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.

George III mahogany bow-front Chest, George III mahogany Dressing Table Mirror, George III mahogany break-front Sideboard, semicircular Card Table

A set of four Regency rosewood
rail-back Chairs, circa, with gold
dralon ‘Trafalgar’ seats, on turned and
reeded tapering legs.

A George III mahogany secretaire
Chest, circa, the writing drawer
enclosing six small drawers, below are
four long graduated drawers flanked by
panelled pilasters, faults.

A George IV mahogany Dressing
Table, circa, with a three-quarter
gallery and two frieze drawers, on
turned tapering legs.

A George IV mahogany Sofa
Table, circa, with two drawers and
canted leaves, the two drawers flanked
by disc medallions, the end supports with
cannon-barrel turning and pilasters, on
anthemion carved and turned legs
ending in castors, top split. wide
when closed;

A George II mahogany fretwork
and parcel-gilt framed Wall Mirror,
circa, with later gilt ornament and
bevelled plate, altered, faults.

A Colonial padoukwood Bureau,
circa, the cleated fall revealing a
stepped and fitted interior, below is an
arrangement of two short and three long
graduated drawers, on shaped bracket
feet.

A late George III mahogany bow-front Chest, circa, with three long graduated drawers, on splayed bracket feet. high by. wide; ft. WViin. by ft. Vin.

A George III mahogany Dressing Table Mirror, circa, the rectangular plate with square supports, on a three-drawer plinth base and bracket feet, restored. wide; lft. Ain.

A Regency carved giltwood and
gesso framed Wall Mirror, circa,
the later arched and shaped bevelled
plate with a pierced leaf scroll surmount,
the stepped sides with dolphins.

A George II mahogany drop-leaf
Table, circa, the oval top
supported on turned tapering legs with
pad feet.

A George III mahogany and later
inlaid Pembroke Table, circa, the
satinwood crossbanded rectangular top
with a central inlaid shell medallion, the
frieze with real and opposing dummy
drawers, on tapered square legs and
brass castors.

A George III mahogany break-front Sideboard, circa, inlaid with stringing and paterae, the bowed centre section with a pair of frieze drawers, the sides enclosed by a pair of cupboard doors with simulated drawer fronts, on tapered square legs.

A set of four Regency mahogany and rosewood rail-back Chairs, circa, inlaid with brass stringing, the panelled splats with star medallions, the needlework Trafalgar seats with similar motifs, on sabre legs.

A George III carved and later gilt painted Wall Mirror, circa, with a later plate and ho-ho bird surmount, the pierced surround carved with ‘C’-scrolls, flame, motifs and leaves.

A William IV rosewood Card Table, circa, the columnar stem on a concave-sided base with paw feet. wide; ft.

A George III mahogany Tripod Table, circa, the circular tilt-top above a columnar turned stem and pierced cabriole supports. diam.; ft. Ain.

A George III mahogany bow-front Side Cabinet, circa, the frieze drawer above a pair of panelled doors enclosing shelves and a drawer, on later bracket feet. high by. wide; ft.

A George III mahogany semicircular Card Table, circa, the banded and strung top above tapered square legs.

A George III mahogany Linen
Press, circa, the moulded cornice
above a pair of panelled doors enclosing
sliding trays, the base with two short and
one long drawer, on shaped and
panelled bracket feet, restored.

A George II mahogany Table,
circa, the rectangular gadrooned
top with a later inset specimen marble
panel above opposing frieze drawers, on
acanthus carved cabriole legs ending in
hairy paw feet, faults.

A George III mahogany
Architect’s Table, circa, the hinged
ratchet adjusted top with a sprung rest
and partially hinged panel, the two long
frieze drawers flanked by a pair of drop
leaves, on chamfered square legs with
block feet and concealed castors.

A George III mahogany Dressing
Table Mirror, circa, the rect-
angular plate above a cavetto moulded
plinth base with three frieze drawers and
bracket feet, restored.

A George II mahogany Chest-on-
Chest, circa, the moulded cornice
above two short and two long graduated
drawers flanked by chamfered corners
inlaid with brass stringing, the base with
three long graduated drawers, on shaped
bracket feet. high by.

A Regency mahogany Cabinet
Bookcase, circa, the moulded
cornice above a reeded and arched
astragal door, below is a panel door
flanked by reeded terminals, on stem
feet.

A Regency mahogany open Bookcase, circa, the raised two-tier back with a shaped gallery above spindle turned supports, the base with a pair of drawers above corresponding panelled doors enclosing shelves, on turned feet and brass castors. high by.

