platform, 2ft. high by 3ft. 6in. wide
(73cm. by 107cm.) circa 1775.

A GEORGE III BRASS-BOUND MAHOGANY PLATE
BUCKET, lft. 3in. high by lft. 2′/2in. wide (38cm. by 37cm.)
circa 1770, now with a tin liner.

A GEORGE III MAHOGANY SIDE CHAIR with
serpentine toprail and three reeded dowels, the drop-in
seat on square tapering legs joined by H-stretchers, circa
1780.

A GEORGE III MAHOGANY SERPENTINE-FRONTED CHEST
of four graduated long drawers, on bracket feet,
3ft. 6in. high by 3ft. 2in. wide (107cm. by 96cm.) circa 1770.

A GEORGE III MAHOGANY SIDE CHAIR with
moulded arched toprail and pierced vase-shaped splat,
the drop-in seat on square moulded legs joined by H-
stretchers, circa 1785.

A GEORGE III GILTWOOD ARMCHAIR in the Adam
style, the moulded oval back headed by a patera, the
padded arms on elegant sinuous down-swept supports,
and the padded seatrail on circular tapering fluted legs,
circa 1775.

A GEORGE III GILTWOOD ARMCHAIR with an oval
padded back within a moulded and ribbon-turned frame
with outcurved arms on downswept supports with a
serpentine seat, on square tapering legs ending in block
feet, circa 1780.

A GEORGE III MAHOGANY GAMES TABLE, the
rectangular top with a polished interior, with a drawer in
the frieze, on square tapering legs with block feet,
2ft. 5in. high by 2ft. 9′/2in. wide (74cm. by 85cm.)
circa 1780.

A GEORGE III SERPENTINE-TOPPED CARD TABLE
with a baize-lined interior and square tapering fluted
legs, 2ft. 4′/2in. high by 3ft. wide (73cm. by 95cm.)
circa 1780.

A GEORGE III MAHOGANY GENTLEMAN’S WARDROBE
with moulded dentil comice above a pair of crossbanded
cupboard doors, the lower part with two short and two long drawers, on

splayed bracket feet, 7ft. 4′/ЦР. high by 4ft.
9′/2in. wide (225cm. by 146cm.) circa 1780.

A GEORGE III SEMI-CIRCULAR MAHOGANY TEA OR GAMES TABLE,
with well figured crossbanded top and square tapering
legs, 3ft. гьО. wide (100cm.) circa 1780.

A GEORGE III GENTLEMAN’S WARDROBE with moulded
comice, a piain frieze and a pair of doors, the lower part
with one dummy and one real short drawer above two
long drawers, on bracket feet, 6ft. high by 4ft.
wide (202cm. by 131cm.) circa 1790.

A GEORGE III MAHOGANY CHEST with a hinged
top, the front with four dummy drawers above four real
short drawers, with fluted corners, on a moulded base
and scrolling bracket feet, 3ft. 8in. high by 5ft. 8in. wide
(111cm. by 173cm.) circa 1780.

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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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PARCEL-GILT SETTEE - ELMWOOD CHAIRS - MAHOGANY CARD TABLE - SECRETAIRE BOOKCASE - MAHOGANY CARD TABLE- PEMBROKE TABLE - PEMBROKE TABLE

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

PARCEL-GILT SETTEE -  ELMWOOD CHAIRS - MAHOGANY CARD TABLE - SECRETAIRE BOOKCASE - MAHOGANY CARD TABLE- PEMBROKE TABLE - PEMBROKE TABLE

A GEORGE III PARCEL-GILT SETTEE with a moulded
Serpentine toprail and padded back, outcurved padded
sides and a loose cushion, on stop-fluted square tapering
legs headed by anthemions, 5ft. 9in. wide (175cm.) circa
1780.

A SET OF six GEORGE III ELMWOOD CHAIRS, the
arched backs with pierced splats, stuffed leather-covered
drop-in seats and square legs joined by stretchers,
circa 1780.

A GEORGE III SEMI-CIRCULAR MAHOGANY CARD
TABLE, the top crossbanded in rosewood and raised on
square tapering legs with block feet, 3ft. wide (92cm.)
circa 1780.

A MAHOGANY EXTENDING DINING TABLE,
the pair of D-shaped ends on square tapering
legs with spade-shaped feet, the drop-leaf centre
section with two flaps and six matching

legs, 4ft. wide by 9ft. 8in. fully extended
(122cm. by 295cm.) ends circa 1780, centre section circa 1900.

A GEORGE III COMMODE CHEST, the front panelled
to resemble four graduated long drawers, on bracket
feet, 2ft. 4in. high by 2ft. lin. wide (71cm. by 63cm.) circa
1785.

A GEORGE III SECRETAIRE BOOKCASE in mahogany
and satinwood, the upper part with a curved fan-inlaid
cresting above a pair of doors with interlaced leafy
glazing bars enclosing adustable shelves, the projecting
lower part partly veneered in satinwood, the fitted frieze
drawer inlaid with ribbon-tied laurel swags above a pair
of doors with incurved corners enclosing adjustable
shelves, on bracket feet, 7ft. 9in. high by 3ft. 3′/2in. wide
(236cm. by 101cm.) circa 1770, later glazing bars and
cresting.

A GEORGE III MAHOGANY WINE-COOLER, the
slightly tapering body with canted corners, three brass
bands and the contemporary stand with four square
tapering legs, lft. Hin. high by Ift. 9in. wide (58cm. by
53cm.) circa 1790.

A GEORGE III MAHOGANY CORNER WASHSTAND,
the shelf with a drawer below with a jug stand stretcher,
2ft. ‘Mn. high by 2ft. lin. wide (80cm. by 63cm.) circa
1790, top replaced.

A GEORGE III MAHOGANY CARD TABLE, the
D-shaped top crossbanded in satinwood, on square
tapering legs headed by inlaid paterae, 2ft. 5′Ain. high by
3ft. wide (74cm. by 91.5cm.) circa 1790.

A GEORGE III MAHOGANY GENTLEMAN’S WARDROBE
with diamond-inlaid comice and a pair of doors each
with a sunken oval flame-figured panel crossbanded in
rosewood above three long drawers, on bracket feet,
6ft. 4′/2in. high by 3ft. Hin. wide (194cm. by 120cm.) circa
1790.

