ANTIQUE TRIPOD TABLE, CARVED OAK CENTRE TABLE, ANTIQUE FRETWORK WALL MIRROR, DISPLAY CABINET ON STAND

A CARVED WALNUT ARMCHAIR, George II style, with a pierced splat back and cabriole legs, on claw and ball feet

A CARVED GILT-GESSO AND UPHOLSTERED ARMCHAIR, Louis XVI style, with an oval back and fluted turned legs

A CARVED OAK CENTRE TABLE, 18th Century style, on four baluster turned and square legs joined by stretchers, long

AN OAK DINING TABLE, Edwardian, with an elongated rectangular top, on tapered square legs, long

A PAIR OF CARVED GILTWOOD WALL LIGHTS, 18th Century, the urn crestings above mirror facetted lozenge panels with twin candle brances,/awfo, each high

AN ANTIQUE CABINET BOOKCASE, the upper part with glazed panelled doors above frieze drawers and cupboard doors, high by wide.

A PAIR OF MAHOGANY AND INLAID OCCASIONAL CHAIRS, Edwardian, with splat backs, upholstered seats and carved cabriole legs      —

AN OAK CUPBOARD with a fielded panelled door enclosing shelves above a drawer, on turned feet, high by wide.

AN ASH AND ELM WINDSOR ARMCHAIR, Victorian, with a pierced splat back and crinoline stretchers—

AN OAK RECTANGULAR SIDE TABLE, George III, with a drawer, on tapered square legs, wide.

A SET OF SIX MAHOGANY DINING CHAIRS, Queen Anne style, including a pair of armchairs with solid splats, drop-in seats and cabriole legs

AN ANTIQUE TWIN PEDESTAL DINING TABLE, George III style, the turned supports each with splayed tripod supports, on brass paw castors, long including a leaf insertion—

A CARVED ROSEWOOD AND UPHOLSTERED CHAISE LONGUE, Victorian, covered in scarlet velvet, on cabriole legs, long

AN ANTIQUE FRETWORK WALL MIRROR, George III style, with a pierced cresting, high

AN ANTIQUE DISPLAY CABINET, Edwardian, with a pair of astragal doors, on splayed legs, high by wide.

AN ANTIQUE SHOP DISPLAY CABINET ON STAND, of tall narrow proportions enclosed by a single glazed door, high by wide.

AN ANTIQUE SHOP DIPLAY CABINET, early 18th Century, with a reeded frame enclosed by a pair of glazed doors, high by wide.

A TEAK CHEST, early 18th Century,
the two short and three long drawers with
brass escutcheons, wide.

A CARVED OAK BUREAU, William & Mary revival, 18th Century, the fall revealing automatically sliding stationery compartments, on turned legs with stretchers. wide.

A WALNUT CABINET BOOKCASE, late Victorian, with glazed doors above frieze drawers and corresponding carvedcupboard doors, high by wide.

AN ANTIQUE COUNTER DISPLAY CABINET, 18th Century, with a glazed top, on tapered square legs with spade feet, wide

AN ANTIQUE AND INLAID DISPLAY CABINET, Edwardian, with a pair of astragal doors, on tapered square legs, high by wide.

AN ANTIQUE SHOP DISPLAY CABINET, 18th Century, of tall narrow proportions, on a carved chinese fretwork stand, high by wide.—

A DISPLAY CABINET ON STAND, part late 18th Century, the associated glazed upper part above a chinese huang huali stand with pierced fretwork, high by wide.

A PINE CRICKET TABLE, early 18th Century, with a circular top on tapered square legs joined bv stretchers. diam.

A DISPLAY CABINET ON STAND, part late 18th Century, the associated glazed upper part above a Chinese carved huang huali stand with a marble inset top, high by wide.

AN ANTIQUE SIDE TABLE, the
rectangular top above a pair of ogee frieze drawers, on tapered columnar end supports with platform bases and bun feet, wide

AN EBONISED COLLECTORS CABINET, Victorian, the glazed hinged top above seven long drawers with locking pilasters, on bracket feet, wide.

AN ANTIQUE TRIPOD TABLE, George II style, made-up, the circular top with acanthus carved border, on a baluster pillar, the tripod base with paw feet, high by diameter.

