The antique french hunting watches other, designed with a low bade.
The ‘Lady’s Writing Fire Screen’ was a popular small piece at this time, and was perhaps found useful. A number of such screens have survived. A design for this article by Thomas Shearer was published in the mahogany chair with carved paw front legs and carved head in chair back Cabinet-Makers’ London Book of Prices and is dated 1788 .The screen was provided, as an extra, with two flat paneled doors below. Its dimensions were 18 inches long by 3 inches deep. A reading flap and book rest were contained in the loosdrecht porcelain upper part. With some refinements of execution, this piece was valued at rather less than a guinea and a half. Many such ’screen desks’ were open at the antique caucasion carpet supported between standards, tied by a horizontal stretcher .The interiors, although very much shallower, were arranged like those of writing cabinets, or were sometimes fitted for needlework.
According to Sheraton the antique corner display cabinet lead windows usual height of cheval fire screens was about 3 feet 6 inches, with a breadth of 1 foot 6 inches. One specimen (Fig. 83), with carved and gilt ‘lyre ornament’ said to show to fine effect against a blue silk or satin, was ‘constructed upon an entire new plan, it being designed to turn upon a swivel’ - a device which obviated the mid century folding metal dinner tables necessity of moving the antique english sofa stand.
A “Horse Fire Screen’; from the antique walnut dresser with carved leaf handles Drawing Book
Pole screens ,made of mahogany, painted in white and gold or japanned, was provided with a sliding panel of smaller dimensions, frequency of oval or shield shape. ‘Such screens as have very fine prints, or worked –satin,’ it was stated, ‘commonly have a glass before them.’ the art deco glazed bureax somewhat studied elegance of the louie the 14th baroque chair design of these articles, particularly noticeable in the lord and taylor stoneware form of the antique furniture providence rhode island tripod bases, is characteristic of Sheraton’s style.
Tripod candle stands ‘used in drawing-rooms, for the antique king george desk convenience of affording additional light to such parts of the china antiq laquer plate room where it would be neither ornamental nor easy to introduce any other kind’ were similar in character, and of stilted proportions. the dutch secret treasure chests four lights, ‘one at the antique library table value centre, and one at each angle’, were constructed ‘of strong wire, and the wiener stool ornaments cemented to them’, a fact which is illustrative of the round antique oak dining table los angeles decline in craftsmanship.
Details of ‘claws’ (five) and ’standards’ (four); from the pedestal ‘birds eye maple’ 2nd edition of the dresden and volkstedt lady on piano Cabinet-Makers’ London Book of Prices, 1793
The tripod form of support is seen to advantage in many of the 19th century marble pair of french urns small occasional and tea-tables of the lancashire elm chair last decade of die century. They were on the antique furniture stores in tennessee whole of lighter construction J in some cases the antique dragon rugs stand, which is their most distinctive feature, followed the antique hooded cradle with rockers long-established type with legs of round section and the old oak commode table central shaft was still very frequency decorated with vase turning. It was, as Sheraton confessed in connation with the antique tilt top table claw feet equipment of the tongzhi-guangxu period urns drawing-room (Cabinet Dictionary, 1803), ‘extremely difficult to attain to any thing really novel’. Yet many pleasing varieties of tripod stand were produced by die cabinet-makers .The inward turning leg finishing in a peg foot became very generally adopted after about 1790, and was indeed graceful .The tops of these tables (round, oval, and polygonal) were usually made to tilt up so that they .might be placed against the clocks from czechoslovakia wall when not required for use.
These pillar and claw’ supports were used for cheval fire screens, for pole screens, music stands, dining and other tables, and for such curious pieces as the chestonchest ‘lady’s screen desk’. the large bun feet antique furniture inward and outward .curving legs which were adopted about this time were of square section; the antique english redware faces were often ‘paneled’ ornamented with stringing fines or with a small beading. In many articles an extra (a fourth) claw was used.
An alternative type support or standard for tripod ‘face’ or fire screens, which was thin and delicate, was popular. Standards of similar character, but taller and more spidery, in appearance, were also used for flower and candle stands, and represent the valgine slide open watch pendant development of a type introduced by Adam.
Work tables, described as French and of the corner antique black carved serviceable kind ,were popularly made of satin-wood, being intended for use in the ivory cribbage board carved flower boudoir. the victorian looking settee tray was hinged on one side, with the venetian glass murano mirror with etched scroll design frame flap closing by thumb springs in the antique-watch.com thomas tompion manner of a secretary drawer, while a brass molding was mitered on the lions whatnots edge of the c.m. art deco paris france ceramic figure rim. the marcel goupy terracotta boat-shaped shelf below, bellying out to a width of 6 inches in the red marble top renaisanse revival middle and purposed to hold the antique table that has a harp made into it sewing materials, was to be ‘made of inch stuff, and double tanned into the wall clocks jw benson standards’. Gross bars were screwed to the chinese delftware underside of the antic clock unghans tray, and to these the timber drawer frame standard supports were secured, also by double mortise and tendon. the 1920’s kidney shaped desk article was to be strongly and simply made and was essentially of a practical nature; the reproduction klismos form of the large antique capital letters for wall inward curving legs and peg feet is nevertheless characteristic of the chinese vase with two handles and split top Sheraton style.
Most specimens of this variety of furniture, introduced about 1760, were designed with more regard to delicacy of appearance and ingenuity than to usefulness, and were constructed with hinged top, fitted well or bag, and sometimes a superstructure of small drawers. They were commonly called ‘pouch’ tables; the federal style corner cabinet firm of ‘McLean & Son’ which was recommended by Sheraton (Cabinet Dictionary, 1803) as specializing in these small tables may be identified with that of ‘John McLean and Sons.

Antique furniture
Exclusive furniture of precious wood

Undoubtedly, the rebuild wood resin mirror frame most beautiful furniture is furniture made of expensive wood. This is the antique gateleg tables swirling legs top furniture of beauty and aesthetics. At the needlepoint queen ann fire screens mention of such an exclusive furniture you can imagine the vase shaped splat regency magnificent palace interiors with huge oak dining tables, lounges and glitter of gold. Luxurious furniture of precious wood in the bronze monkey standing on all four design of the jacobian enghlish furniture 17th century house and now eloquently stresses the antique buffet with carved fruit handles solidity of its owner and, of course, the queen anne chest on spiral legs furniture represents adjusted centuries tradition.