A GEORGE III MAHOGANY PEMBROKE TABLE, with
semi-circular flaps, a frieze drawer, on square tapering
legs and castors, the whole inlaid with boxwood and
ebony stringing, 2ft. 4′/2in. high by 3ft. 8in. wide (72.5cm.
by 112cm.) circa 1790.

A GEORGE III MAHOGANY TALLBOY, with two
short and three long drawers, the lower part with three
long drawers, on bracket feet, 6ft. high by 3ft. 9in. wide
(183cm. by 114cm.) circa 1790.

A PAIR OF GEORGE III MAHOGANY SEMI-CIRCULAR SIDE TABLES,
the friezes with boxwood stringing, on moulded square tapering legs, 2ft. 4V2in. high by 3ft. 6in. wide (72cm. by

107cm.) late 18th Century, restored.

A MAHOGANY PEDESTAL DESK with moulded leather-lined top,
a central drawer and four graduated long drawers in each
pedestal on a plinth base, 2ft. 8in. high by 6ft. lin. long

(81cm. by 186cm.)pedestals circa 1800.

A GEORGE III MAHOGANY SECRETAIRE, the rec-tangular
top above an inlaid panel, the secretaire drawer with
fitted interior of drawers and pigeonholes around a central cupboard,

above one long and two deep cellaret drawers, one
lined and divided for bottles, with a shaped apron
and splayed bracket feet, 3ft. 8in. high by 3ft. lin. (112cm. by 109cm.)

circa 1800, formerly with top section.

A GEORGE III PEMBROKE TABLE in faded
mahogany, with satinwood banding, the rectangular top
with rounded corners, with a drawer in the frieze and
square tapering legs, 2ft. 4in. high by 2ft. 9in. wide
(71cm. by 83cm.) circa 1780.

A MAHOGANY SECRETAIRE BOOKCASE ON STAND,
the upper part with an arched cresting flanked
by a pair of diamond and ogee glazing bars, the stand with a drawer fitted with a

baize-lined slide and raised on square tapering legs,
7ft. lin. high by 4ft. 3in. wide (216cm. by 130cm.)
upper part late 18th Century and with additions.

A GEORGE III MAHOGANY PEDESTAL CUPBOARD,
of rectangular tapering form and containing a cupboard,
2ft. 8′/2in. high by lft. 4in. wide (83cm. by 41cm.) circa 1800.

A GEORGE III MAHOGANY SIDE TABLE with a
rectangular top, a frieze drawer and square tapering legs,
2ft. 4in. high by 2ft. lVMn. wide (71cm. by 90cm.) late
18th Century.

A GEORGE III MAHOGANY DINING TABLE, the two
end sections with rounded corners on square tapering
legs, 2ft. 4in. high by 4ft. wide by 6ft. 3in. long (71.5cm. by
122cm. by 190cm.) late 18th Century, now with an extra
leaf.

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BREAKFRONT COMMODE - DUTCH MAHOGANY WRITING TABLE - DUTCH MARQUETRY PEMBROKE TABLE - JAPANNED CABINET ON GILTWOOD STAND - A MAHOGANY TALL CHEST - FRUITWOOD DINING CHAIRS

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

BREAKFRONT COMMODE - DUTCH MAHOGANY WRITING TABLE - DUTCH MARQUETRY PEMBROKE TABLE - JAPANNED CABINET ON GILTWOOD STAND - A MAHOGANY TALL CHEST - FRUITWOOD DINING CHAIRS

AN IBERIAN TRANSITIONAL BREAKFRONT COMMODE
in quarter-veneered tulipwood with kingwood and tulipwood
bandings with three frieze drawers above two long drawers veneered sans travers with three rectangular panels, the shaped apron
inlaid with crossed boughs, on incurved legs, 2ft.
high by 4ft. 4in. wide (89cm. by 132cm.) circa 1780, originally with marble top.

A SMALL DUTCH MAHOGANY WRITING TABLE with
well-figured moulded top and the frieze drawer fitted
with pen compartments and with bottles and with a
hinged leather-lined flap and with square tapering fluted
legs with castors, 2ft. 5in. high by lft. lOin. wide (75cm. by
56cm.) circa 1785.

A DUTCH MARQUETRY SIDE TABLE with semi-circular top,
two hinged drawers in the frieze and square tapering legs,
2ft. 5′/2in. high by 2ft. 7in. wide (75cm. by 79cm.) late 18th Century, inlaid with floral marquetry on a mahogany
ground within fruitwood borders.

A DUTCH MARQUETRY PEMBROKE TABLE, the rec-
tangular top with two flaps and inlaid with shell paterae
within geometrie bands, raised on square tapering legs
inlaid to simulate fluting, 2ft. 5in. high by 3ft. 8in. wide
(73.5cm. by 112cm.) late 18th Century.

A PAIR OF FRENCH BEECHWOOD RAFRAICHISSOIRS
with bowed fronts and shaped sides, each with an inset
dark grey marble top and ornamental liner, raised on
cabriole legs, 2ft. 2′/2in. high by lft. 6lhin. wide (67cm. by
47cm.) marbles modem.

A LOUIS XVI PROVINCIAL OAK CUPBOARD,
with cavetto moulded comice above a shaped panelled door
and with panelled sides, 6ft. high by 3ft. 9in. wide (206cm. by 114.5cm.) circa 1780, comice later.

A JAPANNED CABINET ON GILTWOOD STAND, the
cabinet with a pair of doors enclosing an arrangement of
eleven drawers, the exterior and interior decorated with
chinoiserie buildings and birds in the manner of Stalker
and Parker in s’hades of gilt on black, the stand with
rectangular foliate paterae divided by panels of triglyphs
and centred by a female mask, raised on square tapering
legs, the panels inset with leaves on a punched ground,
5ft. 7′/2in. high overall by 3ft. 4in. wide (172cm. by 102cm.)
cabinet early 18th Century, possibly Dutch, interior and
decoration restored, stand late 18th Century, Italian.

A DUTCH MARQUETRY WASHSTAND, with hinged
divided top, two drawers in the frieze and two shelves
below, on rectangular supports, inlaid with floral
marquetry on a mahogany ground, 3ft. high by lft. 8in.
wide (91cm. by 51cm.) circa 1800.

