THIS day the 4 drawer chest with eagle, wings outspread month ends … and the 20th. century folding and pivot top card table entire world in a merry mood because of the edward & sons tureen King’s coming.’ Thus wrote Pepys at the antique dresser1867 end of May 1660, when he expressed the tudor oyster london self winding feelings of everyman. the symbolism carpets persia lotus restoration of Charles II to the maker wooden hall tables throne was, in effect, a welcome revolution; and such exultation, although perhaps short-lived, was general in the antique trestle table two sides fold down country.
With the english regency furniture mounts Restoration, foreign influences in furniture design were at once predominant. the value victorian mahogany tip table heavy oak furniture of the inlaid brass sideboard preceding period found small favor at court, and there was no pronounced development of native styles. Instead, the 4 legged dumb waiters fashions abroad were reflected in furniture and decoration at home as in architecture, and with much benefit. A taste for luxury, which had been acquired by the nineteenth century sideboard pennsylvania Royalist exiles, was stimulated both by our admiration for the antique walnut chair styles manners of the myott son and court of Louis XIV, in common with most of Europe, and by our commercial intercourse with the victorian book cases 1880 Dutch. the chest of shallow specimen drawers arrival of French and Dutch immigrants in the antique envelope table country further contributed towards a changed state of affairs. the queen anne drop leaf dining table considerable quantity of fine oak furniture, of sound construction, which was destroyed in the marble wood and brass circular table Great Fire of London, was perforce replaced, but often by walnut pieces of entirely different, character. (It is estimated that more than 10,000 dwelling houses were lost in the value of a wood desk from 1750 Fire.) ‘Joiners, cabinetmakers, and the shallow mahogany cupboard like, who from very vulgar and pitiful artists,’ wrote Evelyn, ‘are now come to produce works as curious for the small regency breakfast mahogany table with flaps to extend fitting, and admirable for their dexterity in contriving, as any we meet with abroad.’1 Fortunes, indeed, were spent in the william and mary console table furnishings of houses, and such extravagance spread surely to the gilded rococo boiserie panels middle classes.
Defoe has stated that in the imperial table gateleg summer of 1665, when the bravington art deco grandfather clock plague was raging in London and all who could afford to do so had fled from the all antique silver caddy boxes city, trade was brought to a standstill; he then listed the white porcelain antique lamps made in czechoslovakia classes of people who suffered as a result of this: ‘all master-workmen in manufactures, especially such as belonged to ornament, and the karpen furniture chest less necessary parts of the antique figurines unglazed german people’s dress, clothes, and furniture for houses … upholsterers, joiners, cabinet-makers, looking-glass makers, and innumerable trades which depend upon such as these j-I say, the czechoslovakian clocks master-workmen in such stopped their work, dismissed their journeymen and workmen, and all their dependents. There is, in his words, sufficient confirmation of the semi-circle antique desk drop leaf recent growth of the antique drop leaf table w cupboard industry.
Floral marquetry, which well exemplifies the first use of casters on english furniture exuberant nature of Restoration taste, would seem to have been a Dutch importation of about 1670. It was brilliant, decorative, and colorful. This type retained favor in England until about 1690 - and on long-case clocks well into the splat back chair repair eighteenth century. Floral marquetry was applied to such pieces as the charles i oak paneled cupboard oblong table with twist legs, the side cupboard mahogany cabinet on stand or base, the 18 century oak corner cupboards chest-of-drawers or chest-on-stand, the period round worktable with drawers mirror frame and the types of antique armchairs lace box .The technique of marquetry, distinct from the rococo chest with acanthus leaves earlier practice of inlaying different colored woods into a ground wood such as oak or walnut, consisted in the antique furniture iowa city application of an overlay of variegated veneer on to a prepared carcass wood. Floral patterns and designs of flowers with birds were at first reserved in panels; all-over decoration of the claw foot cherry end table surface followed. Early English and Dutch pieces coincided in appearance; but, twenty years later, the sheraton glass inlaid cabinet patterns of English work, finer and more complex than the fish japanese wood carved Dutch, often incorporated cupids and acanthus leaf motifs. Light woods were set on a dark ground - walnut, lignum vitae, coriander or ebony, which were effective as a base for the the directoire and empire furniture brilliancy colored flowers and leaves of ivory, stained green. Many different colored and unusual woods, increasingly imported from the antique dresser 17th century East and West Indies, were used. Of the antique toilet set number were the english baroque highboy cabinet fruitwoods, beech, yew, bog oak, sycamore, holly and, for flowers, orange and citron.
The Early Walnut Period
The occasional employment of a light ground, as also the frankenthal china candelabra use, of shading and a crude contrast of ground and ornament appeared in Dutch work. A coarse and debased form of floral parquetry persisted in Holland throughout the antique american oak deep well dresser with tilting mirror course of the gilded side chairs next century.
The beds made for the bureau or slant top desk is from england and dates from around 1800. Royal palaces and for state apartments in the antique wood twisted lacquer candlestick india houses of the antique barley twist leg table nobility were excessively expensive, particularly when one considers the 17thc court cupboard high purchasing power of money at that time. It had become customary for Royalty to give audience in the restoring mahogany veneer bedchamber. Ladies, too, held receptions whilst in bed. John Evelyn, attending Charles II one morning in 1683, recorded following his Majesty ‘thro’ the antique sideboards with lights galleries into the dining room chairs louis xv Dutchesse of Portsmouth’s dressing-roomer within her bed-chamber, where she was in her morning loose garment, her maids combing her, newly out of her bed, his Majesty and the antique deep buttoned upholstred beds gallants standing about her .The bedchamber as a consequence was filled with rich furniture and many costly trifles. the george ii tripod candle stand light and satirical commentary in verse on the art deco kidney shaped oak table fashions of her day entitled A Voyage to Maryland, or, the 1770 chippendale antique mahogany bedroom set Ladies Dressing Room is informative in this respect.
‘You furnish her apartment With More clack tapestry, damask bed, Or velvet richly embroidered: Branches,X brasserofi cassolets, A coffer-fort, and cabinets, Vases of silver, porcelain, store To set, and range about the mother of pearl tables floor: the porcelain japanese tea service marks Chimney furniture of plate (For iron’s now quite out of date);
Written by John Evelyn, or possibly by his daughter, Mary, f ‘Branches: Hanging candlesticks, like those used in churches.’ ‘Brasiere: A large vase, or moving-hearth of silver, for
Portable into any room, much used in Spain.’
A strong box of some precious or hard wood, &c bound with gilded ribs.’