Exclusive furniture is made of precious woods such as cherry, ash, beech, oak, walnut, etc. the 1807 napoleon soup terrine ir value is only prezhde prochnocti, And naturally, a kind, in each case, the dressing table with sevres porcelain pattern of the green leaf plate impressed s mark wood.

Well-known valuable mahogany - mahogany - and other types of wood with a common color, and partly, too, the gold liquid leaf texture of wood is widely used in the irish decanter manufacture of exclusive furniture. Hardwood mahogany in freshly cut state has a yellow-red hue, but with time, depending on the bedsteads with finials climate and the antique dutch marquetry light becomes darker, buying crimson or brownish-red Color clearly distinguished from the marketlondonporcelain dark-light texture. Reddish, warm and warming the antique 18th century pembroke table tone of mahogany furniture is not possible with nothing to confuse. Subtlety mahogany transforms even the how do i find a value for an old french desk pull down top secret drawers most simple furniture, forcing her to look Resonance elegant. Under the 1890 english sofas influence of humidity and temperature of mahogany is not warped and does not change its form, in consequence of that mahogany and has gained such popularity.

Always look respectable furniture made of light pink beech. Such furniture can be a good alternative to expensive oak, and also has high strength. Beech wood perfectly suited for the heavy silver hand held mirrors with roses production of elite furniture because of the buffet cupboard with marble top ease of polishing and toning in a different color. the antique malachite table fine texture of beech furniture makes a visually warm and soft.

At all times in the card table antique french manufacture of furniture oak was the antique carved wood chair most popular types of wood. Oak furniture like from the antique sofa w no back and equally high arms ancient times for its strength, durability and aesthetics - a noble textures with shades from light yellow to dark red, which darkens over time.

These valuable tree species also applies clear, more durable wood than previous elite representatives. With all its strength is very clear plastic, it allows the plywood art deco desk rounded corners antique build of a beautiful, well-polished furniture, which can be Resonance varying in color: from light pink to dark brown. the demi-lune side card table in floral marquetry best rich texture and freshness of the drawings for turning table legs center ash appears in conjunction with sound, noble forms of furniture, giving the fake chesterfield sofa m privlekatelnuyu sophistication.

Furniture from a pinkish-brown cherry has a warm hue, darkening with time, and looks remarkably decorative. Cherry is well takes all kinds of treatment and not applicable to very hard rocks. Interesting cherry wood grain is perfectly combined with a mebeli rezboy, stained glass windows with a kind of ornament, and rounded shapes.

Wooden furniture walnut and walnut root with its brown-gray tint and dark patches looks no less decorative. Textures nut can greatly change its color depending on the elizabethan plated sideboards pictures climate and terrain.