A DIRECTOIRE MAHOGANY TABLE EN CHIFFONIERE
with galleried grey veined white marble top,
the front with a slide above a dummy drawer above
two drawers and with a drawer fitted for writing implements on the right,
on circular tapering legs, 2ft. 3in. high by
lft. 7in. wide (69cm. by 48cm.) circa 1785, sabots missing.

A DUTCH MAHOGANY ARMCHAIR with rectangular
three-stick splat back, padded arms and square tapering
legs inlaid with stringing, circa 1780, upholstered in modem needlework.

A MAHOGANY TALL CHEST
of seven drawers with fruitwood stringing and
plinth base, 5ft. 5′Ain. high by 2ft. 5in. wide
(166cm. by 73.5cm.) late 18th Century, German or Du.

A PAIR OF Louis XVI SIDE CHAIRS, the rec-
tangular padded backs within ribbon-carved frames, the
stuffed seats with carved seatrails and fluted turned legs,
circa 1780.

A PAIR OF LOUIS XVI ORMOLU-MOUNTED BLUE
GLASS VASES, each containing a gilt-bronze lily spray,
with spirally fluted socles, square bases and bun feet,
15in. high (38cm.) late 18th Century.

A PAINTED BED FRAME, the headboard with a
central rectangular panel flanked by a pair of finials, the
endboard with serpentine top and front and outlined
with a band of leaves and with simple side pieces, on
short cabriole legs painted throughout with rococo
panels of flowers on a pale blue ground with wine
background, the endboard with a large panel naively
painted with flowers, 5ft. 5in. high by 4ft. 2′/2in. wide by
6ft. 7in. long (165cm. by 129cm. by 208cm.) late 18th
Century, North Italian/Austrian.

A BRASS-MOUNTED MAHOGANY SMALL SIDE CABINET
with a drawer above a pair of doors outlined with simple
brass mouldings, on short square tapering legs,
2ft. 6′/2in. high by 2ft. 2′/2m. wide (77cm. by 67cm.) circa
1780, Russian or German, the back stamped with the
initiais HGK.

AN OVAL BURR-ELM TABLE, with a frieze drawer
and square tapering slightly splayed legs, 2ft. 7in. high by
2ft. lin. wide (79cm. by 63.5cm.) circa 1800, German
or Austrian.

A DUTCH MARQUETRY SEMI-CIRCULAR GAMES
TABLE inlaid with birds and flowers on mahogany, the
hinged top with a polished interior inlaid with a
chessboard, the frieze with a pair of hinged drawers,
raised on four square tapering legs, 2ft. Thin. wide
(80cm.) circa 1780.

A SINO-EUROPEAN ELMWOOD TRAY with rec-
tangular everted rim and carved with foliate roundel,
spandrels and meander border, 2ft. ?’hin. wide (77cm.)
early 19th Century.

A LOUIS XVI FOOT STOOL
with padded rec-tangular seat, the frieze carved
with guilloche and lotus and dart motifs, on turned
fluted legs, circa 1780.

A SET OF TEN FRUITWOOD DINING CHAIRS with
curved toprails and lyre-shaped pierced backs carved
with flowerheads with drop-in seats, on square tapering
legs joined by H-stretchers, circa 1785, North Italian
or Portuguese, restored.

A SET OF THREE PAINTED CHAIRS, each fluted frame
with an oval back with detachable pad, the drop-in
serpentine fronted seat raised on four circular tapering
fluted legs with leaf-carved collars headed by paterae,
circa 1780, German of Scandinavian, now painted silver
and ivory.

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MAHOGANY TALLBOY - SIDE CHAIRS - BOW-FRONTED MAHOGANY SIDEBOARD - PEMBROKE TABLE - BEDSIDE COMMODE - DROP-LEAF TABLE

Posted by admin on December 17th, 2009 under 18th Century BuffetsTags: , , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

MAHOGANY TALLBOY - SIDE CHAIRS - BOW-FRONTED MAHOGANY SIDEBOARD - PEMBROKE TABLE - BEDSIDE COMMODE - DROP-LEAF TABLE

A PAIR OF GEORGE III MAHOGANY SIDE CHAIRS
with pierced splayed splats, drop-in seats on square
moulded legs joined by H-stretchers, circa 1770.

AN EARLY GEORGE III MAHOGANY LIBRARY ARM-CHAIR,
with stuffed serpentine front and back, the stuffed
arms on fluted down-curved supports and with square
legs, circa 1765, some stretchers replaced.

A GEORGE III MAHOGANY ARMCHAIR, in the French
style, the moulded frame with padded cartouche-shaped
back, the padded arms on inswept supports and the
padded serpentine seat on moulded cabriole legs, circa
1770.

AN EARLY GEORGE III MAHOGANY ARMCHAIR
with pierced splat, moulded arm supports, stuffed
seat and square tapering legs joined by stretchers,
circa 1770.

A GEORGE III BOW-FRONTED MAHOGANY SIDEBOARD,
with a drawer above an arch, a deep drawer on the right
and a cupboard on the left, the four square tapering legs
with spade feet, 4ft. oVzin. zvide (135cm.) circa 1790,
handles replaced.

A GEORGE III MAHOGANY ARMCHAIR, the arched
toprail with pierced vase-shaped splat, down-curved arm
supports, drop-in seat on square tapering legs joined by
H-stretchers, circa 1780.

A GEORGE III SERPENTINE MAHOGANY SIDEBOARD
with three drawers outlined with mouldings with in-
curved corners, the central one above a serpentine arch,
on square tapering legs with spade feet, 5ft. V2in. zvide
(153cm.) circa 1790.

AN EARLY GEORGE III MAHOGANY BUREAU,
the Aap enclosing a fitted interior,
with one long, two short and two further long drawers,
on bracket feet, 3ft. 7in. high by 3ft. 3in. wide (110cm. by 99cm.)
circa 1770.

A GEORGE III MAHOGANY D-ENDED DINING TABLE
with two extra leaves, on square tapering legs ending in
brass castors, inlaid throughout with boxwood and ebony
stringing, 2ft. 5in. high by 7ft. 2in. long (74cm. by 218cm.)
circa 1790.