French Gothic-style carved oak Cupboard on Stand, Italian walnut Cassone, Italian giltwood large Armchair

A Continental giltwood Fauteuil,
circa, the cartouche-shaped
upholstered back surmounted by an
anthemion cresting, the upholstered
serpentined seat above cabriole legs,
regilded, possibly Italian.

An Italian walnut Commode, circa
with key-pattern banding, the two
short and two long drawers above tapered
square feet.

A Louis Phillipe mahogany
Cabinet, circa, with spiral pilaster terminals, the scroll carved frieze drawer above a pair of panel doors with ripple mouldings, the interior with a shelf, on turned feet.

A Louis XV dark oak Armoire,
circa, the moulded cornice above a
pair of panelled doors, faults.

A Louis XV-style kingwood
marquetry Bureau de Dame, circa,
with gilt-metal mounts, the bombe fall
revealing a recess, three drawers and a
well, the square cabriole legs ending in
sabots.

A French Gothic-style carved oak Cupboard on Stand, made-up, with bold iron hinges to the door, the base with an arched recess.

A Louis XV-style upholstered beechwood Library Armchair, circa,
covered in blue velvet, with carved apron
and cabriole legs, formerly with a painted
frame.

A Tuscan walnut Refectory Table,
circa, the top with a channelled
surround, the panelled frieze above six
turned legs, the square feet joined by
peripheral stretchers.

An Italian walnut Cassone, circa
the moulded hinged top above a
panelled front inlaid with flowers and
arabesques, on scroll carved feet.

A pair of fruitwood Benches, th
Century, the narrow tops with rounded
ends, on trestle-shaped supports.

A Dutch oak Chest, st half 19th
Century, the top with a dentilled border
above three long panel-front drawers with
swag carving, on turned feet.

A pair of Italian silvered Torcheres in late th/early 18th Century style, 18th Century, each of octagonal tapering form, with a gadrooned knop carved with husks and acanthus,

the tripod base with scrolled feet carved with sunflowers, resilvered and on ebonised plinths. high;

A pair of Hispano Flemish-style Armchairs, modern, in 18th Century manner, the pierced backs with two rows of turned spindles, with moulded arms, sprung seats, turned legs and

stretchers.

A Continental polychrome japanned Cabinet-on-Stand, late th/ early 18th Century, probably North German or Danish, the cabinet with a pair of cupboard doors painted with a brace

of pheasant, the sides with figures in a garden setting, the interior with seven drawers painted with hunting scenes, warriors and figures in garden landscapes, the whole gilt,

the stand parcel-gilt on a white ground, the cabriole legs with animal heads carved with acanthus, the deep apron with strapwork and foliage.