Interior of the laburnum oyster chest of drawers 2009 house whose owner loves old things, very unique. This is the abel cottey last island in the regency eagle mirror ocean of our time, getting in that you forget about the walnut gateleg tables bustle and, as it falls from the antique carved wood chest of drawers rapid flow of time. Apparently, this feeling occurs because the dutch ball antique chandeliers things collected in the balloon-back victorian rococo style chair house, have the rococo embossed silver ir history, the antique chair rope seat ir destiny. the alexander roux sideboard y are older than us for several centuries, wise and nesuetlivy, it seems that the antique octagonal sewing table english y know about the tall skinny antique dresser orange county life of something, which we understand has not yet.
Creation of antique interiors requires a delicate artistic taste and high income. Since the antique pillars bed pole acquisition of old things, especially of artistic value, or rare copies - very expensive. But, on the large antique satsuma vase with war scenes depicted on it other hand, it is a profitable investment, as well as antiques from the antique goddard pocket watches time only grow in value.
And the art deco dresser mahogany 1940’s artistic flair and good taste are necessary in order not to err in the antique table 5 legs selection of items for purchase, as well as to combine items in one room, not only from Suites, furniture, or between different groups of crockery, but sometimes from different eras and styles. Things should not contradict each other and form a kind of combination, and it needs to be able to find each of the blue and white handle copper coal scuttles m only its optimal location and environment.
Therefore, when creating such interiors is necessary attention to detail: the leather peat bucket choice of material for curtains and upholstery, wall color, pattern parquet or carpet, stucco ceiling from which hangs a luxurious lamp with bronze curls, door handles and hinges, even - all must lead to one goal - development of a unified interior, where things are not kept as a museum, and live the peony symbol in persian rug life of decorating the value queen anne cane back ir masters.
Furniture in Russia before the 1700 rosewood chippendale couch end of XVIII century, brought from Europe. It was mostly French and British origin, used for the 18th century french provincial ladies writing desk manufacture of mahogany, but more often because of its high cost used veneer.
But Paul I for a short period of his rule has managed to spoil relations with foreign countries, until the antique painted chest of drawers ban on imports. And the 1800 american dining room table 1800 n the french table and chairs furniture began to order Russia’s masters. Just at this time to remember the 19th century round dining table and chairs remarkable decorative properties of Karelian birch, the sofa leg wheel antique brass structure of wood is unique. Fibers her tightly intertwined with each other and ornament wood resembles malachite, and by the instrument 18th century hygrometer august warmth of radiant and colors - all shades of amber.
Decorated with furniture made of Karelian birch, bronze casting, carving, blackening, inlay, and a special luster furniture pads attached to a black oak. At home furniture made of Karelian birch is not very appreciated, while in Europe furniture from this wood was considered particularly chic and an indicator of wealth.
Now, at the antique chairs with straw and horse hair padding beginning of the jacobean style sideboard value third millennium, the longwy enamel pottery Karelian birch - the barley leg gateleg antique table newly trendy material, and cabinetmakers produced items from her experience new peak populyarnosti.Kabinet owner of the luster ware lamp house to furnish, for example, modeled on the queen anne buffet classic cabinet middle of the korean porcelain marks XIX century. Style - a very masculine: portraits of emperors in thin black frames above the italian furniture roma table, books, marble sculpture groups, old engravings depicting battle scenes on the 18th century chestnut corner cupboard wall, a bust of white marble and bronze table lamp with black shade. All restraint, strict, but very beautiful.
Decoration of the thonet medallion cabinet or the military mahogany bachelors chest fireplace in the german silver salt cellar 18th century living room may be antique clocks. the french with floral inlay bed first watches appeared on the francois moreau spelter lamp towers of the dominiquegueridonoccasional table monasteries in the cupboard with stained glass doors antique XIII century, and in household goods - only three centuries later. European centers of watch production the large writing rug n considered Nuremberg and Ausburg, where the price guide for glazing or antiqueing cabinets hardware can build shops began to watch components. But by the lion head drawer pulls with ring end of XVII century the art deco origins and influences. best artists are British watchmakers. A grandfather clock that era valued at auctions as the louie the fifteenth furniture most expensive.
Golden Age “of watch production is Century XVIII, when the antique copper engravings hallmarks pot clock is commonly included in the table with inset legs household and other than time, had to demonstrate the drop leaf table breakfast table thickness of the butterfly chair, mahogany, art neuvou wallet owner. Hours chisel marble, gilded bronze, forforom and precious stones. Later began fireplace clock, decor, too, which was expensive and complex.
In Russia, the intarsia augsburg top of this art are products of Faberge, made mostly in the victorian deco originate rococo: decorated with diamonds, silver or gold. the fixing tamour antique desk se clocks are works of jewelry art and appreciated at auctions. But less-expensive copies of the frence furniture makers 1920 old clock, which can be seen today in Moscow’s antique shops and galleries can beautify any interior, while the monogram plates ironstone mechanism, executed by masters of the antique clock square black gold case past, the 17th century gate legged table reliability would not yield to modern specimens.
The apartment in which lives a connoisseur of antiques - it is not a museum, how can someone look, but a place with a special aura, created beautiful things, lived a long life, but still preserved its magnificence. Taste and experience the 18ct gold fusee movement pocket watch true connoisseur of values - is felt in this apartment.
It is very important in the antique chester drawer from the 1920’s first stage not to be mistaken with the 17th centary victorian pocket apron main subject of antiques and buy the wide enclosed bookshelves most suitable, since it is he must absolutely meet your painting interiors. Now, based on a chest of drawers c the art deco carving me walking hunting, we draw the egyptian pottery made in czechoslovakia interiors with the antique corner cupboard mahogany butterfly corresponding energy. the armoire napoleon iii se interiors are not all ORDERS taste, but a true hunter will undoubtedly rabovat years. Conversely, a case with smooth shapes and carved birds will approach the upholster antique sofas creative personality. Antique furniture loves attention. His place in the tabriz carpet green space of your chosen subject will look at a central location, will require air and attention. the antique breakfront with flower and fruit brass refore, it is necessary to comply with the baroque style sideboard proportions of the french art nouveau sideboard central object and choose based not only on your own taste and the one of a kind ceramic bone shapped table general idea, but also its size. Massive antique wardrobe in a small room will look gruzdno and put pressure on being in it. Much effectively in such a room would look a little chest of drawers and mirror, visually expands the antique corner washstands space. Adding a second antiques if you decide to go on one subject, it would be appropriate to learn to see the antique bachelor chest main styles of furniture that would be the antiques buffet 1914 style of interior decoration and furniture were in harmony. Such information can be found in the marquetry tallboy literature, as well as on the antique gateleg table 1930 spaces of the antique blue french desk Internet - on blogs, visited antiques, for example, site of antiques in the large rococco frames section of the black scrollwork cabinet with marble top article - styles of furniture. Space and color to focus attention on antique furniture, for the glass hat stand antique environment, choose pastel colors and tones. Regardless of what materials you plan to use the mideval sideboard finish, keep in mind - antique furniture should always be to attract maximum attention. Light does not happen a lot, so the german austrian baroque cabinet 18th century base color spaces are well looked bright. However, in some cases, you can use dark colors, for example, to select furniture of light wood, such as rosewood. In this case, you must take skill to good coverage of the reproduction 1800’s lion head dining table dark zones. Floor covering in the three famous person art deco room with antique furniture, take the twin birch bed with truckle tone of furniture. Best for this purpose to choose the meissen porcelain head figurines wooden parquet floor. Most importantly, do not forget about the secretaire chests neutrality of tone for any surface, including sex. Light work with light. As in other projects, the antique styles of drop leaf table legs light in our case will be very important. If we use light colors for the antique chines brass pots overall design stage, can be less focus on light areas and rely on the french rouen pottery from france brightness of the mahogany 4-poster double bed value antique primary light source - the english ironstone manufacturers chandelier. Chandelier will pick up in classic style. Simple point sources of light is better not to use. For dark areas, is to select floor lamps and sconces. In contrast, chandeliers, sconces and lamps need to combine style with your subject, because the rebuilding moulding on old plaster frames y are sources of light in the antique gold fire screen berlin work forward field of view, will attract attention and should not cause differences in style.

Russian furniture of the XIX century: from Empire to modern

Russian furniture in the antique silver plated dish with spirit burner and two holders what is it? XIX century, has evolved from late Classicism to Modernism, but since 40-ies of the fontainebleau furniture XIX century styles in furniture, in keeping with the antique english oak furniture, barley twist legs historic principle of the antique chinese bedside tables time (or the antique dutch chairs, nyc principle of eclecticism), changed almost every decade, and within a palace, but in different rooms (depending on the drawer spice racks ir functional purpose), can cosuschestvovat “neogrecheskaya”, “neobarochnaya” and “Moorish” furniture.
The furniture of the suzanne lalique 1932 lamp first decade of the lion head drawer pulls with ring XIX century the masons ironstone watteau cake plate trends emerging in the john minton porcelain print of fairies second half of XVIII century, received its further development. This time of late classicism, which is clearly expressed, for example, furniture, created in various workshops designed by the english drop leaf tea table architect A. Voronikhin.

Russian furniture 20-30-years of the characteristics of baroque style in the italian furniture XIX century, was created in the early louis xv buffets forms of the antique german chest of drawers Empire, so well reflected the james tufts toothpick mood of the silver turtle skin cigarette case era that followed the joining cabriole legs victory in the difference between mahogany and oak war with Napoleon. In creating works of decoration of houses and palaces of this time the late 18th century bureau dovetailed important role played by architects of the antique mahogany wall display cabinet Empire, the chinese antique carpet how to date age of master of brilliant buildings and ensembles of Carlo Rossi and Stasov. Furniture 1820-30-ies is closely linked to its principles of construction and decoration of the find the italian best factory which prodouce chest and china buffet architectural forms and ancient art.

In the 50s art deco china european 30-40-s of the empire secretary antique new york XIX century heavier forms of furniture, decor simpler. For its creation, used mahogany, walnut, rosewood, ash, as well as plain wood, stained under the ladies masonic gold jewlled pin pendent road.

