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.

WALNUT AND EBONISED SIDE TABLE, LOUIS XVI STYLE STAINED WALNUT SETTEE, UPHOLSTERED CHAISE EN CONFIDENT, MAHOGANY SIDEBOARD

A WALNUT AND EBONISED SIDE TABLE, Victorian, with a pair of frieze drawers and raised on lobed and turned tapering legs, 81cm. wide.    A WALNUT CANTERBURY, Victorian, the dividers pierced and carved with scrolling foliage, on toupee feet, one foot detached,, 53cm. wide.

A LOUIS XVI STYLE STAINED WALNUT SETTEE, 19th Century, with a foliate and quiver cresting, raised on fluted tapering legs, 119cm. wide.

A MAHOGANY TRIPOD TABLE, George II, made-up, the octoroon top raised on a baluster column and down swept legs, later carved with fruiting vines, damage to top, 56cm. diameter.

A GILTWOOD ARMCHAIR, Regency style, 19th Century, carved with shells, foliage and strap work, with a caned back and on cabriole legs.

A MAHOGANY SERPENTINE TOILET MIRROR, George III, with an oval plate and three drawer box base, 39cm. wide.; and A WALNUT SPOON-BACK NURSING CHAIR, Victorian, with a foliate cresting and on cabriole legs.

A WALNUT FRETWORK WALL MIRROR, George II, the rectangular plate within a molded frame, with a shaped cresting and apron, lacking some cresting, 38cm. wide.

A MAHOGANY RECTANGULAR CARD TABLE, George III, with canted corners, raised on tapered square legs with spade feet, one rear leg detached, 91cm. wide.

A NEST OF THREE MAHOGANY
AND SATINWOOD CROSSBANDED
OCCASIONAL TABLES, George III style,
on slender ring-turned legs, 52cm. wide.

A MAHOGANY AND PARCEL GILT
FRETWORK WALL MIRROR, George III,
the rectangular plate within a foliate band, now lacking bird cresting, 38cm. wide.

A CARVED OAK WALL MIRROR, the rectangular plate with a pierced frame carved with scrolling fruiting vines, 115cm. high by 93cm. wide.

A MAHOGANY BUREAU, George III, with three long graduated drawers, on bracket feet, 82cm. wide.

AN UPHOLSTERED CHAISE EN CONFIDENT, French, circa 1890, covered in blue fabric with twin adjustable chair backs, the valance apron concealing turned feet. A similar example is illustrated in Le Mobilier Domestique, Vol. I, p. 171, published Paris, 1987, by Nicole de Reynis, and also in Les Styles Franais — Le Mobilier, p65, published Paris by Plaisir de France.

A MAHOGANY ARMCHAIR, George III, with an arched splat back and serpentine upholstered seat, on tapered square legs.

A ROSEWOOD AND INLAID KNEEHOLE WRITING TABLE, Edwardian, with a galleried leather inset top and five drawers, on tapered square legs with castors, 105cm. wide.

A REPRODUCTION MAHOGANY PEDESTAL DESK, with claret leather inset top, 115cm. wide.

TWO MAHOGANY UPHOLSTERED ARMCHAIRS, George III, reconstructed, covered in nailed green hide, the square legs joined by stretchers.

A MAHOGANY RECTANGULAR PEDESTAL TABLE, George III style, made-up, on quadruple splayed feet and castors, 135cm. wide.

A CARVED OAK AND
UPHOLSTERED PRIE DIEU, Victorian,
with a pierced cresting and spiral-twist
supports, on cabriole legs with claw and ball
feet.

AN EARLY MAHOGANY WORK TABLE, Victorian, now lacking a well, on a pillar support and platform base with scroll feet, 54cm. wide.

A WALNUT BUREAU, late George III, with two short and two long drawers, on bracket feet, stationery compartments replaced, 99cm. wide.

A MAHOGANY SIDEBOARD, early
Victorian, with an inverted breakfront base,
153cm. wide.