A GEORGE III MAHOGANY TALLBOY
with Greek key comice and two short and three
long drawers with fluted canted corners, the lower
part with a brushing slide and three long drawers,
on bracket feet, 6ft. 4in. high by 3ft. 8in. wide (193cm. by 112cm.)
circa 1770.

A GEORGE III OVAL MAHOGANY PEMBROKE TABLE,
the moulded top above a single frieze drawer, on square
tapering legs with brass caps, 2ft. 2V2in. high by 3ft. 4in.
wide (67cm. by 102cm.) circa 1790.

A GEORGE III MAHOGANY BEDSIDE COMMODE, the
tambour-fronted cupboard above a sliding pot drawer,
on chamfered square legs, 2ft. 6V2in. high by lft. 8in. wide
(78cm. by 51cm.) circa 1770.

A GEORGE III MAHOGANY PEDESTAL with a square
moulded top above a single door divided and set with a
recessed lozenge above an inlaid lozenge, on square
tapered feet, 3ft. 4in. high by lft. 8V2in. wide (101cm. by
52cm.) circa 1795, interior refitted.

A GEORGE III SEMI-CIRCULAR MAHOGANY SIDE
TABLE, the top crossbanded and raised on square taper-
ing legs, 2ft. wide (88cm.) circa 1775, later inlaid
medallion.

A GEORGE III MAHOGANY WASHSTAND, in the form
of a small semi-circular commode, the hinged top opening
to reveal a fitted interior and a leather hinged shelf, the
front containing a cupboard and a drawer, on square
tapering legs, 2ft. 83Ain. by 2ft. 2′/2in. wide (83.5cm. by
67cm.) late 18th Century.

A GEORGE III MAHOGANY DROP-LEAF TABLE with
an oval top, a drawer in the frieze and square tapering
legs, 2ft. 5in. high by 4ft. I0lhin. wide open (74cm. by
148cm.) circa 1780.

A GEORGE III PAINTED SIDE CHAIR, with a wheel-
shaped back, stuffed seat on tapering slightly splayed
front legs, circa 1780, now red-japanned.

A GEORGE III MAHOGANY BOW-FRONTED CORNER
WASHSTAND, pierced with three apertures, one stretcher
fitted with a drawer and square legs with T-shaped lower
stretcher, 2ft. 8in. high by 2ft. ‘hin. wide (83cm. by 62cm.)
circa 1780.

A GEORGE III MAHOGANY CHAIR, the panelled
curved toprail with rounded ends and a pair of curved
crossbars, the stuffed seat on square tapering legs with
spade feet, circa 1790.

A GEORGE III MAHOGANY SECRETAIRE BOOKCASE,
with a moulded dentil comice above a piain frieze with
two glazed ogee mullioned doors above a secretaire
drawer with a fitted interior and three graduated long
drawers, on bracket feet, the whole inlaid with satin-
wood crossbanding, 7ft. 3V2in. high by 3ft. 7V2in. wide
(218cm. by 110.5cm.) circa 1790.

A GEORGE III MAHOGANY GENTLEMAN’S WARDROBE,
with an arched cornice above a pair of doors, the lower
part with two short and three long drawers with a shaped
apron, on splayed bracket feet, 7ft. 2in. high by 4ft.
wide (219cm. by 123cm.)

A GEORGE III MAHOGANY ARMCHAIR with panelled
toprail, the reeded arms on baluster supports, the stuffed
drop-in seat on turned front legs joined by stretchers,
circa 1800.

A LATE GEORGE III MAHOGANY BREAKFRONT LIBRARY
BOOKCASE, the centre section with a pair of doors with
lancet glazing bars flanked by a pair of single doors and
each end with a pair of doors, the flush lower parts
with piain panelled doors each outlined with brass
strip moulding, on splayed bracket feet, 8ft. l’hin. high
by 15ft. lim wide (263cm. by 460cm.).

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ORMOLU BIRD CAGE - BRASS-INLAID EBONISED VITRINES - ORMOLU BRACKET CLOCK - ANTIQUE COMPANION COMMODE - KING WOOD SERPENTINE COMMODE

Posted by admin on December 12th, 2009 under CommodesTags: , , , , , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

ORMOLU BIRD CAGE - BRASS-INLAID EBONISED VITRINES - ORMOLU BRACKET CLOCK - ANTIQUE COMPANION COMMODE - KING WOOD SERPENTINE COMMODE

A LATE Louis XVI MAHOGANY BUREAU-PLAT stamped G. Beneman and dated 1790,the
top inset with a leather panel and with three drawers in the frieze and a slide at each end.
Guillaume Beneman was received Master in 1785.

AN ORMOLU BIRD CAGE, of Louis xv style.

A Louis XIV MARQUETRY CASKET, the exterior decorated with flowers and birds, pardy in stained ivory, on an ebony ground.

AN ORMOLU-MOUNTED CASKET, of Louis xiv style, lined in walnut.

A BOULLE ENCRIER containing six wells, four with lids, the dished centre part inlaid with the coat of arms of the College of Surgeons, Paris, and the border with a continuous inscription and the date 1710.

SIMILAR INK-STANDS are in the Wallace Collection,  and in the Collection of the Marquess of BATH at Longleat House. The Wallace Collection encrier was reputedly made by Andre-Charles Boulle for the College of Surgeons, Paris

A LOUIS XIV WRITING TABLE, inlaid with berainesque design, the frontwith four drawen flanking a recessed cupboard.
A very similar table it in the Jones Collection, Victoria and Albert Musa 1014-1882. Instead of the two drawers at each side of the recessed cupboard,the Jones Collection piece has two further cupboards.

A PAIR OF BRASS-INLAID EBONISED VITRINES, each of tall rectangular form, with a large glazed door inlaid below with cut-brass floral arabesques and enclosing glass shelves, with mirrored BACK AND SIDES.

An unusual Pair of ORMOLU-MOUNTED BOULLE   CORNER GUERIDONS ,
each with quadrant-shaped top, containing A drawer ON splayed legs, INLAID with brass on a brown  tortoiseshell ground,
An almost identical PAIR of boulle GUERIDONS are in the Albert Museum, London.