An Italian giltwood large Armchair, 2nd quarter 18th Century, probably Venetian, the padded cartouche back with a padded circular cresting amongst elaborate pierced acanthus and

‘C’-scrolls, with downswept arms, a stuffed seat and leaf carved cabriole legs—
Another larger Italian Armchair, nd quarter 18th Century, with a padded cartouche back and cresting amongst elaborate pierced baroque corbels, ‘C’-scrolls, acanthus and

flowerheads, with downswept leaf carved arms and stuffed seat, on a deep leaf carved apron and cabriole legs joined by an ‘X’-stretcher

A Continental 18th Century-style
giltwood frame Firescreen, circa,
the applique needlework cartouche panel depicting floral vase, with leaf scroll surmount and scroll feet.

A Regence-style giltwood Pier
Table, circa, the white marble top
above foliate frieze with floral swags, the
cabriole legs joined by stretchers and
centred by cartouche. high by.

Italian oak Settee, French transitional-style kingwood and marquetry Bedside Cupboards, Italian ebonised Blackamoor Stand, Venice

A German mahogany and button
upholstered Suite of Seat Furniture, circa
covered in burgundy dralon, on
cabriole legs and castors, comprising: pair
of armchairs with oval backs and a settee.

A pair of French transitional-style kingwood and marquetry Bedside Cupboards, modern, the quarter veneered top above a frieze drawer and pair of doors, on slender cabriole legs.

A Louis XVI-style large white
painted and upholstered Settee, modern,
with arched back and trophy cresting with
two birds, with scrolled sides, covered in
peach fabric with matching seat cushion
and bolsters, on turned and fabric-covered
canopy and drapes, settee.

SI A nest of three French mahogany Occasional Tables, circa, each with a rectangular brass-bound border inlaid with brass stringing, on turned legs, with brass bases and trestle

supports, the largest.

An Italian ebonised Blackamoor Stand, Venice, circa, the small naked infant supporting a circular table top on a rock base, the table incised with foliage imitating damask.
An Italian ivory inlaid and ebony veneered Cabinet-on-Stand, probably Florentine, circa, of early 18th Century architectural form, with an arrangement of small drawers and

cupboards, the central breakfront door enclosing a tortoiseshell interior with short drawers flanked by a pair of deep drawers set with a concave niche and an ivory vase and

cover, the whole inlaid with Renaissance foliage and figures, the breakfront ebonised stand with square tapering legs. high by. wide;  by , the stand possibly circa, the cabinet

with an armorial device and an inscription Luigi de Marchesi Niccolini Esigui I’Anno  Firenze.

A French carved walnut Salon
Suite, 2nd quarter 18th Century,
comprising: a canape, six side chairs and two armchairs, each with an acanthus carved asymmetrical cartouche back and moulded leaf carved frame, on cabriole legs with sprung

serpentine seats, the settee.

An Italian sculptural Blackamoor
Figure, probably Venice.

A French giltwood
tapestry upholstered Salon
Suite, probably Paris.

Louis XV manner, comprising: a small canape and two armchairs, each with a moulded flower carved frame, cartouche back, padded arms and cabriole legs, upholstered in gros- and

petit-point floral woolwork, the settee.

Two similar small French mahogany Vitrines, circa, each with a brown marble top and bow-fronted glazed door, with glazed sides enclosing shelves, on cabriole legs with

gilt-bronze mounts throughout, one.

A small French Vernis Martin Table Ambulante, Paris, circa, the
square serpentine top hinged to reveal a
bevelled mirror above two drawers, on
cabriole legs with gilt-bronze mounts, the
whole painted with 18th Century figures,
flowers and trophies in the Vernis Martin
style.

A French carved and gilt painted
Bergere a la Reine, circa, in the
Regence manner, the arched stuffed back
and stuffed open arms with flowerhead
carved terminals, the stuffed bow-fronted
seat with a leaf carved apron and cabriole
legs,

An Italian glass mosaic poly-
chrome Wall Mirror, Venice, circa,
the arched bevelled plate with a conforming frame encrusted with polychrome flowers, the cresting with a view of the Rialto Bridge, distressed. high by. wide;  by lft. Vin.

A French gilt-bronze mounted onyx Pedestal, probably Paris, circa,
the square revolving top with a Corinthian
capital and stepped moulded plinth.