BUREAUX  reproduction, on legs
This section covers several types of bureaux which emulate earlier styles with varying degrees of accuracy. They are mainly small pieces of furniture intended for occasional use.
A made-up oak desk on stand with an interesting contrast of styles which works quite well. The top desk section has been carved in 17th century style and has a false drawer with two rectangular moulded panels on the front. The base is pad-footed in the style of George II, say around 1730 to 1740 and has been carved to match the top. A decorator’s piece. 1870-1890
A mahogany bureau with rather striped crossbanding, on turned legs with inverted cups of William and Mary inspiration. A combination of styles from late 17th to late 18th century which is feeble, particularly in the
inlaid central motif in the fall, which is neither one thing nor t’other. To be exported joyfully. 1900-1910
A further bureau in the Sheratoncum-William and Mary manner made, like the previous example, in mahogany. The overall effect is thin and cheap. 1900-1910
An oak bureau of Queen Anne inspiration in style, on tapering legs ending in pad feet. It has a lot of pigeon holes inside, two long drawers under the fall and, like many of these Edwardian pieces, is rather small
2ft.6ins. wide.
A japanned bureau of Chippendale ‘design’, decorated with chinoiserie features and with a pot stand on the turned cross stretchers between the legs. A decorator’s piece. 1920-1940
A lacquer and mahogany bureau in the Queen Anne style of the 1920s, on cabriole legs. The fall front encloses a fitted interior on the lines of its early 18th century inspiration. The chinoiserie lacquer is of a type which, along with ‘Queen Anne’ burr walnut of many quarterings, gained a tremendous popularity in the 1920s and early 1930s. Not cheap because many would try to sell it as a period piece. 1920-1930
A 1920s reproduction in which both lacquer chinoiserie work and a gilt stand are combined. In emulation of something Queen Anne but, again, really a decorator’s piece. c. 1920
The classic oak `Jacobethan’ bureau of the 1920s and 1930s. Raised on twist-turned legs of Restoration Stuart origin and with moulded geometric panels on the drawer fronts dating from slightly later Stuart examples.
So popular that the genus was made in vast numbers and is now being avidly traded in the ’shipping goods’ business to overseas buyers. 1920-1940
A burr walnut bureau on high cabriole legs ending in pad feet. Quite clearly intended as a reproduction of a Queen Anne period piece of quality. The legs are well made and shaped from solid walnut and are carved with scroll decoration ending in slightly Adam-classical pendant leaf decoration on the knee. The squared lip moulding around the legs below the knee is a period feature. Where the departure from the original starts is in the veneers  fall and drawers much too burr, contrasting too much with the straight-grained sides and banded carcase front, and the embellished top corners (the idea for which comes from the period use of re-entrant corners), and  most telling, this  the lack of any finish to the drawer edges to relate them to the carcase edges which are cross-banded. A period piece would have those drawer edges either lip-moulded, cock-beaded or at least crossbanded themselves. The proportion of the drawers is another point  the chances are that a period piece would have only had one drawer of a shallower dimension than these, which are a little too square in proportion for the piece. 1920-1930
The version as the late ’20s and ’30s saw it  the bulbous legs retained to give a Jacobethan effect but turned with rings of modernistic type. The top has been chamfered off at the corners to give what would now be
thought of as an art deco look.

BUREAUX ON STANDS
Late seventeenth century oak bureau showing the evolution from a simple desk to more complex internal drawers and pigeon holes under the fall-front. The bureau is on a stand with a single drawer in it and on
baluster-turned legs with square stretchers, one of which is missing (left-hand side). Note here the ‘desk’ section overlaps the stand. 1675-1700
Walnut bureau on stand with octagonal tapering legs ending in bun feet and linked by an X-stretcher. The fall is decoratively veneered with three sheets of walnut and cross-banded outside a ‘feather’ or herring-bone inlay. The ‘desk’ still overhangs the ’stand’ part but the drawers have now increased to three. There is a book or bible rest moulding on the fall.
A really superb arabesque marquetry bureau on a later stand with square chamfered legs and an X-stretcher. Note how the inside is ’stepped’ to take advantage of the space under the fall.
A walnut bureau on stand with turned legs with inverted cup forms and bun feet with an X-stretcher. Note that now the bureau no longer hangs over the supports and that more locked space has been achieved by
blanking off the top drawer and making access via the desk, i.e. a well.
A walnut Queen Anne bureau on cabriole legs with trefoil feet. Note how the stand has become wider than the desk. A type much reproduced.
1710-1730 If stand right the value is 6,000 — 8,000. If stand wrong and bureau is the sawn off top of a conventional bureau.
A mahogany bureau on cabriole-legged stand. The cabrioles are good — nice scroll behind the knee, good balance down to the pad feet.
Chippendale at work — how he liked carved cabrioles! A mahogany Chippendale-design bureau with a blind fret around the top of the stand (beneath the drawers, which are cock-beaded) and cabrioles with scroll and
leaf carving ending in ball-and-claw feet.