A PAIR Of ORMOLU-MOUNTED PREMIERE AND CONTRE-PARTIE BOUILLE TORCHERES OF
Louis XIV style
, inlaid in brass and pewter on a scarlet tortoiseshell ground.

A PAIR OF ORMOLU-MOUNTED PREMIERE AND CONTRE-PARTIE BOULLE SIDE TABLES of Louis xiv style, each with a griotte marble top, inlaid in brass on a tortoiseshell ground and with six legs.
Les Ebenistes du XVIIIe Siecle Francais, reproduces the original design by Andre-Charles Boulle in the Musee des Arts Decoratifs.

A Louis XIV BOULLE ARMOIRE, with two doors and inlaid with pewter, mother-of- pearl and polychrome tortoiseshell,

AN ORMOLU-MOUNTED BOULLE TABLE STAND, inlaid in brass on a scarlet tortoiseshell ground, with a drawer in the frieze and a grey marble top.

A LATE Louis XIV  COMMODE in contre-partie boulle, inlaid in tortoises hell and brass, the bowed front with three drawers.

A Louis XVI ORMOLU-MOUNTED MAHOGANY CONSOLE Desserte in the manner of
Claude-Charles Saunier with a carrara marble top and a drawer in the frieze.
A very similar console desserte, attributed to Claude-Charles Saunier, was sold from the collection of George Blumenthal at the Galerie George Petit, Paris
Claude-Charles Saunier (1735-1807) was received Master in 1752.

A Louis XVI LOUIS XVI TRANSITIONAL ORMOLU-MOUNTED TULIPWOOD COMMODE, in the manner of P. A. Foullet, containing two drawers in the frieze and two further drawers below,
A commode with a similar arrangement of mounts and stamped P. A. Foullet is illustrated
by Salverte, Les Ebenistes du XVllle Siecle
Pierre-Antoine Foullet was received Master in 1765.

A Louis XIV ORMOLU-MOUNTED BOULLE COMMODE, the double bowed front with four drawers, decorated with berainesque designs in engraved brass and scarlet tortoishell.

A Louis XV ORMOLU BRACKET CLOCK, the white enamel dial signed Gudin A Paris, the similarly signed movement with outside numbered count wheel, in a waisted rococo case in the manner of Charles Cressent, chased with shellwork, flowers and leaves and centred by a female mask, stamped with the crowned C poincon.
Probably by Jacques-Jerome Gudin the elder, received Master in 1750.
A very similar Clock, still with its bracket, at the Chateau de Versailles is identified with the one delivered in 1745 for the new apartments prepared for the future Dauphine, Marie-Therese Raphaelle d’Espagne, later moved to the Chambre de la Reine, where it was still to be found in 1792.
These cases are attributed to the workshop of Cressent because of their similarity to a detailed description in an inventory of his workshops drawn up in 1773. They are discussed in La Revue du Loutre et des Musees de France, in an article by G. Kuraszewski, ‘Objets Retrouves : Pendules et Barometres Royaux’, and also by Mr. T. Dell in the Burlington Magazine, April, 1967.

A SET OF FOUR ROCOCO ORMOLU WALL LIGHTS, each with three branches.

A MAHOGANY ETAGERE of Louis xvi style, with two graduated circular tiers and gilt-metal mounts.

A CIRCULAR PARQUETRY TABLE, the frieze with a drawer, with galleried undertier.

A FINE Louis XV ORMOLU-MOUNTED KING WOOD SERPENTINE COMMODE, stamped Hansen J. M.E. and bearing the trade label of Darnault, with a drawer flanked by cupboards and a serpentine green and white marble top.
Hubert Hansen was received Master in 1747.

THE COMPANION COMMODE, but of later date, with a moulded red marble top.

A MAHOGANY CONSOLE DESSERTE, of Louis XVI style, with a white marble top and a drawer in the frieze.

A Louis XV KINGWOOD AND TULIPWOOD PAKQUSIKY Boite  А ТОILETТЕ, the interior with
FOUR stoppered flasks, a FUNNEL, a dish and a cup.
The SILVER MARKED with THE PARIS DISCHARGE MARK.

Two PAIRS OF LOUIS XVI SILK-EMBROIDERED CURTAINS, but w the bouquets in the centre.

AN ORMOLU AND CUT-GLASS CHANDELIER, with six branches and two concentric tiers of drops,
Mentmore, A PAIR OF BRONZE AND ORMOLU CANDLESTICKS supported by three swans.

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BOULLE BRACKET CLOCK - LEATHER TRAVELLING TRUNK - BRASS CANDELABRA - BOULLE CABINETS - ANTIQUE JARDINIERE

Posted by admin on December 12th, 2009 under Antique ClocksTags: , , , , , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

BOULLE BRACKET CLOCK - LEATHER TRAVELLING TRUNK - BRASS CANDELABRA - BOULLE CABINETS - ANTIQUE JARDINIERE

A FINE Louis XV LEATHER TRAVELLING TRUNK.
attributed to Pierre Vente, the domed top with the Arms of the Mesdames and lifting to reveal a blue silk-lined interior, the lower part of the front falling to reveal three long drawers all lined in blue watered silk, the whole of the exterior covered in gilt-tooled red leather and with brass carrying handles at the sides, on a gilt table stand with cabriole legs carved with leaves and flowers,19th Century.
A trunk of very similar form and made for Marie-Antoinette was exhibited: Marie-Antoinette, Archiduchesse, Dauphine et Reine, Versailles.

A Louis XVI ORMOLU-MOUNTED MAHOGANY CONSOLE-DESSERTE
stamped C.C. Saunier the frieze with a central drawer flanked by hinged bowed drawers,
Claude-Charles Saunier (1735-1807) was received Master in 1752.

A PAIR OF ORMOLU CHENETS of Louis XV STYLE.

A FINE AND LARGE REGENCE ORMOLU-MOUNTED BOULLE BRACKET CLOCK. The 10-inch
matted and repousse dial with black cnamcl numerals, thc movement with outside count wheel, the backplate signed Jouard A Paris; surmounted by a figure of Vktory above an oval dorne with latticed boulle panels, the four-horsed chariot of the sun below and scrolled feet headed by winged female busts, the sides and interior of the back door inlaid with formal scrollwork in brass and pewter; on a concave-sided base with a central satyr mask, grotesque heads at the corners and acanthus feet.
Louis Jouard was reeeived Master in 1724.

