satinwood and kingwood banded octagonal Work Table, Regency mahogany break-front Library Bookcase, kingwood crossbanded serpentine-fronted Sideboard

A George III satinwood and
kingwood banded octagonal Work
Table, made-up, inlaid with yew-wood
medallions and chevron stringing, the
pair of doors enclosing three drawers, on
a chamfered baluster pillar and tripod
supports, probably Irish.

A George III mahogany Work
Table, circa, inlaid with satinwood
fan medallions, the hinged cover with a
conch-shell medallion and key-pattern
border and revealing a tray and
compartments, the front with a dummy
drawer above two real drawers, the
bottom drawer pulling out to form a
hinged writing slope with pen trays and
inkwells, the later beech stand with
turned legs. high by. wide;

A William IV rosewood Work
Table, circa, the rectangular top
above a frieze drawer, with turned
pendants and fabric-lined well, the end
supports joined by a pole stretcher, on
bun feet, top split. wide; ft.

A Regency mahogany Sideboard, circa, inlaid with satinwood stringing, the cutlery drawer and arched apron flanked by a cupboard and a deep drawer, on turned and reeded tapering legs. high by. wide; ft. by ft.Vn.,

A Regency mahogany Toilet Mirror, circa, the rectangular plate above a bow-front plinth, with three drawers and reeded terminals, on bun feet. wide; lft. Vin.

A George III mahogany Side Table, circa, the later top above an arrangement of three drawers, restored. wide;

A Regency mahogany break-front Library Bookcase, circa, the
moulded cornice above two pairs of
glazed doors, the lower part with a pair
of central solid panel doors flanked by
glazed doors, on a plinth base.

A George II carved and later gilt painted Wall Mirror, circa, the
later rectangular frame within a stipple surround and egg and dart border flanked by acanthus scrolls, lacking cresting. wide; ft. Vin., the reverse bearing the trade label of James A. Bulti and another label stating the mirror to have been Removed from Garret Room, Holyrood Palace,  Aug., stamped V.R., H.P.,   ,

A Regency gilt framed convex Wall Mirror, circa, with ball decorated surround, with winged eagle surmount and pierced foliate apron. high by. wide;  by ft.

A George IV papier-mache Tray,
circa, painted and gilt with flowers
on a cinnamon ground, now on a
mahogany Davrard Patent stand, on
reeded splayed legs. wide;
ft. Vin.

A George III mahogany kneehole
Writing Table, circa, with a slide,
frieze drawer and two small drawers, on
tapered square legs. wide;

A George III mahogany and kingwood crossbanded serpentine-fronted Sideboard, made-up, inlaid with satinwood strung borders, the cutlery drawer flanked by two deep drawers, on tapered square legs and spade feet, restored. high by. wide; ft. by ft. lVin.,
H A William IV rosewood Card Table, circa, the rectangular top above a moulded frieze flanked by scrolled brackets, the reeded pedestal support on a shaped platform base with beaded mouldings and scroll feet. wide; ft.

A George III Chinoiserie Work Table, circa, japanned and gilt with figures and pagodas, the square top above a drawer and reduced turned pillars, on tripod supports.

A late George III mahogany chair-back Settee, circa, the four chair backs each with a concave toprail inlaid with boxwood diamonds, on reeded stick splats, with downswept arms and the caned bow-front seat on circular tapering legs inlaid to simulate fluting, restored. wide;

A George III faded mahogany and
brass-bound hexagonal Cellaret, circa
with hinged cover revealing a
zinc-lined interior and compartments,
the stand with triple tapered square legs.

A William IV rosewood Library
Table, circa, with beaded
moulding, the turned and reeded end
supports with carved claw feet and
castors, mouldings partially lacking.
high;

A George III Bureau, circa,
with later satinwood veneers and kingwood crossbanding, the quarter veneered fall with musical trophy inlay and revealing small drawers and pigeonholes, below are four long drawers with foliate scroll inlay, on shaped bracket feet, altered. high by. wide;  by      ,

A George IV gilt framed Girandole
Mirror, circa, the convex plate with
moulded surround and stipple border
flanked by a pair of twin candle-
branches, now fitted for electricity, the
surmount now with a winged eagle.

A George II mahogany harlequin Table, circa, with dual hinged cover, including a tooled leather inset and rising section, comprising pigeonholes, small drawers and a pair of candlestands, the cabriole legs with lappets to the knees, on pad feet. wide;

A William IV teak secretaire Military Chest, circa, in two parts, the fitted writing drawer flanked by a short drawer, below are three long drawers. high by. wide;

A George III mahogany Chest,
circa, the slide above two short and
three long graduated drawers, on shaped
bracket feet. high by.

