ANTIQUE AND SATINWOOD CROSSBANDED SIDE TABLE, ANTIQUE SECRETAIRE BOOKCASE, OVAL MAHOGANY DROP-LEAF TABLE

A NEST OF THREE WALNUT
OCCASIONAL TABLES, 18th Century, oval
and on turned legs, faults. wide,
together with a blue Japanned wine table,
18th Century, the circular top decorated with a bird and flowers. diameter, and a brass tray top table, Near Eastern, on a folding wood stand.

AN ANTIQUE BUREAU, George III,
the fall enclosing a fitted interior, above four
long graduated drawers, on bracket feet,
restored.

AN EBONISED AND GILT METAL MOUNTED SIDE CABINET, Victorian, the central panelled door with an oval Sevres style porcelain plaque, flanked by a pair of curved glazed doors

enclosing shelves, on toupie feet, faults.

AN EBONISED AND AMBOYNA SIDE CABINET, Victorian, with gilt metal mounts, the central panelled door inlaid with a cartouche and flanked by a pair of curved glazed doors enclosing

shelves, on toupie feet.

AN ANTIQUE AND SATINWOOD CROSSBANDED SIDE TABLE, George III style, with four drawers and on tapered square legs with castors.

A SET OF MAHOGANY
METAMORPHIC LIBRARY STEPS, George
III style, with a leather inset top and on
turned legs.

AN INLAID ROSEWOOD
ENVELOPE CARD TABLE, late Victorian,
the hinged four piece top above a small
drawer, on turned tapering legs joined by a
stretcher.

AN INLAID AND EBONISED SIDE CABINET, Victorian, with gilt metal mounts, the central glazed door now lacking glass enclosing shelves and flanked by glazed side panels, on bracket

feet, wide.

AN ANTIQUE DRINKS CABINET, modern, with a pair of oval panelled doors above a drawer and a further pair of doors, on splaved bracket feet.

A LARGE MAHOGANY LIBRARY BOOKCASE, George ni style, with a fluted and dentil cornice above four astragal glazed doors, the lower part with four circular panelled doors, on a

plinth base, high by wide.

A LARGE WALNUT BREAKFRONT LIBRARY BOOKCASE, Victorian, stamped COLLINSON & LOCKE, LONDON,, the moulded cornice above four astragal glazed doors, the lower part with strapwork

and foliate carved panels, on bun feet.

AN ANTIQUE SECRETAIRE
BOOKCASE, Victorian, the moulded cornice
above a pair of glazed doors, the lower pan
with a drawer now lacking fittings above a
pair of cupboard doors, on a plinth base.

A SET OF SIX CARVED OAK DINING
CHAIRS, Victorian, including one armchair,
each with a lion cresting above a padded back
and seat, on spiral twist and square legs.

A GROUP OF SEVEN PIECES OF
BLACK JAPANNED FURNITURE. th
Century, each piece with Ounoeserie
decoration, composing an oval table.

AN ANTIQUE EXTENDING
DINING TABLE, Victorian, the rounded
rectangular top raised on fluted tapering legs
with ceramic castors, with one extra leaf,
high by wide. by long
extended.

AN OAK BOOKCASE CABINET, Victorian, the moulded cornice above a pair of glazed doors, the lower part with two panelled doors, on a plinth base, high by wide.

A BLACK JAPANNED THREE PIECE SUITE, 18th Century, comprising a settee and two armchairs, each with chinoiserie decoration and with single caning, on lobed bun feet.

AN ANTIQUE CHEST, George IV, the two short and three long drawers with ivory escutcheons, on bracket feet.

AN OAK CHEST, George III, with two short and three long drawers, on bracket feet, wide.

A BEECHWOOD CANTERBURY, George III style, modern, with a drawer, on turned legs and castors, wide.

A MINIATURE MAHOGANY AND INLAID CHEST, Edwardian, with two short and three long drawers, on bracket feet.

AN OVAL MAHOGANY DROP-LEAF TABLE, George II with restorations, on turned tapering legs with pad feet, wide. extended.