A VERY FINE Louis XVI ORMOLU, ENAMEL AND MARBLE MANTEL CLOCK. The 5-inch dial with an enamel chapter ring incorporating a calendar dial, delicately pierced hands, visible minute work and age and phase of the moon dial above signed Coteau Invt Fecit; the movement with circular plates, outside count wheel and anchor pin-wheel escapement, surmounted by an eagle and with acanthus and grapes framing the dial, with deep blue and turquoise enamel below and a breakfront marble base faced with ormolu flowerheads and enamel plaques. The enamel work of the highest quality throughout; the dial with delicate gilt leaves, the moon dial with heart’s ease, gilt stars surrounding the image of the moon, also with a later miniature below framed in pastes and flanked by shaped panels of heart’s ease above figures of Drawing and Astronomy on a turquoise ground, the base with a cherub and two doves framed in pearls and flanked by green and silver leaf scrolls, the ormolu incorporating a finely chased trophy with a quiver minutely engraved si vis videbis. formerly with another, dial possibly months of theyear, in place of the miniature.
Joseph Coteau was the most renowned enameller during the reign of Louis xvi There is a similar clock by Coteau in the Musee des Arts Decoratifs, Lyons.

A Louis XVI SEVRES PORCELAIN AND ORMOLU MANTEL CLOCK
with an enamel dial signed Maniere A Paris, the signed movement with later balance, the columnar case painted in light and dark blue with gilt husks and chains of flowers in the flutes, on a laurel-bound base and rectangular plinth mounted with four panels of flowers in light blue borders, formerly with a cresting.
Possibly by Charles Guillaume Maniere, Master from 1778 to 1810.

A PAIR OF ROCK-CRYSTAL AND BRASS CANDELABRA, each with four candie-branches hung with faceted drops, partly hung with 18th Century rock-crystal.

A GILWOOD CHILD’S FAUTEUIL, in Louis xv style
and the motto Deplus Haut Sailly, cane seat, on cabriole legs.

A PAIR OF ORMOLU-MOUNTED BOULLE CABINETS,  each with two doors inlaid with strapwork  and arabesques in brass on a tortoiseshell and ebony  ground with central female groun mask mounts.

A NAPOLEON III CIRCULAR GILTWOOD ROPE STOOL, in the manner of Fournier.
Madeleine Jarry and Pierre Devinoy, Le Siege Francais, illustrates one of a set of identical stools in the Chateau de Compiegne and another is illustrated in Hayward,
A. M. E. Fournier is recorded working under the Second Empire.

A SUITE OF THREE Louis xvi FAUTEUILS stamped Delaisement the rectangular backs and seats covered in contemporary Beauvais tapestry with chinoiserie figures.
Nicolas-Denis Delaisement was received Master in 1776.

AN EARLY LOUIS XVI PROVINCIAL WALNUT PANETIERE with a railed body,the door, cresting and apron carved with flowers.

A Pair of Louis xv carved giltwood Console Tables probably designed by Contant d’Ivry and possibly made by N. Q. Foliot, with serpentine breche-violette marble tops on scrolled cabriole legs, the stretchers supporting baskets of flowers.
A Eriksen, Early Neo-Classicism in France , illustrates a very similar pair of tables, supplied circa 1755 for the Salon in Count J. H. E. Bernstorff `s house in Copenhagen. The fire-place supplied from France for the same room was to a design by Contant d?Ivry, a copy of one he had designed for the Palais Royal. Contant d’Ivry also designed mirrors and console tables for the Palais Royal very similar to those in Count Bernstoff?s house and the above pair.

THURET A LATE LOUIS xiv TETE DE POUPEE QUARTER-STRIKING ORMOLU-MOUNTED BOULLE BRACKET CLOCK, the 9-inch dial and three train movement signed Thuret A Paris, the case with a cherub cresting and figure of Time holding a pair of scales below the dial, the front and sides inlaid on a brown shell ground with flowerheads and leaf scrolls, on a rectangular base with boldly modelled acanthus scroll apron and similar feet,
Bought by Baron Mayer de Rothschild.
Probably by Jacques-Augustin Thuret (son of Isaac), who was Clockmaker to the King in 1694.

ANOTHER SIMILAR WRITING-CASE with the ROYAL Armsand.

ANOTHER SIMILAR WRITING-CASE, also stamped Garnesson au Palais Royal, and with a label: Mr. Houssin Ingenieur en chef.

A Louis xv gilt-tooled leather Writing-Case with a hinged lower section and  applied leather label: Mr. Frisefielt Receveur General du Grand Cathedrale de Strasbourg 1766.

A Louis XV ROYAL GILT-TOOLED RED MOROCCO LEATHER SMALL TRUNK, the top and front with the Arms of Queen Marie Leszcyznska and with the cypher M beneath an enclosed crown, the intcrior lined with blue watered silk.

A Louis XV ROYAL GILT-TOOLED RED MOROCCO LEATHER SMALL TRUNK by Pierre Vente, the top with the Arms of the Mesdames and lined in red watered silk,
A similar coffer, also made for one of the daughters of Louis xv and now in the Musee de Cluny, was exhibited at the Hotel de la Monnaie, Paris, 1974, Louis XV, Francais,. Other examples by Vent Louvre, the Musee Carnavalet and the Metronolitan Museum.
The archives of the Menus Plaisirs  show that almost every year the Mesdames ordered at least one and sometimes several morocco leather coffers which when they were considered  too shabby, were passed on to members of their suite - see Pierre Verlet, Recherche sur quelques coffres  en usage a la cour de France a propos des deux coffres du Musee du Lisbonne  Joao Couto, in memoriam, Lisbon 1971
Pierre Vente (born 1722) became book-binder to the Menus Plaisirs du Roi in 1753,having  previously been under the protection of the Marechal de Richelieu. He was still recorded working as late as 1792.

AN ORMOLU-MOUNTED SEVRES PORCELAIN AND JAPANESE LACQUER ENCRIER, THE SHAPED
base with thrcc lidded pots and an ormolu tree supporting two candle-branches.