An Italian rosewood and ivory talaid ‘Wellington Chest’, circa, of
Moorish design, inlaid throughout with
ivory geometric motifs and stringing
within ebonised mouldings, the hinged top
above seven drawers flanked by foliate
corbel pilasters, on a plinth base, faults.

SI A Louis XVI-style mahogany and
rosewood Meuble d’Appui, circa,
with gilt-metal mounts, the ‘D’-shaped marble top above a panel front with floral swags and a door, on paw feet.

A Louis XV-style rosewood and
gilt-metal mounted Bureau Plat, circa
the serpentine top with a tooled
leather inset, the crossbanded frieze with
three real and opposing dummy drawers,
on cabriole legs ending in sabots.

A Louis XV-style walnut and floral
marquetry Centre Table, circa, the
serpentined top with an ebonised border
and a lateral frieze drawer, on cabriole.

A set of four Dutch marquetry and
mahogany Chairs, circa, with stuffed
splats and seats, on sabre legs, restored.

An Italian oak Settee, circa,
with rope-twist mouldings and Gothic tracery fretwork, the stuffed seat covered in striped brocade, on tapered and fluted square legs.

A North Italian walnut Commode, Italian provincial walnut and crossbanded Commode, German walnut Cabinet, Louis XV provincial carved oak Armoire

A North Italian walnut Commode, circa, with bell-flower carved terminals and mouldings, the three long drawers above an apron with profile portrait medallion, on tapered square

fluted legs, worm.

A Directoire mahogany Cylinder Bureau, circa, with fluted terminals, the frieze drawer above a fitted interior and slide, below are three long drawers of breakfront form, on

tapered square legs.

A pair of North Italian walnut
Chairs, circa, the oval splats with
wheat-ear motifs, the stuffed brocade seats
above tapered and fluted square legs,
worm.

A North Italian oak and parquetry
Commode, circa, in the th
Century style, with two long drawers and
tapered square legs. high by.

A pair of Piedmontese small
walnut and crossbanded Commodes,
circa, the fronts of concave form,
with two long drawers, on cabriole legs,
worm.

An Empire-style mahogany
Washstand, circa, with gilt-metal
mounts, of stepped form, with oval
bevelled mirrors, on gilt claw feet.
high by.

An Italian provincial walnut and
crossbanded Commode, circa, with
two short and two long drawers, on square
cabriole legs.

A pair of Louis XV-style carved beechwood Fauteuils, the backs, padded arms and seats covered in striped brocade, on cabriole legs
An Italian olivewood octagonal Occasional Table, circa, with segmented veneers to the top and star motif, the frieze with real and dummy drawers, the lotus-clad pillar above a

triform base, on turned feet.

A 18th Century-style carved and
gilt rectangular Wall Mirror, circa,
the plate with a foliate and fruit border.

A French walnut Stool, circa,
the square serpentined stuffed seat
covered in gold dralon, the carved cabriole
legs joined by an ‘X’-shaped stretcher,

An Italian gilt Wall Mirror, circa
, the rectangular plate with profile
portrait medallion to the surmount and
swags, with conforming apron. high
by.

An Italian Lacca Povera Bureau,
circa, painted throughout with floral
sprays on a green ground bordered by ‘C-
scroll cartouches, the fall revealing a well
and stationery compartments, the frieze
with a pair of lopers above three long
graduated drawers. high by.

A German walnut Cabinet
the arched moulded cornice inlaid
with scrollwork and flowers above a pair of
doors with a simple strapwork design
above a similarly inlaid frieze, with plain
supports and flat stretcher.

A Louis XV-style tulipwood and
rosewood crossbanded Table a Ecrire,
circa, with gilt-metal mounts and
stringing, the leather inset kidney-shaped
top with a rear gallery containing four
drawers, the serpentine frieze drawer
flanked by cabriole legs.

A Louis XV-style mahogany and
gilt-metal mounted Card Table, circa
in the form of an oval occasional
table, the top with a hinged border frame
revealing a swivelling panel with a folding
baize-lined playing surface bearing an
inlaid emblem Balny BTt FGDS, Paris,
France & Etranger, the panelled frieze
above cabriole legs.

A Louis XVI-style mahogany and
gilt-metal mounted Etagere, circa,
the galleried marble inset top above triple
waisted supports joined by a galleried tier,
the fluted and stop-fluted turned legs with
a triform stretcher, on spiral fluted feet.

A Directoire mahogany Coiffeuse,
circa, the hinged top revealing three
rising panels revealing wells and a mirror,
the frieze with three dummy and two real
drawers, on tapered square legs with block
feet.