A WALNUT DINING ROOM SUITE,
William and Mary style, early 18th Century,
each piece raised on scrolled supports joined
by stretchers, comprising: an extending
Dining Table. long extended
including a spare leaf; a set of eight Dining
Chairs, including a pair of armchairs, with
caned backs; a Serving Table, with a
serpentine top and a pair of drawers.
wide; and a breakfront Sideboard, with
drawers and cupboard doors.

ANTIQUE EXTENDING
DINING TABLE, Victorian, with a moulded
top. on turned and fluted legs with castors,
long extended including two leaf insetions.

A CARVED OAK LINEN PRESS, 2th
Century, made up, with a pair of doors
enclosing sliding trays above drawers, on
bracket feet, wide.

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.

Regency mahogany drop-leaf Breakfast Table, George III mahogany Card Table, George III mahogany ‘Birdcage Table’, seven George IV mahogany rail-back Chairs

A Regency mahogany drop-leaf
Breakfast Table, circa, the
ebonised strung frieze with a drawer, the
turned pillar above inverted quadruple
scroll supports and disc medallions, on
square brass cappings and castors,
wide;

A George III mahogany
hexagonal brass-bound Cellaret,
made-up, with hinged cover and carrying
handles, on triple moulded and
chamfered square legs. wide;

A George III mahogany Breakfast Table, circa, the
associated rectangular tilt-top above a ring turned pillar, the quadruple splayed legs ending in ornate brass cappings and castors, restored. long; ft. Min.

A William IV rosewood break-front secretaire Cabinet, circa, now lacking a raised mirror back, the fitted writing drawer with pigeonholes and satinwood veneered small drawers flanked by two short drawers, below are four panelled doors, now with mirror panels, with lotus carved pilaster terminals, now on Shepherd castors. high by. wide; ft. Vin. by ,

A George II mahogany Birdcage Table, circa, the later circular tilt-top above a baluster turned pillar and tripod supports. diam.;

A George III mahogany Chest,
circa, with four long graduated
drawers and later shaped bracket feet.

A George III mahogany and
crossbanded bow-front Chest, circa
the two short and three long
graduated drawers above a valanced
apron, on splayed bracket feet,  by

A George IV mahogany Library Table, circa, the frieze with two real and two opposing dummy drawers, the sides with ring turning, the trestle-shaped supports with carved scroll feet and castors. long;

A George III mahogany serpentine-front Card Table, circa,
the fold-over top with a carved ribbon
and paterae border, on moulded and
chamfered square legs. wide;

A George III mahogany Card Table, circa, the fold-over top with projecting trefoil corners, the chamfered square legs with pierced angle brackets and concertinAction, restored,

A George III mahogany Tea Table, circa, with boxwood strung borders, the plum mottled rectangular fold-over top with conch shell inlay, the frieze drawer above tapered square legs and castors, top warped. wide;
ft. m.

A George II mahogany oval
drop-leaf Table, circa, on circular
tapering legs with pad feet. wide
by. fully extended;

A George III mahogany and
satinwood banded Pembroke Table,
circa, the chamfered rectangular
tulipwood crossbanded top with one real
and opposing dummy frieze drawer, on
tapered square legs ending in brass
castors, restored. wide; ft. Vin.

A George IV gilt framed convex
Girandole, circa, with eagle
surmount, twin scroll candle-branches
and foliate apron, restored.

A George III mahogany Side
Table, circa, the moulded
rectangular top above three frieze
drawers and a shaped apron, on
chamfered square legs.

A George IV japanned
Cabinet-on-Stand, circa, lacquered
in black and gilt with an arrangement of
eleven drawers surrounding a pair of
doors enclosing two later adjustable
shelves, the stand with turned legs,
restored. high by. wide;

A George III mahogany pedestal Table, circa, the rectangular tilt-top above a ring turned pillar, the quadruple splayed legs ending in brass cappings and castors. long; ft.