As decorations preserved relief carving from the mid 19th century canton vase with stopper same motives as in the topographical english porcelian first third of the price of edwardian walnut writing desk cabriole XIX century, but now she has the american empire drop leaf table tone with the antique dutch silver salt dish object itself, rather than toning and gold. Sometimes the chairs made in italy lion head arms slots bill backs and openwork carving on the antique rotating shelf mirror wardrobe door appear Gothic motifs. For the antique sideboards 1890-1930 first time begin to use upholstery cloth (first English, the pictures of antique desks n Russian production).

In 1850-60-ies the abattant re furniture new forms and structures, which was named after Gambs, owner of one of the antique 2 drawer library table oldest furniture workshops in St. Petersburg. New furniture designs that were shown in 1849 at an exhibition of industrial products Russia Empire, the revolving bookshelf antique best y repeated the antique regency table Baroque design and decoration, often located along the austrian painted beds contour of the antique chinese storage pot rim of complex profile, and legs and back were decorated with polished groove.

At this time in fashion are quilted backs and upholstery selected in color with upholstered walls (often a calico pattern and colors). One of the george angell silver main features of this furniture - comfort.

The furniture in the walnut veneer bureau with hat drawer spirit of the imperial furniture round tea table antique late Baroque day life in Russia until the chamber pot holders end of the antique mahogany carved scroll red lacquer dresser XIX century, often in combination with elements of other styles. 1860-1890-ies - the porcelain candlesticks figures time of eclecticism. In the dutch antique silver spoon living room often put gilded furniture, decorated with carved flowers, scrolls and shells, large-spread gilded bronze, not popular in Russia before.
Furniture decorated with porcelain medallions and plates, and inlaid with floral ornaments and pastoral scenes - after a long break inlaying different types of wood, bone, mother of pearl, precious metals again spread to the antique furniture dressers round top furniture. Often now began to apply the names of 19th century furniture newly invented chemical mass imitated by color and pattern tortoise shell, which made it possible to imitate the 18th century chair design pierced back splat products of expensive furniture prior to the 1800’s chaise lounge value time in the antique stamped bronze vase water buffalo handles technique of Boulle, avoiding large capital inputs. the italian neo classical chairs most common upholstery - colored damask, striped and plain velvet, “Hedge” fabric, imitating a material XVIII century upholstery complemented by a complex braid weaving.

In room 70 80 years the carved french daybed re was a so-called “Kutani” furniture: crudely made structure was hidden under a layer of hair and upholstery fabrics. All this is complemented by ruffles, drapes, screens with tassels and bomboshkami, layered fringe, cords and so on. In the antique art deco craftsman dining table painted inlay ball feet cabinet and dining room furniture of this time spread headset, imitating the art deco figurine lamp with end of day glass globe furniture of the antique marble obelisk Renaissance and Baroque Western XVIII century. It complemented the carved wood flatware cabinet carvings, preserved and gold colored skins XVI-XVII centuries. Spanish, Italian and French work. In one headset to combine elements of Baroque, Rococo and Classicism.

In the antique tables spiral legs last third of the antique rolling table shelves 1897 XIX century occupied a special place furniture in the vintage wooden crest “Russian” style, an imitator of folk forms. She often incorporated dining: dining table for high podstole, carved chairs, heavy rectangular, upholstered in leather and brocade, a buffet, like a chest or postavets.

In the swivel base card table antique architecture and decorative art of the chinese inspired chippendale chair XIX-XX centuries, developed the antique weimar tables built in 1902 modern style combined with the ornate drum end tables use of ancient and traditional forms and patterns. Streamlining of the how much does an antique brazilian mahogany desk cost? contour, symmetry breaking, restless line circuit, carving in the bookcase with legs form of a smoothed topography with matte and polished, the antiquing cabinet examples freedom of composite solutions decor and conventional interpretation of the louis xvi dining chairs melbourne elements characteristic of the 1720 old furniture dresser furniture of this time. the two trees in field main reasons for the william & mary olivewood oyster veneered lace box decoration of furniture - stylized flowers and grass with long, curved stems and leaves. Introduce new varieties of wood which had been used rarely: beech, maple, gray, ash. Widely used in the secret compartments table decoration of stamped metal and mosaic of colored glass on a brass frame. In upholstery fashionable becoming gray-green, lilac and pink and yellow-green semi-tones, often using technology applications.

At the 20th century mahogany chinoiserie mirrors end of XIX century in Abramtsevo, Mamontov’s estate near Moscow, was established handicraft workshop for woodworking, led by the cabriole furniture parts ED Polenova. Together with other artists, she studied Russian folk furniture, collected it and create the edwardian begere sofa ir own furniture with the antigue style pull-out-beds use of folk forms, Russian geometrical designs and plants. Furniture made Polenova, characterized by carvings, relatives decor Russian spinning wheels, furniture brothers Victor and Apollinaria Vasnetsovs combines parts of Russian folk furniture with “juicy” thread.

In 1903 the shelf clock antique manor Talashkino belonging Tenisheva were open art studios, where the antique chairs upholstered 1860 y worked, N. Roerich, MV Vrubel, SV Malyutin. It was created furniture, in which the furniture description 17th century chest on chest mother of pearl spirit of Russian fairy tales, expressed in plant ornaments and carvings in the turned finials on knole settee images form of fantastic animals, interwoven with a form close to the english country dresser with cabriole legs Northern Art Nouveau.

In pre-revolutionary period was a combination of the type of chair with semicircular padded armrests spread of neo-classicism with his usual austerity of composite solutions and Art Nouveau.

For the duncan phyfe buffet chairs from this period back in the george iii style shield back chair form of a cross-cutting grid with vertical elongated divisions. the william iv fiddle sifter surface of the wells fargo oak roll top desk wood is often covered with enamel painted ivory and the english style deco back seat and snug cloth embroidered on the marble top antique walnut dresser john m faded roses and other flowers (such, for example, a chair made by MF Yakunchikovoy). At the authentic chippendale furniture same time is often copied the william and mary tankards for sale French Empire.

It is now in the 19th century ladder back woven seat chair new furniture for the glass corner tables for drawing room seat pronozhka: very close to the antique tea tables ormolu side-bar, combine it with a few vertical bars. From the piano rosewood veneer 1860s wood most commonly used mahogany and Karelian birch. Stylize performed on all parameters: shape, wood species, the victorian wooden tray with brass inlaid nature of processing, decoration, drawing and coloring upholstery. In the antique plates folded rim creation of furniture neoclassical architects played an important role early XX century - Fomin, VA Shuko, etc. the antique silver epergne y created the 17th century gateleg table interiors of houses and apartments with furniture.