A Louis XVI BOIS DE CITRON PARQUETRY TABLE, stamped rvlcjme, vencered a  quatre faces with interlocking green flowerhead trellis and with an interlaced ORMOLU FRIEZE, square tapering legs headed by ormolu patera, containing two drawers.
Roger Vandercruse (1728-1799), called Lacroix, was received Master in 1755.

AN ORMOLU-MOUNTED PARQUETRY TABLE, the circular top with two frieze DRAWERS  and two candie slides, on fluted legs, inlaid with purpleheart and fruitwood on a satinwood ground.

A Louis XVI ORMOLU-MOUNTED mahogany Stand the manner of A. Waeisweiler, with an inset white marble top, the frieze with a fallfront  drawer and with later  female mask corner  mounts.
Les Ehernstes da XVIIle Sieele Francais figures 1 and 2  illustrates  two cabinets attributed to Weisweiler, one in  the Metropolitan Museum and the other in the J. Paul Getty Museum, Malibu, both with stands similar to the present example.
Adam was received Master in 1778.

An ORMOLU-MOUNTED mahogany JARDINIERE of Directoire style, the rectangular container on square tapering legs, with  a  metal liner Watson, Louis XVI Furmture, illustrates a similar secretaire attributed to Henri Riesener in the Victoria and Albert Museum. In his note to the illustration the author mentions the commode and companio secretaire from Mentmore. He writes: An identical secretaire en suite with a chest of drawers was in the WATSON Taylor sale, This sale was outstandingly rich IN furniture etc., from the French royal collections and the catalogue describes both pieces as HAVING come from the Palace of Compiegne; they are now in an English private collection. In discussing the Victoria and Albert Secretaire he goes on to say : The high quality of the mounts outside and in the interior and the carefully chosen mirror-veneers of mahogany suggest THAT THIS, too, may be a royal piece. It is unstamped but must date from the very end of Louis XVI REIGN. Certain constructional details of the present secretaire, e.g., the fact that the interior FITTINGS cannot be withdrawn as a unit from the back, suggest that it was not made by J. H. RIESENER (maitre 1768) although it resembles his late  works. It could perhaps be by E. Levasseur (MAITRE 1787) who also worked in a similar style.

A Louis XVI ORMOLU-MOUNTED BLACK AND WHITE MARBLE MANTEL CLOCK, the enamel dial signed Ame. Martin a Paris and with day of the week and day of the month hands, the case decorated with cockerels and urns of flowers, on a serpentine-fronted base.

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KINGWOOD AND FLORAL-MARQUETRY TABLE DE NUIT - KIDNEY-SHAPED TABLE - SIENA MARBLE MANTEL CLOCK - MOUNTED OVAL CENTRE TABLE - MARQUETRY BOMBE COMMODE - INLAID SIDE CABINET

Posted by admin on December 9th, 2009 under Antique TablesTags: , , , , , , , , , , , , , , , , , , , , , ,  • No Comments

KINGWOOD AND FLORAL-MARQUETRY TABLE DE NUIT - KIDNEY-SHAPED TABLE - SIENA MARBLE MANTEL CLOCK - MOUNTED OVAL CENTRE TABLE - MARQUETRY BOMBE COMMODE - INLAID SIDE CABINET

A FRENCH GILT-METAL MOUNTED KINGWOOD AND FLORAL-MARQUETRY TABLE DE NUIT, 19th Century.
The serpentine top inlaid with hounds hunting a deer, with a frieze drawer to one end, on cabriole legs joined by an undertier, on gilt sabots, the underside of the drawer and rail inscribed.

A GILT-METAL MOUNTED KINGWOOD AND FLORAL MARQUETRY TABLE DE NUIT, 19th century.
The serpentine top inlaid with trailing foliage with three frieze drawers, on cabriole legs trailing to gilt sabots,some loss of veneer 17in.

A FRENCH KINGWOOD GILT-METAL MOUNTED AND KIDNEY-SHAPED TABLE, late 19th century.
The rouge mottled marble top with a three-quarter brass gallery with a frieze drawer, on cabriole legs joined by an undertier, on gilt sabots.

AN EDWARDIAN ROSEWOOD CROSSBANDED AND MARQUETRY DWARF SIDE CABINET.
Of undulating D-shaped outline, the top with a ribbon-tied paterae-decorated edge, the frieze with oval and triangular medallions and hung with husk swags and fitted with drawer, enclosed by a pair of oval panel urn-decorated panel doors below, between similarly decorated sides, on angled Square tapered legs.

A PAIR OF BRONZE MODELS OF RECUMBENT SPHINXES, 20th Century.
On rectangular yellow scagliola plinths with stiff leaf cast galleries.

AN EMPIRE ORMOLU MANTEL CLOCK.
The case modelled in the form of a chariot, surmounted by the figure of Minerva drawn by two lively steeds, the circular white enamel Roman chapter ring signed Baufse au Merid, Boul’d d’Autin,. with later twin going barrel movement with countwheel strike (bell lacking), the rectangular plinth supported by fasces to the angles, the frieze applied with classical figures and flanked by wreath and sword motifs.

LOUIS PHILIPPE BRONZE AND SIENA MARBLE MANTEL CLOCK.
With later silvered Roman dial, the case surmounted by the figure of a classically draped maiden, wearing a floral garland, her head cast upwards, the stepped rectangular plinth with multiple stiff-leaf cast gallery, on scroll feet, the twin train movement with silk suspension and countwheel strike on a bell, with pendulum and key.

A PAIR OF FRENCH GILT BRONZE URNS, 19th Centliry.
Of campana-shape with egg and dart, and beaded rims and acanthus wrapped gadrooned lower bodies, each with twin handles terminating in lion masks, on fluted socles, the square stepped plinths with lotus leaf cast galleries and torchere mounts.

A BURR-WALNUT AND GILT-METAL MOUNTED OVAL CENTRE TABLE.
With a marble top and paterae-decorated frieze, on foliate-headed columnar supports joined by a platform, on mahogany turned feet, bearing a stencil mark.

A SET OF FOUR CREAM-PAINTED FAUTEUILS.
Each tapered padded back with a ribbon-tied foliate cresting,with shutter-decorated padded scroll arms and bowed seat,on turned tapered legs.