ANTIQUE BIRDCAGE’ TRIPOD TABLE, MAHOGANY BERGERE  ARMCHAIRS, INLAID ROSEWOOD SIDE CABINET, CARVED GILTWOOD WALL BRACKET

AN ANTIQUE AND INLAID
BIJOUTERIE TABLE, Edwardian, the
glazed top above tapered square legs and
spade feet joined stretchers.

A SET OF FOUR MAHOGANY
DINING CHAIRS, George III style,
including a pair of armchairs, with pierced
splats and square legs.

AN ANTIQUE BIRDCAGE’ TRIPOD
TABLE, George II style, modern, with a tilt
top and carved base, bearing the label of Archer
& Smith Ltd., dia.

AN ANTIQUE DUMB WAITER OR
WHATNOT, Victorian, with four tiers, on I
turned and square supports, wide.

A PAIR OF MAHOGANY RAIL BACK ARMCHAIRS, George IV, with upholstered seats, on turned legs.

A PAIR OF BEECHWOOD COMB-BACK WINDSOR ARMCHAIRS, 18th Century, with hexagonal seats; together with AN ANTIQUE Side Table, Victorian, on turned legs, top loose, wide.

AN ANTIQUE DRESSING TABLE MIRROR, George IV, with bobbin turned supports and a shaped three drawer plinth base.

A WALNUT AND INLAID DAVENPORT, Victorian, with real and dummy drawers, one drawer facing replaced in oak, wide.

A SET OF SIX MAHOGANY DINING CHAIRS, Victorian, with rail backs, stuffed, seats and fluted turned legs.

A PAIR OF MAHOGANY BERGERE  ARMCHAIRS, George III style, late th  Century, with caned backs and seat, on fluted square tapered legs, with loose cushions;

AN ANTIQUE DISPLAY CABINET ON STAND, George III style, with astragalj doors above chamfered square legs, distressed^  high by wide.—J
d A SET OF SIX MAHOGANY RAIL
BACK DINING CHAIRS, probably
Biedermeier, early 18th Century, with drop
in seats, on sabre legs.

A WALNUT BUFFET, late Victorian, the three tiers with a pair of drawers and turned supports.

AN ANTIQUE BUFFET, Victorian, the three tiers with turned supports.

AN OAK OCTAGONAL CENTRE
TABLE, Victorian, with a foliate carved
frieze, raised on bulbous turned and square
legs joined by stretchers, split to top.

AN ANTIQUE SERPENTINE
STANDING CORNER CUPBOARD, th
Century, with a key cornice above a pair of
astragal glazed doors, with a pair of panelled
doors, on ogee bracket feet.

A SET OF TEN OAK DINING
CHAIRS, Cromwellian style, including two
armchairs, with leather covered back and
seats, on turned and square legs.

A SET OF FOUR MAHOGANY DINING CHAIRS, George III style, with pierced splat backs, drop-in seats and on foliate carved cabriole legs with claw and ball feet

AN ANTIQUE AND SATIN WOOD INLAID ARMCHAIR, Edwardian, with a carved and pierced back, needlepoint coverd seat and on cabriole legs—

AN INLAID ROSEWOOD SIDE CABINET, Victorian, with a raised mirror back above a drawer and a pair of cupboard doors, flanked by canted open shelves, with a lower shelf and on

turned legs, loo bracket to mirror, high by wide.

AN ANTIQUE DRESSING TABLE, Victorian, stamped EDWARDS AND ROBERTS, the hinged mirror flanked bv four small drawers, above a pair of frieze drawers and on fluted and turned

tapered legs, wide.

A CARVED OAK CHEST OF DRAWERS, George III, the carving possibly circa, the top depicting a Conquistador and an Indian warrior, above two short and three long graduated drawers,

carved with figures and foliage, splits to top and sides, faults, wide.

AN OAK AND BURR WALNUT BUREAU, George III, the crossbanded fall enclosing a fitted interior of drawers, pigeon holes and a central cupboard, above four graduated drawers, on

reduced bracket feet, wide.

AN ANTIQUE BOWFRONT CHEST OF DRAWERS, 18th Century, with two short and three long graduated drawers, on splayed bracket feet, faults,
wide

A FRUITWOOD STOOL, French early 18th Century, with a square tapestry seat, on turned legs, wide.

A CARVED GILTWOOD WALL BRACKET, Italian, 18th Century, with rocaille C-scrolls and foliage, wide.