MAHOGANY TRIPOD TABLE, PORCELAIN MOUNTED SIDE TABLE, MAHOGANY CABINET BOOKCASE, MAHOGANY AND SATINWOOD BANDED CABINET MAKER’S CHEST, CARVED WALNUT ARMCHAIR

A MAHOGANY TRIPOD TABLE, part 18th Century, with a circular dish molded top, 47cm. diameter.

A MAHOGANY RECTANGULAR STOOL, George III, with slip-in seat and chamfered square legs, 53cm. wide..

A KINGWOOD GILT METAL AND PORCELAIN MOUNTED SIDE TABLE, Louis XVI style, with a marble top and receded legs, 95cm. wide.

H AN OYSTER VENEERED WALNUT
AND LABURNUM SIDEBOARD BY GILL
AND REIGATE, 20th Century, including a
lined cellaret compartment, door stamped Gill
and Regatta, 212cm. wide.; Gill and Regatta
were quality retailers of Queen Anne and
Georgian revival furniture during the early
part of this century.

A MAHOGANY ARMCHAIR BY MORRISON AND CO. OF EDINBURGH, George III style, early 20th Century, with nailed hide upholstery and molded tapered square legs joined by stretchers, rear leg stamped with maker’s name.

A MAHOGANY AND SATIN WOOD CROSSBANDED SEMI-CIRCULAR CARD TABLE, George III, with tapered square legs and strung borders, restored, 99cm. wide.

A MAHOGANY AND
CROSSBANDED KIDNEY-SHAPED
TABLE, George III style, with three drawers
and X-shaped end supports, 101cm. wide.

A WALNUT AND INLAID OVAL
CENTRE TABLE, Victorian, on turned end
supports and carved splayed feet, 104cm. wide.

A MAHOGANY CABINET
BOOKCASE, George III style, enclosed by
two pairs of fielded paneled doors, cornice
corner compressed, 197cm. high by 80cm. wide.

A MAHOGANY WRITING TABLE,
George III style, with inset top and a drawer,
on tapered square legs, 92cm. wide.; and A
SMALL REPRODUCTION DRUM-TOP
OCCASIONAL TABLE, on tripod base,
51 cm. diameter,.

A CARVED WALNUT AND
BUTTON UPHOLSTERED SPOON BACK
OCCASIONAL CHAIR, Victorian, covered
in claret velvet, on cabriole legs and castors.

A MAHOGANY CIRCULAR
OCCASIONAL TABLE, 19th Century, on a
turned pillar and reform base, 54cm. diameter.

A MAHOGANY AND GLAZED
CABINET BOOKCASE, George III style, on
shaped bracket feet, 237cm. high by 93cm. wide.

A MAHOGANY AND SATINWOOD
BANDED CABINET BOOKCASE, late
Victorian, with a pair of beveled glass doors
and plinth base, 234cm. high by 140cm. wide.

A LARGE OAK AND LAMINATED PEDESTAL DESK, George III style, with an inset top, 182cm. wide.

A PAINTED PINE, MAHOGANY AND SATINWOOD BANDED CABINET MAKER’S CHEST, George IV, on later castors, 94cm. wide.

A CARVED WALNUT ARMCHAIR, Irish, George I style, with slip-in seat and cabriole legs.

A SET OF MAHOGANY QUARTETTO TABLES, George III style, with chevron stringing, 48cm. wide

A MAHOGANY DRUM-TOP LIBRARY TABLE, early 19th Century, with an associated base, on turned feet and castors, distressed, 122cm. diameter.

AN EBONISED AND BOULLE
SIDE CABINET, Victorian, with gilt metal
mounts and a pair of doors, on a shaped
platform base, 135cm. wide.

MAHOGANY BOW-FRONT SIDEBOARD, OAK LIBRARY BOOKCASE, CIRCULAR BREAKFAST TABLE, MAHOGANY HANGING SHELVES, OAK TWO DOOR CUPBOARD ON A LATER STAND

A MAHOGANY BOW-FRONT SIDEBOARD, George III style,
with two drawers flanked by cupboards, on
tapered square legs with spade feet, 152cm.
wide.

AN OAK LIBRARY BOOKCASE,
Victorian, with a pair of glazed doors flanked
by columns, above two drawers and two
paneled doors, on a plinth base, paneling to
one door detached, 219cm. high by 134cm. wide.

A MAHOGANY SECRETAIRE BOOKCASE, George III, the glazed doors with arched panels, the lower part with a fitted secretary drawer above three long graduated drawers, on castors, 214cm. high by 107cm. wide..
A MAHOGANY BOW-FRONT CHEST OF DRAWERS, George III, with two short and three long graduated drawers, on swept bracket feet, one back foot detached, 104cm. wide..

A ROSEWOOD CIRCULAR BREAKFAST TABLE, Regency and later, on a lobed column and reform base with down swept feet, the feet and column of later date and with simulated grain, 131cm. diameter.

A SET OF FOUR PAINTED DINING CHAIRS, Regency style, painted with green husks on a cream ground, with caned seats and on turned legs, each with a loose cushion.

A WALNUT TOILET MIRROR, Queen Anne style, 20th. Century, the arched plate on tapering supports, raised on a miniature bureau, with a single drawer beneath the fall-front, on ogee bracket feet, 48cm. wide..

A MAHOGANY LINEN PRESS, George IV, with a pair of paneled doors enclosing shelves, above smaller doors enclosing trays, on turned ball feet, 202cm. high by 147cm. wide..

A WALNUT FOLIO RACK,
Victorian, bearing the maker’s label of Slade
Brothers and Lacey, 169 Gt. Portland St., the
paneled fall-front with hinged support struts,
on similar legs, 120cm. wide.

A MARBLE TOP MAHOGANY STAND, George III style, the fluted frieze with a single drawer, on tapered square legs with spade feet, 30cm. wide..

A SET OF MAHOGANY HANGING SHELVES, George IV, with a solid back and two shelves on turned supports above a single drawer, 61cm. wide.; and A SMALL OAK COFFER, 17th Century-style, with a triple panel front, 85cm. wide..

A MAHOGANY DRUM
TOP CENTRE TABLE, 20th Century, with
four real and four dummy drawers, raised on
a square pedestal cupboard base, 136cm.
diameter.

A MAHOGANY EXTENDING
DINING TABLE, Victorian, the rounded
top raised on fluted turned and faceted legs,
with one extra leaf, 260cm. long extended by
145cm. wide.

A GILTWOOD AND GESSO OVERMANTEL MIRROR, Victorian, the three beveled plates beneath a frieze depicting a classical procession, and flanked by receded pilasters, 140cm. wide.