A Regency mahogany Breakfast
Table, circa, the rectangular
crossbanded tilt top inlaid with ebony
stringing, the ring turned stem on
quadruple splayed legs ending in brass
paw feet and castors.

Regency rosewood Chiffonier, Regency rosewood Library Table, George III mahogany Bureau, Regency mahogany Cabinet

A Regency rosewood Library Table, circa, the ‘D’-shaped ends with hinged covers and wells, the frieze with two real and two opposing dummy drawers, the square end supports with triple turned spindles, the splayed legs ending in leaf-clad brass cappings and castors.

A William IV mahogany Cellaret, circa, of sarcophagus form, with scroll terminals and scroll feet, the hinged cover revealing eight associated decanters and later divisions. wide.
A George III mahogany Cylinder Bureau, inlaid throughout with stringing, the tambour fall enclosing stationery compartments, the pair of frieze drawers above four short drawers, on tapered square legs with spade feet, altered, inlay later.

A George III mahogany ‘D’-end
and satinwood crossbanded extending
Dining Table, circa, with a central
drop-leaf section and two further leaves,
on turned legs, restored, including later
timber.

A George III mahogany Bureau,
circa, the fall revealing a fitted
interior, below are four long graduated
drawers, on shaped bracket feet, faults,
formerly divided into two parts.

A George III mahogany double-
sided Library Desk, circa, the inset
top above three frieze drawers to the
opposing sides, the pedestals each with
three drawers and a cupboard to the
reverse, the sides with carrying handles,
on a plinth base and concealed castors,
faults.

A George III mahogany Serving
Table, circa, with three-quarter
gallery and three concealed frieze
drawers, on six turned and reeded
tapering legs.

A Regency mahogany Centre
Table, circa, with rounded corners
and satinwood crossbanding, the trestle
supports on sabre legs, altered and
restored.

A George IV mahogany Sofa
Table, circa, with two frieze
drawers, the twin spiral reeded end
supports joined by a matching pole
stretcher, the moulded scroll feet ending
in brass paw finials and castors.

A George III mahogany secretaire
Chest, circa, inlaid with ebonised
stringing and banding, the frieze with
twin disc medallions, the fitted writing
drawer with segmented veneers flanked
by four short drawers, below are three
long graduated drawers and a valanced
apron, on splayed bracket feet.

A George III small mahogany Bureau, circa, the crossbanded fall revealing a fitted interior, below are three long graduated drawers, on shaped bracket feet.

A George III mahogany Bureau, circa, the crossbanded fall revealing a fitted interior, below are four long graduated drawers, on shaped bracket feet, the fall partially indented.

A George III mahogany
Occasional Table, made-up, the
moulded top above a ring turned pillar
and tripod supports, on bun feet.

A Regency mahogany Cabinet
Bookcase, circa, with satinwood
strung borders, the arched pediment
above a pair of ogee arched astragal
doors enclosing adjustable shelves, below
are a pair of panelled doors enclosing a
shelf, on moulded sabre feet.

A George III mahogany
rectangular drop-leaf Breakfast Table,
circa, with satinwood crossbanding
and satinwood strung frieze drawer, the
associated base with a turned pillar, the
quadruple reeded splayed legs ending in
fluted brass cappings and castors,
restored. wide; ft.

A George III mahogany
Canterbury, circa, the two divisions
with reeded stick splats above an apron
drawer, the turned tapering legs ending
in brass cappings and castors.

A George III satinwood and
crossbanded Work Table, circa,
with ebonised strung borders, the two drawers above slender ring turned legs.. wide; lft. hin., drawers now lined in velvet and formerly with a well

A George III mahogany Child’s
Bureau, circa, the fall revealing
pigeonholes and three drawers, below
are three long graduated drawers and
shaped bracket feet, restored, faults.

A George III mahogany tray-top
Bedside Commode, circa, the
bow-front with a tambour cupboard above a converted apron drawer, on square legs.

A Regency rosewood Chiffonier, circa, the raised open-shelf back with a gallery and ring turned pillars, the pair of brass grille doors with fabric linings and enclosing adjustable shelves, on a plinth base. high by.

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 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.