BUREAU BOOKCASES  Elongated Edwardian
The Elongated Edwardian bureaux described later were often available in a bureau bookcase form, although the bookcase above was often smaller than that of 18th century types. Leaded lights and quaint shapes were
often used.
An oak bureau bookcase with fall open to show the pigeon holes inside. There is a centre cupboard above the fall, with circular leaded-light door. Above this, the top shelf sports a weirdly-carved pediment and finials.
The whole piece is a gesture towards the Progressive and art nouveau influences of the period. Small  2ft.6ins. wide and 5ft.3ins. high  so really quite a desirable size for modern rooms.
An oak bureau bookcase which is only a brief development further from the previous bureau. Note the side bookshelves, also a feature of No. 3. The upper shelves are useful but the huge gap below the fall could surely have been used better. The fall is carved with scrollwork and the odd, quirky pierced decoration is, presumably Progressive. 1900-1915
An oak bureau bookcase with a conventional lower half but fitted with leaded-light doors to the upper glazed cupboard, incorporating stained glass, which adds to value.
An oak bureau bookcase with leaded-light upper doors incorporating two oval panels. The lower half has a drawer and two cupboard doors under the fall. 1900-1920
A more coherent oak bureau bookcase design with the flat capped top rail of the Edwardian period which stemmed from Voysey and the original Progressive designers. The centre cupboard above the open fall again
has a leaded-light door but is rectangular in sympathy with the rest of the piece, including the panelled cupboard doors below the fall. The only place where over-exuberance may have set in is in the rather Islamic
arching of the alcoves containing the vases. 1900-1915
A more conventional version of the previous oak bureau bookcase without leading in the glass doors of the upper half. Back in 1910 or so the difference in price between this and the previous one was ten shillings  five bob for leading each glass door.
An oak bureau bookcase which owes something to the dresser in its design which is simple and pleasing. These pieces, of characteristically small proportions  5ft.9ins. high and 2ft.9ins. wide  will be enthusiastically collected for their use in small rooms one day.
BUREAUX  Elongated Edwardian
Following the popularity of the Progressive designers and the influence of Voysey and others, there was a move by the trade, around 1900, to produce designs in the required manner. This resulted in an entirely unique species of elongated bureaux, slightly, but ever so slightly, art nouveau in manner, using a much thinner depth of section, few drawers, if any, and often with elongated hinges to the fall in an ‘artistic’ design. The following section shows a selection of the bureaux; the bureau bookcases have a separate section to themselves.
A typical example of the elongated species with stamped bronze handle and elongated hinges to the fall. Note that there are no drawers only bookshelves below and a typical bookshelf round the top, formed by a solid wooden cresting rail. c.1900-1910
An oak fall-front elongated bureau of the three foot wide, but much less deep, version preferred by the early 20th century. These slenderer  or should it be narrower  versions of the old 18th century invention, seem to
have met a need for bureaux for smaller rooms. This is a very straightforward version with a simple interior and three drawers under. 1900-1920
A roll-top version of these oak bureaux with shelf above, pigeon holes inside but no drawer under  just shelves. Roll top adds to price.
A small oak roll-top bureau with a wooden top gallery rail intended as a bookshelf. The inside is neatly fitted with pigeon holes and there is a drawer and shelves under. 1900-1920
An oak fall-front bureau with a pierced top shelf which exhibits a heart shape and two art nouveau-ish leaves. Otherwise nothing remarkable. 1900-1915
An oak bureau which has a variation from the previous examples in the classic Edwardian shaping of the top rail. That central semi-circular arch is a very popular feature of the period (see Sideboards for similar
examples). It may be thought that since these bureaux have only recently become a feature of the stock of ‘antique’ shops, there will have been little incentive to fake them or gerrymander about with them as yet. Not
so: the author was recently offered one which turned out to have been refitted inside, repaired, improved and generally cobbled together from bits. So be warned.
A small oak bureau (2ft.2ins. wide) of the same genre but with a dash of art nouveau shaping to the top shelf. Pigeon holes inside and shelves under, as before. 1900-1915
A fall-front oak bureau with a pierced fretted gallery round the top (also of oak) and with a drawer and two shelves under the fall. This generic type has been utterly despised until lately, when the use of the piece, the
way it occupies little space, and the fact that it has been cheap, have suddenly made it a regular feature of many ,antique’ shops. 1900-1915
An oak bureau on stand with curved legs and shelf stretcher. The drawer under the fall, and the fall itself, are inlaid with the boxwood and ebony chequered banding ever popular in Arts and Crafts design. The top
shelf is pierced to show a motif of indeterminate sort. 1900-1915
An oak bureau on stand with bobbinised front legs to give an ,old oak’ effect, relevant to the moulding on the fall, slightly `Jacobean’ in character. The ring handles are a Sheraton design.