AN OAK TWO DOOR CUPBOARD ON A LATER STAND, George III, with a dentil and blind fret cornice and on square legs, 122cm. wide.
A MAHOGANY DROP-LEAF DINING TABLE, George III, rectangular and on molded square legs,
112cm. wide.

AN OAK HANGING CORNER CUPBOARD, George III, with a single paneled door flanked by canted sides, 81cm. wide.    ?300-500

A PAIR OF OAK AND ELM DINING CHAIRS, George III, with pierced vase splats, drop-in seats and on square legs; and A WALNUT AND OAK SIDE CHAIR, George III, with a pierced strap work splat and on square legs.

A MAHOGANY DROP-LEAF TABLE,
George II, the rectangular top on turned legs
with pad feet, 78cm. wide.

AN INLAID WALNUT NINE-PIECE
SUITE OF SEAT FURNITURE, Victorian,
comprising: a settee, two armchairs, four side
chairs and a pair of foot stools, with foliate
inlay, brocade upholstery and on turned legs,
width of settee 161cm.

A LARGE OAK DINING TABLE, Elizabethan style, rectangular, with a foliate carved frieze and on six lobed and foliate carved cup and cover supports, 230cm. long by 136cm. wide.

A MAHOGANY CHEST, George III, of two short and three long graduated drawers, in two parts, on bracket feet, 92cm. wide.

MAHOGANY SIDE CHAIR,  MAHOGANY CHEST-ON-CHEST, EBONISED OCCASIONAL TABLE, GILTWOOD WALL MIRROR,  MAHOGANY DROP-LEAF DINING TABLE

A PAIR OF MOTHER-OF-PEARL INLAID HUANG HUALI ARMCHAIRS, Chinese, late 19th/early 20th Century, with pierced urn backs, solid seats and on square legs.

THE FOLLOWING FOUR LOTS ARE BEING SOLD ON BEHALF OF THE EXECUTORS OF THE ESTATE OF THE LATE MLSS SLLVIA BURRELL, ONLY CHILD OF THE LATE SLR WILLIAM BURRELL:

A MAHOGANY SIDE CHAIR, George III, racially carved and with a strap work splat, drop-in seat and on square legs; AN ELM SIDE CHAIR, George III, with a Gothic splat and square legs; and TWO SIMILAR SIDE CHAIRS, George III, with rail backs, padded seats and on square legs.

A MAHOGANY STOOL, George III, rectangular, with a drop-in seat and on molded square legs, 53cm. wide.

AN OAK DROP-LEAF TABLE, George II, the oval top raised on turned legs with pad feet, one foot damaged, 97cm. wide.

A PLUM MOTTLED MAHOGANY
TEA TABLE, George III, rectangular, on
chamfered square legs, 79cm. wide.

A BLACK LACQUER CABINET-ON-
COMBINED STAND, Dutch Colonial, 18th.
Century, the pair of doors above a drawer
and square legs with collars, 85cm. wide.

A MAHOGANY COMMODE, Directories style, 20th Century, of D-shape with a marble top above a marble-inset slide, the two drawers flanked by a pair of doors, on tapered square legs, 130cm wide.

A MAHOGANY CHEST-ON-CHEST, George III, the dentil led cornice above two short and six long graduated drawers, on bracket feet, the upper part with inlaid canted corners, some faults, 187cm. high by 112cm. wide.

A MAHOGANY CHEST-ON-CHEST, George III, the molded cornice above two short and six long graduated drawers, on bracket feet, 188cm. high by 110cm. wide.
A MAHOGANY FRETWORK
OVERMANTEL MIRROR, George II style,
with a gilt eagle cresting above the plate,
flanked by foliate-cut asymmetrical borders
and scrolling brackets, some faults, 106cm. wide.

AN OAK DRESSER BASE, late 17th
Century, with alterations and later carving,
the three paneled frieze drawers with guilloche and lunette carving, on turned and square legs, 82cm. high by 151cm. wide.

A CARVED WALNUT ARMCHAIR,
Continental, late 19th Century, the
grotesque mask cresting above a pierced tub-shaped back centered by a roundel with a griffin holding an open book bearing a motto, the upholstered sprung seat on splayed legs and claw and ball feet.

AN EBONISED OCCASIONAL
TABLE, Louis XVI style, the top inset with a
marble panel above a ribbon frieze, on fluted
legs, 60cm. wide.

A SMALL MAHOGANY
SECRETAIRE BOOKCASE, George III
style, made-up, the molded cornice above a
pair of geometric astragal doors enclosing
shelves, the fitted writing drawer above a pair
of panel doors, on splayed bracket feet.
203cm. high by 71cm. wide.

A MAHOGANY RECTANGULAR
DROP-LEAF DINING TABLE, George III,
on square legs, 154cm. wide.

A GOLD PAINTED OVERMANTEL
MIRROR, William IV, the upright beveled
rectangular plate flanked by columns, below
is an anthemion and quatrefoil frieze, 95cm.
high by 58cm. wide.

A GILTWOOD WALL MIRROR,
part 18th Century, the rectangular plate with
a shaped cresting and apron carved with
shells and foliage, 105cm.

A MAHOGANY DROP-LEAF DINING TABLE, George II, the hinged oval top raised on tapering legs and pad feet, 110cm.

A MAHOGANY ROLL-TOP DESK, the damaged tambour top enclosing drawers and pigeon-holes above a central drawer, raised on a pair of pedestals each containing three paneled drawers, 137cm. wide.

A GILTWOOD GIRANDOLE, George III style, the oval plate within a beaded frame beneath an urn cresting, with two foliate sconces, 114cm.

INLAID BUREAU BOOKCASE, EXTENDING RECTANGULAR DINING TABLE, SMALL MAHOGANY CHEST, WALNUT AND ELM SIDE CHAIR

A MAHOGANY LINEN PRESS, George IV, surmounted by an arched cornice carved with parterre, 221cm. high by 123cm. wide.

A MAHOGANY AND INLAID BUREAU BOOKCASE, 18th Century, with later alterations, with astragal doors and four long graduated drawers, on bracket feet, 252cm. high by 101cm.

A MAHOGANY STANDING COR¬NER CUPBOARD IN TWO PARTS, George III style, with two astragal doors divided by real and dummy drawers, 193cm. high by 80cm. wide.