AN ITALIAN WALNUT DRUM TABLE, 19th century.
The segmentally-veneered top centred by a star, the frieze fitted with four drawers, on a  chamfered triangular section column, trefoil platform and ring-turned feet.

A FRENCH MAHOGANY AND GILT-BRASS MOUNTED LADY’s CYLINDER DISPLAY CABINET.
Inlaid with brass lines and fluting, the superstructure centred by an arched mirror plate flanked by an enclosed glazed compartment to either side with a drawer below, the fall enclosing a fitted interior with cushion drawers and a tooled leather-lined sliding writing surface, fitted with a frieze drawer, on turned tapering legs terminating in sabots .

A NAPOLEON III MAHOGANY AND GILT-BRASS DISPLAY CABINET.
With concave sides, the recessed upper part with a gallery and enclosed by a glazed arched panel door between chandelle decorated sides, on similar columns, the lower part with a marble top and fitted with a frieze drawer with an  enclosing panel door below, on toupie feet.

A CARVED IVORY FIGURE PERSONIFYING AUTUMN, possibly German, 19th century.
Shown holding a sheath of corn and a scythe, restored.
On an associated ebonised plinth with ivory inlay and pilasters, the cylindrical column with hexagonal base and platform.

A PAIR OF FRENCH CARVED IVORY IVORY FIGURES OF LOUIS XVI AND MARIE ANTOINETTE, late 19th century.
He with one hand to his breast and she holding a handkerchief and a fan.On square section ebonised plinths mounted with oval plaques inscribed with their names.

A GILTWOOD CENTRE TABLE, EARLY 20TH CENTURY.
In the Regence style, with an alabaster top and stylised eadrooned edge, the paterae decorated frieze centred by a cartouche with pierced acanthus scrolls, on scroll and husk-decorated square tapered legs, joined by shaped acanthus scroll cross stretchers centred by lions masks, on tapered feet.

A FRENCH KINGWOOD, MARQUETRY AND GILT-METAL MOUNTED BOMBE COMMODE.
With a marble top, enclosed by a panel door with end-cut marquetry with an interlaced foliate spray, with similarly decorated sides, on outswept feet headed with cabochon and scroll decoration trailing to paw feet.

A FRENCH TULIPWOOD, ROSEWOOD-BANDED AND MARQUETRY BOMBE COMMODE.
With a marble top, fitted with two drawers decorated sans traverse with floral sprays, with similarly-decorated quarter-veneered sides between cabochon foliate-decorated angles trailing to sabots.

A GILTWOOD CENTRE TABLE, EARLY 20TH CENTURY.
In the Regence style, with an alabaster top and stylised eadrooned edge, the paterae decorated frieze centred by a cartouche with pierced acanthus scrolls, on scroll and husk-
decorated square tapered legs, joined by shaped acanthusm scroll cross stretchers centred by lions masks, on tapered feet.

A FRENCH KINGWOOD, MARQUETRY AND GILT-METAL MOUNTED BOMBE COMMODE.
With a marble top, enclosed by a panel door with end-cut marquetry with an interlaced foliate spray, with similarly decorated sides, on outswept feet headed with cabochon and scroll decoration trailing to paw feet.

A FRENCH TULIPWOOD, ROSEWOOD-BANDED AND MARQUETRY BOMBE COMMODE.
With a marble top, fitted with two drawers decorated sans traverse with floral sprays, with similarly-decorated quarter-veneered sides between cabochon foliate-decorated angles trailing to sabots.

AN EDWARDIAN SATINWOOD AND DECORATED OVAL WORK TABLE.
Painted with scrolling floral and foliate stems, with a hinged top and pleated bag below, on square tapered gaitered legs joined by shaped cross stretchers.

SATINWOOD AND MARQUETRY WORKBOX-ON-STAND, 19th Century.
Decorated with oak leaves and acorn and husk swags supported from ribbon bows and paterae, the domed hinged top centred by an oval with a mythological figure, with a frieze drawer, the stand with a simulated fluted frieze, on square tapered legs with spade feet.

A PAIR OF EDWARDIAN  SATINWOOD AND DECORATED CABINETS.
Each painted with floral swags and sprays with urns and trailing husks, the superstructure enclosed by a pair of glazed panel doors with cherubs below, on square tapered legs.

A SATINWOOD AND DECORATED BOWFRONT CORNER CABINET
mid 19th century.
The top decorated with a ribbon-tied floral spray within a ribbon-bound border, fitted with a frieze drawer and enclosed by a pair of panel doors below painted en grisaille with classical figures between vine-decorated stiles, on square tapered legs.

A PAIR OF AMETHYST TINTED CUT-GLASS. COVERED VASES, late 19th Century  .
Of polygonal spherical outline with spire finials, on spreading socles with hexagonal basses.

A PAIR OF EMPIRE STYLE BLEU DE ROI PORCELAIN AND GILT METAL MOUNTED TABLE LAMPS, late
19th/early 20th century and later.
The slender inverted baluster-shaped bodies with twin swan-neck handles, and applied bands of laurel pendants and swags below motifs  modeled  with swans drinking from fountains.

A FRENCH EBONISED AND GILT-METAL MOUNTED MEUBLE D’APUI, late 19th century.
With projecting angles, the top with a frieze with war trophies and acanthus scrolls, enclosed by a pair of panel doors inlaid with designs of foliate sprays between key-decorated angles, on a shaped plinth base, some mounts possibly of a later date.

A FRENCH EBONISED AND BRASS-MOUNTED CENTRE TABLE, late 19th century.
The top centred by an acanthus spray within a cartouce bordered with acanthus entwined scrolls, with a strung and lentil edge, the frieze similarly inlaid and fitted with two drawers, on spring locks, on chandelle-decorated fluted turned tapered legs joined by stretchers centred by an urn terminating in tapered feet.

A FRENCH ROSEWOOD AND BRASS INLAID SIDE CABINET, early 20th century.
With a marble top, the frieze decorated with interlaced foliate scrolls and enclosed by a similarly-inlaid panel door heightened in bone and mother-of-pearl, between simulated
fluted stiles, on a plinth base.

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