Bureau-Bookcase

From the mid-eighteenth century, cabinets and bureau-bookcases conformed to the
Signs of authenticity
1. Wood smooth and silky to the touch.
2. Carved decoration deep and precise, rounded with age and use.
3. Vertical grain in central panels of block-fronted doors, held in cleated frames.
4. Sides in two pieces, not flush.
5. Lip moulding to edges of solid mahogany fall-fronts.
6. Flush edges to doors and writing flaps on veneered pieces.
7. Bookshelves on adjustable pegs or pins.
8. Veneers well-matched on tops and bases.
9. Doorbolts and locks of brass, levers and bolts of steel.
10. Later pieces had applied decoration, hand-carved and slightly irregular.
11. Backs of separate
component parts of same timber, colour and patination.
Likely restoration and repair
12. Flush-sided without
moulding band between top and base indicates a ‘marriage’ or a piece cut down from larger, more massive library bookcase, with new sides.
13. Fall-front different thickness from rest of writing
compartment indicates a replacement. Georgian timber was thicker than machine-cut planking.
14. Broken pediment without central plinth may indicate that the piece has been narrowed from wider original.
15. Handles and escutcheons original but too large  whole piece has been made up from larger original.
16. Shallow carving on apron, feet, flush with profile, indicates later carving of plain original. Later mouldings may also have been added.
17. Wood feels rough to the touch. A cheaper, later period Honduras mahogany piece has been scraped down and repolished to look classier.
architectural styles and fashions of that period. Although frequently referred to as ‘the Chippendale period’ it was William Kent (died in 1748) who had the greater influence on these pieces with their adaptation of the classicism of Ancient Greece and Rome. The curved and rounded broken pediments of an earlier age changed to a more severe triangular shape, often with a central plinth on which was mounted a bust, an eagle or some similar classical feature. To accord with Georgian design, cabinets and bureau-bookcases were larger than those of the previous period and there was a preference for fall-fronted writing drawers, as opposed to slope-fronted desks, due to a growing desire for plain and simple shapes.
Construction and materials
The strength of mahogany allowed for much simpler construction which reflected the taste for classical simplicity. A bureau-bookcase was made in three pieces: the bureau base, the bookcase, and the decorative pediment. All the lines were sleeker, and there was a less pronounced step between the bureau base and the bookcase above.
The carcase was of cheap Honduras mahogany or baywood, veneered in fine-figured San Domingo or Cuban mahogany. After c.1760 this rich, lighter-coloured wood was used both as a solid wood and for veneer. The backs of the separate components were of saw-cut pine or mahogany planking. When made in solid mahogany, the edges of writing flaps had thumb or lip-moulding. Veneered writing flaps still had flush edges. Drawers in the base were of oak and pine, with dustboards between them. Mahogany cabinet doors
were heavier than those of the earlier secretaire, and were hung on three pin hinges instead of two. The decorative pediment was three-sided only, on a frame which slotted into the top of the cornice and was not secured.
Detail
The fine, close grain of mahogany allowed decoration to be carved into the wood: Greek key motifs, reeding, fluting, fretting and dentil cornices were integral and not applied.
Pediments were more ornate and so were bases, often with serpentine aprons with a central cartouche, carved paw feet or short, scrolled, outward-curving bracket feet. Canted corners to tops and bases, often fluted or carved, were also typical features. Glazing bars were functional and stood proud on either side of glass-fronted cabinets, holding individually-cut panes of glass in decorative geometrical patterns. If the bookcase had block-fronted doors then the panels would be chamfered. Backplates, handles and
escutcheons were of plain, fretted or pierced brass. From c.1750 escutcheons were plain flush plates with little or no decoration. Interior desk fittings had bone, ivory or brass knobs to drawers.
Variations
Some desks and bookcases of the second half of the eighteenth century had double or single cupboards in place of the drawers below the writing flap. In manor houses the plain bureau served the same purpose as the bureau-bookcases of larger households, and a separate hanging shelf accommodated the few books kept by all but educated and wealthy families. As with the previous period, the top half of any doubleheighted writing desk was usually glazed to display china and other decorative objects.
Simple square-topped bureau-bookcases with double doors below the writing flap were made in mahogany veneer on pine carcases for modest provincial houses, using the same construction as grander pieces but lacking the ornate carved decoration. Some applied decoration in simple forms was customary, usually a lattice-like design or Greek key pattern.
Reproductions
Nineteenth century Square-topped library furniture of less height than eighteenth-century originals was made in solid Virginia walnut which discolours and darkens with age. To the untrained eye it may look like mahogany but it lacks the depth of colour and lustre and was often French-polished to a spurious gloss. This classic piece of library furniture continued to be made right through the nineteenth century into ‘he twentieth, with some –ariations in the combination of display cabinet and desk, bureau-bookcase and base
with drawers or double doors containing sliding shelves on runners.
Twentieth century
Modern mahogany veneer is thinly cut by machine. Unlike original bureau-bookcases, the drawers do not have cross-cut veneer edging but are usually veneered with a single piece and then inlaid with a paler wood.
Left: a provincial version with display-cabinet top, c.1790.
Above: Edwardian reproduction in mahogany with satinwood crossbanding.
Price bands
Georgian, broken pediment, fine and unrestored, $6,000-8,000.
Late Georgian provincial, 12,000-3,500.
Early nineteenth century,$1,250-3,000.
Edwardian, in good condition, $750-1,000.