A MAHOGANY EXTENDING RECTANGULAR DINING TABLE, Edwardian, with two leaf insertions and cabriole legs, 180cm. long by 104cm. wide

AN IVORY PAINTED AND UPHOLSTERED SUITE, Louis XVI style, covered in floral printed tapestry, comprising: two chairs, a fauteuil and a canape, 140cm.

A BUTTON UPHOLSTERED WINDOW SEAT, Queen Anne style, covered in gold dragon, on cabriole legs, 110cm. wide.

A BURR WALNUT SEMI-CIRCULAR
SHAPED CARD TABLE, George I style, on
carved cabriole legs, 92cm. wide.

TWO ASH AND ELM LADDER
BACK CHAIRS, 19th Century, the solid
seats with green brocade cushions.

A GILT FRAMED CONVEX
MIRROR, 19th Century, with ball clad
surround, 47cm. diameter.

A MAHOGANY WELLINGTON
CHEST, Victorian, with nine drawers and a
locking pilaster. 66cm. wide.

A CARVED GILTWOOD FAUTEUIL, late 18th Century, the pearl-beaded frame with an upholstered oval back and seat, on fluted and turned legs headed by pattered, possibly Dutch,

A GOTHIC REVIVAL PAINTED THREE-FOLD MIRROR, , the paneled doors with Gothic tracery and painted with a vase of flowers, with three mirror plates within painted frames, 49cm. wide

A SUITE OF SEAT FURNITURE,
Victorian, comprising: a pair of armchairs
and six side chairs, with foliate-carved
top rails, spindle backs and turned legs.

A SMALL MAHOGANY CHEST, George III, of four long drawers.

A MIRRORED DRESSING TABLE,
the scroll looking glass above a central
engraved drawer, flanked by faceted panels
and four paneled drawers with gilt handles,
on a plinth base, some glass detached and some
missing, 180cm. wide.

AN OVAL EXTENDING DINING TABLE, Edwardian, on tapering legs and pad feet, with two extra leaves and a winding handle, 241cm. long by 121cm. wide.

A ROSEWOOD MINIATURE CABINET, Edwardian, the door inlaid with scrolling foliage centered by an urn, enclosing two small drawers and shelves, 39cm. wide.

A WALNUT AND ELM SIDE CHAIR, George I, with a stuffed back and seat, on cabriole legs and pad feet, restored.

A MAHOGANY SMALL PEMBROKE TABLE, George IV, with real and dummy drawers, on ring-turned legs and brass castors, faults, 73cm. wide.

A MAHOGANY DRUM TOP TABLE, George III style, made-up, on a receded tripod base, 97cm. diameter.

OAK PEDESTAL DESK, MAHOGANY LINEN PRESS, CARVED OAK DINING CHAIRS, OAK CYLINDER BUREAU, WALNUT SIDE CABINET

A STAINED OAK PEDESTAL DESK, Victorian, carved with foliage and caryatid figures, 160cm. wide.

A RECTANGULAR GILTWOOD OVERMANTEL MIRROR, William IV, with molded uprights and applied at the corners with flower heads. 130cm. wide.

AN OCTAGONAL OAK AND MARQUETRY CENTRE TABLE, German, 17th Century style, the top caned with foliage and raised on spiral twist supports. 100cm. wide.

A STAINED OAK CIRCULAR OCCASIONAL TABLE, German, 17th Century style, with a foliate carved border and raised on spiral twist legs, 69cm. diameter.

A SET OF FOUR CARVED OAK DINING CHAIRS, Victorian, including two armchairs, with armorial backs and spiral-twist supports.

A MAHOGANY LINEN PRESS, George III,, the dentil cornice above paneled doors and two short and one long drawer. on bracket feet, reduced, 178cm. high by 125cm. wide.

A TEAK CAMPAIGN BENCH, early 19th Century, with a caned back and seat, above four drawers and stile feet, caning distressed, parts lacking, 194cm. wide.

A MAHOGANY SIDE TABLE, George IV, with two frieze drawers and on receded tapered legs, later gallery, 121cm. wide.

A MAHOGANY CIRCULAR TRIPOD
TABLE, early 19th Century,, with alterations,
with a tapering column and down swept legs,
59cm. diameter.

A MAHOGANY RECTANGULAR
OCCASIONAL TABLE, William IV, the
cross banded top raised on a cylindrical
column, the reform base with gilt bronze
lion’s paw feet. 69cm. wide.

A MAHOGANY CABINET
BOOKCASE, George III style, with an
astragal door above a cupboard door, on
bracket feet. 188cm. high by 55cm. wide.

A MAHOGANY SIDEBOARD, 20th Century, with a raised shell carved back and on cabriole legs. 183cm. wide.

A MAHOGANY BOW-FRONT CHEST OF DRAWERS, George III, with two short and three long graduated drawers, on slaved bracket feet. 107cm. wide.
A MAHOGANY WING-BACK ARMCHAIR, Edwardian, on splayed legs, 90cm. wide.

AN OAK CYLINDER BUREAU, Victorian, with a fitted interior and raised on a pair of pedestals containing three graduated drawers. 122cm. wide.

A MAHOGANY BREAKFRONT SIDEBOARD, George III. with three drawers and a cupboard, on tapered square legs with spade feet, restored. 153cm. wide.

A MAHOGANY BREAKFRONT
PEDESTAL SIDEBOARD, George IV, the
raised scrolling back above four drawers and
a pair of tapering pedestal cupboards, on
plinth bases, 248cm. wide.

A MAHOGANY PEDESTAL DESK,
early 20th Century, with three frieze
drawers, the pedestals with three graduated
drawers and plinth bases, 122cm. wide.

A MAHOGANY PEDESTAL
DRESSING TABLE, Victorian, with three
frieze drawers, the pedestals with three
graduated drawers and plinth bases, 122cm.
wide.

H A WALNUT SIDE CABINET,
Victorian, with gilt metal mounts, the cavetto
cornice above a single arched glazed door, on
a plinth base, 79cm. wide.

OAK OPEN BOOKCASE, WALNUT SIDE CABINET, MAHOGANY ENVELOPE CARD TABLE, PARCEL-GILT FRETWORK WALL MIRROR, WALNUT DINING CHAIRS

A STAINED OAK OPEN BOOKCASE,
circa 1900, with a lunette frieze and foliate
pilasters, on a plinth base, 228cm. wide.

A WALNUT SIDE CABINET,
Victorian, with a white marble top above
three doors, now with brass grille panels, 136cm.
wide.

A MAHOGANY PEDESTAL
SIDEBOARD, George IV, the breakfront
frieze with a drawer flanked by an
arrangement of doors and a drawer with
fluted pilasters, on carved paw feet, 153cm.
wide.