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

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

BUREAUX — early 18th century
Early eighteenth century bureaux are highly prized as examples of cabinet making at its best. As can be seen from the value points listed at the start of the Bureaux section, the inside fittings are important in determining value, as is size. They are extremely useful in the modern home for, when closed, they hide all the mess and exhibit the fine veneers on the fall at just the right angle to reflect the colour of the wood.
The value of any late seventeenth or early eighteenth century walnut veneered furniture tends to be greatly influenced by original brass handles and untouched patination and could lift the values above those quoted.
35 The bureau as we know it today but a very grand affair in mulberry wood. The stepped interior and all drawers are shaped and there is a well. The mulberry is very striking and brass inlay heightens the effect.
These pieces are nearly all ascribed to Coxed and Woster who are known to have made them. A ‘C & W’ label would help the price. c.1740
This Queen Anne walnut bureau would originally have had bun feet. It has a first rate interior with most likely the original brass buttons on the drawers. The double half-round moulding between the drawers and the herring-bone veneer on the drawer fronts are an indication of the late William and Mary and Queen Anne period, e.g. before 1720. The dark strip on the side shows this bureau once had a moulding around the carcase where the bureau part finished and the drawer began. A relic of the days when the bureau part just stood on the three drawer base. The signs of other handles can just be seen on the drawer fronts. This one is just wide. The price might be 1,000. c. 1700
The next development of walnut bureaux, showing ovolo lip moulding around the drawer edges and flat veneered carcase fronts. The interior now has fluted pillars — a touch of pre-William Kent — but is still stepped.
The feet and the lower mouldings look original, as do most of the brass handles and the lock on the fall. A very nice bureau. About 2ft. 6ins. but high price only if of good quality.
c.1730    Price because of size is $5,000 — $6,500
Items in solid walnut like this very fine bureau used to be considered one down to veneered pieces but the increasing respect for good colour, patina and original handles is fast rectifying this position. Besides, so much ‘wrong’ veneered walnut exists and central heating without humidifiers plays havoc with veneers, that many collectors are showing interest in non-veneered pieces, especially when they are as good as this one. c.1730
A small oak bureau on buns with the desirable feature of being under 3ft. wide. A stepped interior is also good to see as is the concave section of its drawer fronts. A simple half-round moulding on the carcase face of the chest is the only decoration. This is a good honest piece with a well and attractive interior. The drop handles are replacements as one can see the two round circles where swan neck handles were fitted.
The bureaux set out in the last section are all good standard bureaux of some quality; most of them superb. However not every bureau you will meet is beautiful, or even honest, while some that will at first sight strike
the newcomer to antiques as merely homely have a hidden quality that gradually becomes more appreciated —here is a selection. See also the Victorian ‘carve up’ section.
Until about 1965 oak bureaux were relatively cheap while the walnut version was expensive — a differential which some found worthwhile to exploit. This bureau is veneered in fruitwood oysters, though clams might be a better description. The ‘improver’ has missed the point that oysters should be arranged in some sort of artistic pattern, not laid like floor tiles. c.1710
This bureau has a well, and there are places for holes at the corners where the bun feet used to fit. Furthermore it has the clumsily solid look of a bureau pre-1700, and the drawer fronts show the marks where the original drop handles were fitted. Admitted it has Regency looking mouldings applied but then a lot of furniture has been through the mill over the years. The problem is that it is made in Honduras mahogany. In other words made in a style of c.1690 with a wood which wasn’t available until about 1740. The buyer who should have had more sense got rid of it fast at no profit. It was early American; motto — think. c. 1740
(below left) This is a totally honest walnut bureau but it is included here because of the very uninteresting grain used. Quite rightly the veneers on the drawers are from consecutive cuts of the log but the effect brings no joy. The colour also looks flat, and `cleaned off’ walnut (or for that matter any surface that purports to be 250 years old) should have a number of subtle shades, not look as though it was french polished yesterday.
If this is the case the price will be affected. c.1720
Although restraint was the keynote of much early work, flamboyant pieces are not uncommon. However, in the coarsest there is a degree of restraint, particularly on the sides, which are simply veneered. Here there is
oyster panelling and crossbanding but confined to the bottom half of the side. The excessive use of light coloured wood is also not common. A buyer should give such a piece very careful inspection. c. 1730
Made in solid walnut and cross-banded on the outside drawers with a contrasting fruitwood, this simple country made bureau has a stepped interior, a well and decorative frets to the tops of the pigeon-holes. At the bottom there are original bracket feet and a good wide moulding. Thus it has many of the characteristics of earlier pieces.
A very similar bureau though of less quality. The colour is quite good but the lack of stepped interior and bottom moulding tell against it, as does the slightly ungainly height. It has lip moulding to the drawers.
Finally a very modest little country oak bureau with a well and big deep drawers. The handles may be original and, together with the double-D moulding would suggest a date of 1720 but as the interior is so simple one normally adds a few years for the fact that town fashions took time to reach the country.