BUREAU BOOKCASES — oak
Eighteenth century oak examples of fashionable objects like bureau bookcases are generally thought of purely as provincial or even country pieces; indeed many are, but the range of quality varies enormously. They were made throughout a very long period of time.
Very typical of the solidly well-made pieces produced in oak; like the previous example it has two candle slides. The fielded panels are well shaped and the top moulding is broad which helps to balance the bulk of the piece. Hundreds like it have been made and others married. Check that any screw holes in the bottom of the top half go through into the bottom. The moulding round the sides should not protrude more or less than half or three quarters of an inch, depth can prove a problem to a marriage, but above all it is the grain of the wood and the colour that exposes previous divorces. Generally not the most striking of pieces but very useful. c.1750
Here for example is a piece in oak which has almost everything one could ask of a walnut veneered example of the same period. One has only to look at the well-designed stepped interior and the fine double domed moulding of the bookcase, to appreciate that it was the customer who asked for a plain bookcase interior, not the maker who couldn’t make one. c. 1710
The shallow curved apron, the mahogany crossbanding and above all the dentil moulding and unimaginative arrangement of the glazing bars all point to a late provincial piece.
Though probably original, the top looks small for the bureau compared with earlier examples, but this is quite usual and was probably accounted for by the lower ceilings of the more modest houses for which  such bureau bookcases were intended. c. 1790

BUREAU BOOKCASES —  mahogany
A Chinese lacquer double-domed bureau bookcase on serpentine bracket feet. Note how the constructional features are similar to those of walnut pieces — double-D moulding (gilded) etc. Finials are missing.
1720-1740
Assume original lacquer price is $30,000 — 40,000 If lacquer 20th century $4, 000 — 8, 000
A magnificent mahogany bureau bookcase under the influence of William Kent’s architectural style — fluted pillar decoration, splendid broken pediment, canted fluted pillar corners to the bureau, serpentine bracket feet. 8ft. 6ins. high. A very wide piece though — 5ft. 2ins. —and possibly designed for a specific room. The name rather than the quality or size makes it so expensive. Top price for documented piece or one with good provenance. 1740-1750
Another lacquer bureau bookcase of similar quality shown with the mirrored doors open. Again good mouldings and returns (i.e. the side mouldings). 1720-1740
A mahogany bureau bookcase with broken pediment including dentil frieze, canted fluted corners. Note the use of small side drawers as supports for the fall. 1750-1760
A George III mahogany bureau cabinet with panelled doors, showing an interesting grain and a plain frieze with dentil moulding. The interior is elaborately fitted. The fall is inlaid with the initials WM and the date 1767. This is a piece of reasonable quality but with a plain top is not particularly exciting. It is 7ft. lin. high.
Bureau bookcase in mahogany veneer with glazed doors and broken pediment. A very standard piece which joins the utility of the bureau with the even more desirable feature of display. 1750-1770
Mahogany A la Chippendale — fretted broken pediment and frieze; blind fretted carcase edges and even the bracket feet are carved. As elaborate pediments add to the price and as few Chippendale wardrobes still retain them, make sure the two parts started life together. 1750-1770
Fretted broken pediment, elegant glazed doors, bracket feet, vase and ribbon inlaid into fall and a satinwood frieze under the top moulding. 1780-1790
Hepplewhite elegance in mahogany; splayed feet, veneered and inlaid doors, glazed top and fretted broken pediment and central platform for a finial, not present. Note how well the veneers are matched — just to show Grandad Walnut that the new boys could do it too — a highly considered piece.
A highly decorated Sheraton mahogany bureau bookcase with nicely matched veneers and ornate inlays, on splay feet. Thought to be Scottish.
A straightforward mahogany bureau bookcase of late Georgian period, without decoration. Made repeatedly up to and including the present day. 1790-1810
A nineteenth century reproduction, worthy of Edwards and Roberts, in mahogany with satinwood cross-banding. 1880-1910