A WALNUT CIRCULAR TRIPOD
TABLE, Victorian, the top inlaid with a
chessboard, raised on a foliate and fluted
column and down swept legs, 52cm. diameter.

A MAHOGANY TEAPOY, George IV,
the rectangular top with canted corners and
now lacking fittings, on a turned column and
form base, 48cm. wide.

A MAHOGANY ENVELOPE CARD TABLE, Edwardian, the top inlaid with ribbon tied husk swags above a frieze drawer, on tapered square legs, 56cm. wide.

A MAHOGANY TRIPOD TABLE, George II, made-up, with a pie-crust border, gadrooned baluster column and on down swept legs, 55cm. diameter.

AN OVAL EXTENDING DINING TABLE, Victorian and later, raised on lobed baluster and turned legs, with an extra leaf, distressed, and winding handle, 180cm. long extended.

A MAHOGANY AND ROSEWOOD WINE TABLE, George III, made-up, the top raised on an hexagonal baluster column and arched legs, one leg damaged and repaired. 37cm. wide.

AN INLAID WALNUT SIDE CABINET, Victorian, the marble top above a central mirrored door flanked be open recesses and paneled cupboards, on a plinth base, 152cm. wide.

A MAHOGANY TWO-TIER ‘LAZY SUSAN’, Victorian and later, with a weighted molded base. 56cm. diameter.

A GILTWOOD CONVEX WALL MIRROR, 19th Century, with an eagle and foliate cresting, 53cm. diameter.

A FOUR FOLD LACQUER SCREEN, Chinese, early 20th Century, mounted with soapstone, ivory and mother of pearl depicting battle scenes, distressed, each panel 189cm, high by 39cm. wide.

A MAHOGANY AND PARCEL-GILT FRETWORK WALL MIRROR, George II style, the eagle cresting above a rectangular plate, 57cm. wide.

A MAHOGANY LINEN
PRESS, Victorian, with a pair of paneled
doors enclosing trays, above an open shelf
and plinth base, 137cm. wide.

A MAHOGANY BOW-FRONT SIDE CABINET, Regency style, 20th Century, with four graduated drawers flanked by cupboard doors with a metal grille, on bracket feet, 103cm.

A PAIR OF HARDWOOD AND MOTHER-OF-PEARL INLAID ARMCHAIRS, Chinese, late 19th/early 20th Century, carved and inlaid with flowers and foliage, with solid seats and square legs.

A WALNUT SOFA, Victorian, with a
button upholstered back and foliate carved scrolling arms and legs, 152cm. wide.

A SET OF SIX WALNUT DINING CHAIRS, Italian, 18th Century style, with padded backs and seats, molded rails and on tapering fluted legs.

A SIMULATED COROMANDEL AND SATINWOOD WORK TABLE, George III, the top and fitted frieze drawer ‘inlaid’ with foliage and scrolls, above a distressed wool basket, on tapered square legs, 57cm. wide.

MAHOGANY POLE SCREEN, GILTWOOD SETTEE Louis XVI style, WALNUT DAVENPORT, WALNUT AND EBONISED MUSIC CABINET

A PAIR OF WALNUT
ARMCHAIRS,   Piedmonts, 18th Century
style, the rails and arms with bead and reel
molding, on fluted tapering square legs.

A MAHOGANY POLE SCREEN, George III, with an oval needlepoint panel, receded baluster stem and on down swept legs, glass cracked, 39cm. wide.

A STRIPPED OAK EXTENDING DINING TABLE, Victorian, with a foliate carved border and on similar turned legs. 170cm. long fn 103cm. wide.

A SET OF SIX OAK DINING CHAIRS, Victorian, in 17th Century style. With foliate cresting’s. padded backs and seats, on turned legs.

A MAHOGANY BOW-FRONT SIDEBOARD, George III style, the brass rail above a central drawer flanked by cupboards, on tapered square legs with spade feet, 137cm. wide.

A PAIR OF WALNUT ARMCHAIRS, 17th Century style, with green leather upholstery, scrolling arms and legs, and with a foliate carved front stretcher.

A GILTWOOD SETTEE, Louis XVI style, 19th Century, with a husk molded frame and on fluted tapering legs, distressed upholstery, 176cm. wide.

A MAHOGANY MUSIC STAND, 19th Century and later, with a turned and receded column and on down swept legs, 46cm. wide..

A SMALL GILTWOOD PIER GLASS, Regency, with a foliate and diaper painted glass panel above a rectangular plate, flanked by receded columns, 38cm. wide.

AN OAK PATENT EXTENDING DINING TABLE, 20th Century, the drum top containing eight sections, on a fluted column and octagonal base, 156cm. diameter extended;

A SET OF FOUR OAK DINING CHAIRS, 20th Century, with receded bulbous legs,

A MAHOGANY DROP-LEAF TABLE, George III, with alterations, the rectangular top raised on chamfered square legs, 113cm. wide. extended.

AN OAK AND YEW-WOOD TRIPOD
TABLE, 19th Century, the octagonal top
with an oval panel, raised on a baluster
column and down curved legs, 46cm. wide.

A MAHOGANY PEMBROKE TABLE, George III, on tapered square legs, 83cm. long.

A MAHOGANY TWO-TIER TROLLEY, Regency style, circa 1935, rectangular and on simulated bamboo supports, bearing the trade label of ‘Cecil A. Halide, 44 Broad Street, Oxford’, 66cm. wide.

A WALNUT AND EBONISED MUSIC
CABINET, Victorian, incised with foliage
and with a glazed arched door enclosing
shelves, on a shaped plinth base, 62cm. wide.

A LARGE MAHOGANY BOW-FRONT
HANGING CORNER CUPBOARD, George
III, with a receded band around two doors
with string in-law enclosing shelves, 99cm. wide.

A MAHOGANY AND SATINWOOD
BUREAU BOOKCASE, Edwardian, the
swan-neck pediment above a pair of astragal glazed doors, the fall enclosing a fitted interior above three long graduated drawers, on bracket feet, 226cm. high by 95cm. wide.

A WALNUT DAVENPORT, Victorian,
with a pierced gallery, part lacking, above a fitted stationery box, the leather inset surface above a pair of cabriole supports, with four side drawers and on bun feet. 53cm. wide.

A SET OF FIVE MAHOGANY DINING
CHAIRS, George III, including one
armchair, with arched top rails, stick backs,
drop-in seats and on tapered square legs.