A George III mahogany ‘Birdcage Table’, circa, the circular tilt-top above a partially fluted turned stem, on triple cabriole legs, faults. diam.;

A Regency rosewood framed Toilet Mirror, with ivory finials and brass stringing, the rectangular plate above a bow-front plinth and three drawers, on ivory ball feet. wide; Vin.

A set of eight Regency mahogany rail-back Chairs, circa, with rope-twist mid-bars and stuffed green dralon seats, on ring turned legs, seat rails replaced, restored,

A set of seven George IV mahogany rail-back Chairs, circa,
including an armchair, with clasp-shaped
mid-bars and stuffed figured green
dralon seats, on turned and reeded
tapering legs,

A George III mahogany secretaire
Bookcase, circa, the later upper
section with a dentilled cornice above a
pair of geometric astragal doors
enclosing adjustable shelves, the fitted
writing drawer above three long
graduated drawers, on shaped bracket
feet, restored. high by. wide;

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.

BREAKFRONT AND LIBRARY BOOKCASES

About 1730 onwards
George III mahogany breakfront bookcase with broken pediment.
Free-standing domestic bookcases were rare before the 18thC. Those made for Samuel Pepys in the 1660s are the earliest known. After about 1720, as people owned more books, substantial bookcases were to be found in the libraries of all large houses; by the end of the century they were features of other rooms too, and of smaller homes. Not all were meant exclusively for books; many were used for china instead, or for both.
18thC bookcases were predominantly architectural in character and sometimes of monumental size. After 1740 many were made in breakfront form: a large central section projecting forwards beyond two flanking wings. Straight-fronted bookcases are today generally distinguished from breakfronts by the term ‘library bookcase’.
STYLE AND APPEARANCE
Six categories; but they share basically the same form. An upper, generally glazed, section for books, with a carved and moulded cornice, sometimes surmounted by a pediment, sits above a deeper and shorter lower section comprising cupboards (and sometimes drawers too) for storage of maps, prints and other papers. Occasionally, a secretaire drawer is also present. Pediments were often broken, their centre (with or without a raised plinth) holding a bust, carved eagle, urn or other work of art.
The six categories are:
Kentian, about 1710-1740 (rare today): Bold classical architectural features: broken pediments, deep cornices, pilasters faced with pendants of fruit and flowers. Central doors often arched. Upper section with large rectangular panels of glass set in broad, moulded bars, or blind of mirror panelling. Base with panelled doors, sometimes shaped and fielded, supported on a plinth.
Chippendale period, about 1740-1765: Still with classical features, but more restrained. Cornices narrower and plainer.
Fashionable pieces had a central pediment with pierced carving, wings surmounted by fretwork gallery. Pediment could be swan-neck. Availability of mahogany meant thinner and lighter glazing bars, often carved in rococo, chinoiserie and Gothic patterns (rococo occasionally gilded) or astragals (see p. 329) arranged in geometric patterns. Today, a large number of panes in an individual pattern (say 13 or 15) is considered to be a sign of quality. Base still panelled, with decorative carved edging or applied blind fret mouldings. Plinths often replaced by bracket feet.
Neo-classical, about 1770-1790: Neat and formal over-all. Simple pediments, often with urns in centre and at corners.
Cornices carved with repetitive classical ornament; astragals in geometric patterns. Lower doors with simple mouldings applied in square, circular or oval shapes, often with paterae at corners. Stands on a plinth base.
Sheraton-style, about 1790-1810: Often narrower than before, lower section taller. Pediments scroll- or lunette-shaped.
Upper doors sometimes with brass wire trellis and pleated silk rather than astragals. Astragals could be painted or gilt lead. Lower doors with decorative veneers. Large central ovals common. Splay feet fashionable, occasionally turned feet after 1800.
Regency/early Victorian, about 18101850: Large bookcases less common at first than small. Could have Egyptian or Grecian ornament (see DWARF BOOKCASES).
Antefizae on corners. Lunette-shaped pediments, if any. Fluting interspersed with paterae popular feature on cornices.