A Louis XV provincial carved oak
Armoire, circa, the egg and dart
moulded arched cornice above a roundel
flanked by foliate swags, the pair of
cartouche panelled doors enclosing
hanging space, the fluted corners on
cabriole feet.

A tall giltwood Torchere, French,
circa, the stop-fluted column carved
with husks and acanthus, on a triform base
carved with cherubs’ heads and the
monogram MAbove a star, on paw feet.

A Dutch marquetry and oak
Display Cabinet, circa, with canted
sides, the domed cornice above a pair of
astragal doors enclosing a lined interior
with serpentine shelves, the base enclosed
by a pair of panelled doors, on shaped
bracket feet. high by.

A French boulle and ebonised Side
Cabinet, circa, with gilt-metal
mounts, the panel door flanked by a pair
of bowed glazed doors, the velvet-lined
interior with shelves, on a plinth base.

Italian carved gilt Corner Table, French Empire-style mahogany, wrought iron and parcel-gilt Pier Table, Flemish Toilet Mirror

A French Empire-style mahogany
two-tier Etagere, circa, with brass
banding, mounts and key pattern, with a
drawer and carrying handles, on turned
and fluted supports ending in castors, brass
banding partially lifting, one leg loose.

An Empire white painted and gilt
Armchair, circa, the rectangular
back, padded arms and bowed seat
covered in patterned velvet, on turned
legs, the underframe with an indistinct
oval stamp and the letters MEU.

An Italian carved gilt Corner Table,
circa, with marble top and pierced
floral scroll frieze, the twin turned and
fluted tapering legs with an urn to the
stretcher.

An Italian cedarwood and inlaid
Box, circa, with hinged cover and
fall front revealing compartments and
small drawer.

A Dutch mahogany Cylinder
Bureau, circa, with chequer banding,
the fitted interior with an inset slide, below
are three long drawers flanked by trellis
terminals, on tapered square feet.

A wrought iron and parcel-gilt Pier Table, the rectangular red and grey marble top above a pierced frieze and supports mounted with paterae, the ‘X’-shaped stretchers centred by

an urn finial.

A Flemish carved oak Cupboard-on-Stand, circa, inlaid throughout with ebony bandings, the projecting cornice above two panelled doors with mitred mouldings flanked by fluted

pilasters, the stand with a frieze drawer, on later baluster turned and square legs joined by stretchers.

A German oak and iron-bound
Coffer, 18th Century, the hinged top and
front mounted with riveted and pierced
straps, on stile supports.

A Flemish Toilet Mirror, made-up,
the rectangular bevelled plate with a
tortoiseshell and ripple moulded border
with applied silver-coloured metal scroll
corners, the mahogany turned supports
with a plinth base and bun feet.

A French boulle and ebonised oval
serpentined Centre Table, circa, the
frieze with masks and a drawer, the square
cabriole legs ending in sabots, faults.

A Dutch Colonial hardwood
Cupboard-on-Stand, made-up, the
moulded cornice above a pair of doors with chamfered rosewood panels and floral carving, the base with two drawers and spiral twist legs joined by an ‘X’-shaped stretcher. wide;

A German silver-gesso and carved Grotto Armchair, circa, the seat and back of shell form, with dolphin arms and encrusted shell legs, worm.

A German silver-gesso and carved Grotto Table, circa, with shell-shaped top and triple supports in the form of fish.

A Dutch mahogany and
crossbanded Corner Cabinet, circa,
with chevron banding and fluted
terminals, the frieze drawer above a pair
of tambour doors, on tapered square feet.

A Venetian rectangular Wall
Mirror, modern, with bevelled plate and
etched margin plates, with foliate
surmount. high by.

A Venetian Wall Mirror, modern,
the oval bevelled plate with etched margin plates and pierced surmount.

A SARCOPHAGUS SHAPED ROSEWOOD WORK BOX, Regency, with
brass stringing and on bun feet, faults. wide,, together with a rosewood writing slope,
early Victorian, inlaid with mother-of-pearl. faults, wide., both lacking fittings.

AN AMBOYNAND GILT-METAL MOUNTED GLOVE OR JEWELLERY BOX, Napoleon III, of rectangular form, the
hinged top revealing a lined interior, on scroll feet, lock engraved with indistinct maker’s mark, wide.

AN ANTIQUE MINIATURE CHEST, George III style, the two short and three long drawers with ivory escutcheons, wide.

A BROWN LEATHER COVERED WORK BOX, William IV, the tooled exterior with gilt-metal mounts, the drawer bearing the penned inscription ‘Elizabeth Caperman Feb th  Mary Caperman

from her precious mother.