BUREAU BOOKCASES — walnut
A walnut bureau bookcase of finely figured walnut, with double-D mouldings and a dividing moulding around the bureau section — relic of earlier divisions (see Bureau). There is a bookrest moulding on the fall. The top has candle slides below the shaped mirrored doors, which are edged with cross-grained mouldings. 1700-1720
A burr elm bureau bookcase with attractive deeply cut mouldings to the top of the bookcase and round the sides (’returns’). The doors have bevelled Vauxhall glass doors and fine mouldings missing only a pair of engraved stars to make it the classic example. It has, of course, candle slides and beautifully matched veneers.
The classic profile of the good quality bureau bookcase of the period with great deep top mouldings and ‘returns’ to balance them. Finely shaped and bevelled glass. But the bottom has cock-beading and flat veneering instead of double-D moulding, and brackets instead of buns. This is almost certainly a marriage. For further evidence look at the difference between the wood on the side of the bureau and the bookcase. Finally, the inside fittings of the top have double-D mouldings. Priced accordingly. The top price if you
have a William and Mary bureau missing a top or vice versa.
A single-width (2ft. 3ins.) burr walnut example with cock-beaded drawers. The price drops principally because of the plain moulding. 1720-1740
A good walnut bureau bookcase with herringbone banding to the drawers. When looking at any bureau bookcase one has to decide whether the two parts started out life together. However, when the quality of the piece is such that the top half if well fitted with drawers and doors that clearly match those in the bottom half, both in veneers and patination as in this piece, the originality is obvious. Notice the insides of the doors are well veneered. Apart from the plain moulding it lacks only a door and curved drawers to
the inside to put it right at the top.
A good solid walnut bureau bookcase with fielded panel doors, good mouldings and unusual drawer arrangement, shown open and closed. Single heavily moulded pediment and fine interior fittings. The price is lower because it is in the solid rather than veneered and it has no glass, but in fact it is a better quality piece than many veneered ones, i.e. the top mouldings and good interior fittings especially in the bureau. 1730-1745

BUREAU BOOKCASES

In the main, the same rules apply to the value of bureau bookcases as are applied to bureaux themselves and the dating of them lies in an understanding of the mouldings and types of veneered decoration. However, for the bureau bookcase there are additional features, particularly the decoration of the top moulding and the way the door fronts are arranged which give further signs of quality.
The essential point is, of course, to make sure that the top and bottom were made at the same time and that there has not been a marriage of two separate pieces. Among the points to check are colour, arrangements of drawers, old screw holes where the top has been secured, any signs of new cabinet work where the top may have been thinned or narrowed, the quality of wood used at both front and back and drawer lining materials and workmanship. Look carefully at the decoration, has some been added to one half to
make it look more like the other Often very difficult to tell.
Value points: as for bureaux plus the following point which apply to the top half.
domed or broken pediments mouldings of high quality  original mirror or glass glazing bar arrangement
This superb George I walnut and carved parcel gilt example is a first rate piece in which the fitted work on the top half has been taken to such an extent that it has made it into a cabinet rather than a bookcase. The use of pillars, fine carving both on the acanthus cartouche medallion and the massive paw feet make it a formidable example of English cabinet work. It is only marginally over 6ft. which further enhances its desirability. Still modestly priced in terms of Continental furniture. c. 1720