Late Regency plain. Straight moulded cornices, scrolled or acanthus carved supports typical of day.
Victorian, about 1840-1900: Often very plain, even best quality relying only on veneers for decorative effects. A large number almost style-less. Arched doors with plain glass echoed by applied arched mouldings on lower doors. Sometimes rococo/naturalistic mouldings below. Lower part could also be glazed. Cornices deep and heavily moulded, sometimes with rounded corners. Simple bracket supports sometimes present.
Could also be reformist Gothic; characteristic features: chamfered edges, diagonal boarded panelling on lower doors; or, Renaissance style: heavily carved all over. (See
under DECORATION)
18thC styles were revived at end of the 19thC. Sheraton-style particularly popular during Edwardian period, but often a poor imitation. Considerable reduction in size. Brightly contrasting cross-banding and inlay of shells, fans, combined with dentin-moulded cornice common. Often yellowish mahogany with poor, treacly-looking finish.
MATERIALS
Walnut in the Queen Anne period; sometimes painted and gessoed pine. Mahogany from about 1730, joined by satinwood around 1790. Rosewood only rarely, during Regency. Both walnut and mahogany during Victoria’s reign; oak for reformist Gothic and (less common) Renaissance style.
Various designs for bookcase and cabinet pediments: in particular A, 1680-1730; A 1730-1750; C, 1750-1780; A pagoda-shaped cresting, about 1750-1770; E, scrolling arch, about 1780-1810; F neo-classical urns and drapery, about 1765-1800; G, scrolling arch with urn, about 1790-1830.
BOOKCASES
CONSTRUCTION
Standard practices employed. Sometimes revealed mortise-and-tenon construction on reformist Gothic. Many convincing reproductions of 18thC bookcases were made by the Victorians and at a glance look right, so look for indications of age, such as:
Shelf supports: Early 18thC pieces have shelves slotted between narrow strips of wood glued to the sides at regular intervals. From about 1730, shelves were more usually rebated into grooves cut in the sides. After 1800: supported on wood or metal pegs plugged into pairs of evenly spaced holes.
If the shelf supports continue right up to the top of each side, the bookcase has almost certainly been cut down. They should finish a book’s height below the cornice.
Glazing bars: Before 1800 bars were usually rebated into stiles and rails, therefore
Left, glazing bar rebated into style; right, astragal glazing bars.
flush with surface. After 1800: more commonly tenoned, therefore slightly recessed.
Other points of interest: Cases originally intended for china may have grooves at the back of the shelves for the support of plates.
Original glass will not be completely flat and clear. The putty holding it in place will be very hard and dark and will have accumulated a good deal of dirt.
If there was once a pediment there will be obvious marks where it once sat. Its absence does not necessarily affect value. Try and get up there to take a look.
DECORATION
Principally carved ornament, mostly on cornices. In 18th and early 19thC, classical style. Could be Vitruvian scrolls, egg-and-dart, tongue-and-dart, dentil moulding, acanthus, Gothic fret, fluting interspersed with paterae, swags.
Blind fret carving on lower doors and cornices, in mid-18thC sometimes open fret on pediments.
Figuring of veneer always a main feature. Decorative use of veneers in the forms of ovals, cross-banding on Sheraton and Sheraton revival pieces, occasionally restrained inlay in addition.
Incised decoration sometimes present on reformist Gothic pieces; occasionally inlay of ebony, ivory too, in small repetitive geometric patterns. Bold carving of lion’s masks, foliage, geometric mouldings, cartouches, on Renaissance revival pieces.
Handles: When present, they follow prevailing patterns.
FINISH
Left, 18thC shelf arrangements; above, 19thC fixing,
Polish. Stain on 19thC oak; light, often yellowish, for Gothic, dark for Renaissance.
RELATIVE VALUES
Quality 18thC bookcases in original condition are valuable items, many fetching well into five figures. Pediments, secretaire drawers, a pre-1750 date and, most important, breakfronts, will increase value. Similar library versions are generally cheaper as are small Sheraton-style pieces with decorative veneers. Late Regency/William IV mahogany, Victorian/Edwardian mahogany reproductions of 18thC pieces, Victorian oak and walnut are all variable.