A Regency mahogany Sideboard, circa, inlaid with ebonised stringing and arrowhead motifs, the bow-front frieze drawer above an apron drawer flanked by a cupboard and a deep drawer, on ring turned legs, formerly with a rear brass gallery. high by. wide; ft.  in. by ft.,

An Anglo-Indian rosewood drop-leaf Table, circa, with beaded mouldings, the frieze with a real and opposing dummy drawer, the turned and spiral reeded legs ending in brass cappings and castors, mouldings partially lacking. wide; ,—,

A Regency mahogany and
rosewood crossbanded pedestal Card
Table, circa, the fold-over top with
canted corners and fleur-de-lys motifs,
the ring turned pillar above quadruple
splayed legs ending in brass paw finials
and castors, top marked, worm.

A George III mahogany secretaire
Bookcase, circa, the domed cornice
above a pair of ogee arched and reeded
astragal doors enclosing adjustable
shelves, below is a fitted writing drawer
and a pair of panel doors enclosing
drawers, on reduced bracket feet.

A George II mahogany oval
drop-leaf Table, circa, on circular
tapering legs and pad feet

A George III carved mahogany
Chair, circa, with foliate scroll
cresting rail and bell motifs above a
pierced vase-shaped splat, the slip-in seat
above chamfered square legs joined by
stretchers

A George I walnut and
upholstered Wing Armchair, circa,
covered in damask, the cabriole legs with
fan carved knees, on claw and ball feet,
restored,

A George III mahogany and
satinwood crossbanded secretaire
Bookcase, circa, the moulded
cornice above a pair of geometric
astragal doors enclosing adjustable
shelves, the writing drawer with
segmented veneers and revealing
pigeonholes, small drawers and a
cupboard, below are a pair of doors with
oval panels, now lacking insets, the interior
with three long drawers, on splayed
bracket feet. high by.

A Regency mahogany bow-front
Sideboard, circa, inlaid with
chequer banding and stringing, the
cutlery drawer and arched apron flanked
by a cupboard and a cellaret drawer and
arched apron drawer simulating short
drawers, on tapered square legs and
spade feet, top with splits.

A George IV mahogany and
rosewood large crossbanded Wardrobe,
circa, of inverted break-front form,
the terminals with chevron, hobnail and
spiral reeded mouldings, the frieze and
apron with carved paterae, the moulded
cornice above eight graduated drawers
flanked by a pair of panelled doors
enclosing hanging space, on bold carved
paw feet.

A George III satinwood semi-
circular Card Table, circa, by
Gillow of Lancaster, inlaid with ebonised stringing, the kingwood crossbanded fold-over top above tapered square legs with collars.

Antique Art Deco and Modernist BUREAU BOOKCASES
Bureau bookcases appear to have languished a bit in the mid-Victorian period. There was a continuation of production of the sub-classical types of the 1840s but on the whole writing was at desks and books were in
cabinets. Perhaps the pieces of Burges and Shaw exhibited in 1862 revived a taste for bureau bookcases; anyway by the 1880s they were back in swing and by the 1890s the Edwardian Sheraton bureau bookcase in
mahogany was being reproduced in huge numbers.
The rather tantalising piece possibly by GodwinBurges-Eastlake-Shaw discussed in the Furniture Styles Data on the Anglo-Japanese period. Here it is shown with the fall open to reveal the carefully-fitted interior.
c.1880
An oak bureau bookcase of a type illustrated by several furniture makers in the 1900-1910 period. Similar designs occur in Graham & Banks c.1899 in mahogany, J.S. Henry 1900, Timms and Webb 1904 and Norman & Stacey’s catalogue of c.1910, showing how commercial manufacturers followed the progressive furniture movement. The copper hinges to the bookcase doors, with their distinctive shaping, are `art nouveau’ in
inspiration, but the piece is too rectilinear for Continental origins. The fretting of the bookshelves and the leaded glass doors are typical of the period, as is the rather quirky arrangement of drawers and enormous
pigeon holes. The lantern has been added later by a rather unsympathetic soul, doubtless anxious to penetrate the central gloom inherent in the design. 1900-1910
An ebonised Aesthetic Movement bureau bookcase with a fretted top, painted panels, panelled construction and turned supports typical of the Art Furniture Movement. c. 1880
A mahogany bureau bookcase which aims at being a reproduction of a late 18th century piece. Once again, however, the Edwardian desire to go slightly one better than the original has given the game away. The falls
of 18th century mahogany bureaux were not quarter veneered in the way this one has been, giving a diamond-shaped effect to the figure. Nor was the inlaid boxwood stringing arranged in an elaborately curved patterned panel. The glazing bar arrangement on the bookcase doors could also probably be shown to be a later form. 1900-1920
A mahogany bureau bookcase of George III ‘design’, with a broken pediment above the bookcase and satinwood banding throughout. A good three foot wide reproduction which, apart from its missing or broken front bracket feet, follows the original line quite correctly. The Midland Furnishing Company sold an almost identical version for 6. 6. 0. in 1910. Note that the bracket feet are damaged at the front. These bureaux are now standard ‘trade’ items and many of them still exist. The value of this example is helped by the curved broken pediment 1900-1925
A Sheraton style bureau-cabinet on square tapering legs ending in block feet. The upper cabinet is fitted with bevelled plate glass doors. There is a hinged, folding top to the writing area, which folds over to give a
greater surface area and is lined with leather. The roller shutter slides back to reveal pigeon holes and drawers inside. 1900-1910
A chinoiserie lacquered double-domed bureau bookcase in the Queen Anne style on bun feet. In this case the makers have decided on a bureau form incorporating a kneehole, which is not a version very often found in the original period of 1710-1730 to which the style relates, but it is possible. The gilded carving on top of the domes incorporates scroll and leaf forms. The bun feet are to give it an ‘early’ look, i.e. to imply that the
piece belongs to the transition from Williamand-Mary bun feet (1690-1710) to Queen Anne but before bracket feet came into greater fashion (1710 onwards). Obviously requiring enormous time and skill to produce but lesser quality versions (without the top carving) are still made by the trade, often in a green colour, and sold to the U.S.A. for about. for subsequent auctioneering as `period’ and massively increased margin. This high-quality piece was made around 1920 and is pretty faithful to the original proportion and feel of the period except for the slightly thin top mouldings  although the makers would claim that this thinness is justified when top carving and gilding is involved, since the eye does not rest on the top moulding but goes up immediately to the gilded tops. c. 1920
A 3ft. wide mahogany bureau bookcase on thin cabriole legs, of a type much produced from Edwardian times into the 1930s. The top, glazed cabinet has a reasonably robust approach to life but the legs are well and
truly mean in proportion. It may be useful, it may be neatly made but the mass-produced look is deeply ingrained upon it. 1900-1930
A characteristic oak `Jacobethan’ bureau bookcase on stretchered bulbous feet. The leaded glazing bars are typical and the geometric mouldings to the fall and drawer fronts  to give that ‘Jacobean’ look  are to be
found on most versions.
BUREAUX  bonheurs-du-jour
The bonheur-du-jour of French Empire inspiration appears to have died out in its early 19th century form, but during the Victorian ‘Louis XIV’ rococo period it re-emerged in burr or figured walnut as an elegant French piece. The examples show how the type prevailed through the vagaries of fashion as a suitable desk for a lady of means.
A walnut bonheur-du-jour of very French inspiration but in fact made by an English reproducer, with locks by a Birmingham firm. The boxwood inlays are of stylised flowers and semi-naturalistic forms. The two upper cupboards flanking the central mirror have glazed doors and pierced brass gallery rails above. The fitted interior has a well. An interesting example of how the Louis XV-rococo style, popular in England in its own adapted form, could be more faithfully reproduced  with variations, of course  almost as the local English form was dying. C. & R. Light illustrate a very similar model in their 1881 catalogue. 1860-1885
A satinwood inlaid bonheur-du-jour with a central domed mirror flanked by cupboard doors inlaid with marquetry. The square tapering legs curve elegantly outwards towards the ends. Altogether a very delicate and finely-made piece of Edwardian lady’s equipment. 1900-1910
A quite elegant writing table or bonheur-du-jour in the Edwardian Sheraton manner, with extensive inlays in boxwood and ivory. The drawers are banded in satinwood. The tapering square section legs end in brass
castors and are connected by curving cross stretchers. The arcaded central section of the top is mirrored behind and the spindled top gallery sports characteristic finials. 1895-1910
A mahogany bonheur-du-jour in the Sheraton manner on tapering square section legs ending in castors. The inlaid decoration is of flowers, patera and husks. The front surface folds over outwards to provide an extra
area of writing surface, supported by pulling out the drawer, which has a baize-lined top edge to prevent scratching. 1900-1910
A rosewood cylinder bureau, inlaid with marquetry dolphins, flowers and stringing lines. The arched cresting rail has an applied reeded or gadrooned vase and is a feature of much Edwardian furniture (without the
vase). The square tapering legs end in castors. Inside the tambour top there is a pull-out writing surface and a fitted interior.
BUREAUX  cylinder front
The cylinder front became a popular Edwardian form usually associated with higher quality bureaux. It was, of course, due to the popularity in revival of late 18th/early 19th century furniture of the Sheraton type that
this vogue took place. Cylinder fronts still tend to be highly regarded despite the fact that they are somewhat subject to damage due to splitting and warpage in centrally heated conditions. Warpage can cause them to jam or lock in one position and repairs can be expensive.
A ratner plain mahogany cylinder front bureau with three long drawers and mounted on bracket feet. The drawers and cylinder fall are crossbanded in satinwood in the characteristic Sheraton manner.
A mahogany cylinder fall bureau in a somewhat Chippendale style of execution with Chinese fretted brackets at the tops of the square tapering legs. Note the carved decoration, which includes lion-mask handles to the
cylinder fall. c. 1920