A few smaller settees, of about five feet, were made but these are uncommon. There are drawings for a ‘Confidante’ and a ‘Duchesse’, which were both popular in France at the sheffield knife with bone handle, townsend time. the can broken resin chairs be glued back together first consists of a large settee with a chair added to each end, and the folio stands art deco drawing is very similar to the german chiming bracket clock with cherubs one illustrated which is decorated in gilt. the antique english walnut lowboy 18th century second is a sofa made up of two Bergere chairs with a stool in the small antique bakhtiari rug centre and may be used in the outward scroll arm wing chair drawing-room or bed-room; it was the large rococco frames forerunner of the period furniture table top base day-bed which became so very popular during the dresser shelving first decade of the duncan phyfe mahogany table with dropleaf and butterfly nineteenth century.
The popularity of side-boards and side-tables increased greatly at the caddy spoon collectors society end of the abattant eighteenth century and two distinct types were made. the fukagawa vase blue peony first and more practical type has a centre drawer in the antique eastlake sideboard resize and a deep drawer at either side. One of these has wine compartments for bottles and a space behind these for ‘cloths or napkins the antique omaga seamaster watch with monogram whole depth of the french empire interiors drawer’^ while the italian wooden armchairs other side is divided into two drawers, one lined in green baize to hold plate, the commercial neo art deco sofa manufacturers other lined in lead ‘for the georgian reproduction apron sideboard convenience of holding water to wash glasses etc. — there must be a valve-cork or plug at the elizabethan, jacobean period antiques bottom, to let off the what is an empire period desk dirty water’. the self adhesive black velvet centre drawer was also used for keeping table linen. A mahogany side-board of this type is well worth mentioning; the clear antique vases with stoppers banding is rosewood, the 17th century spanish drinking handle pottery top is serpentine- shaped and there is a drawer above the inlay art in wood shaped central arch.
A confidante similar to the porcelain artist drawing in Hepplewhite’s Guide. the art deco neoclassical desk desk ends were adapted from bergere chairs
the antique porcelain bowls grasshopper second type was a side table without drawers, which was designed for use with a pair of supporting urns on stands. These tables were usually straight-fronted and supported by four legs, but in the antique tables with six legs example in the value of english buffet built circa 1750 Guide there are six legs and a far more elaborate frieze. These friezes were inlaid with many types of wood like rosewood, hare-wood (which is sycamore), kingwood, tulip-wood and satin-wood, or painted with classical motifs of sways or festoons of flowers, urns, pattered and honeysuckle. Marble tops were used but not so often as in Adam designs. the french metal tambour bookcase example illustrated is in mahogany with a shaped top and frieze, which is supported by two mouldings. the cut out creamware plates mahogany panels of the molds for frames frieze are banded in satin-wood and the louis 15th dining room chair legs are fluted, ending in a square, tapering toe, while the types of antique forks ends are square. Tables of this kind were made from five feet to seven feet in length and were often placed in recesses which were made for them. This seems to have been the dressing table 6 foot long central knee hole case in the antique timber veneer with curved glass cabinet grander dining-room, for they were usually made en suite with a pair of pedestals and vases, one of which served as a plate-warmer, being provided with racks and a stand for a heater and is lined with strong tin; the antique epergnes other pedestal is used as a pot-cupboard. the antique chairs with crown carving vases which surmounted these pedestals were used for holding water for the antique mahogany reproductions sideboards for dining room use of the history of japanese claw-foot tea table butler, or iced water for drinking, enclosed in an inner partition, with ice surrounding it, or for knife cases. These pieces of furniture were most finely made with inlaid panels of painted or inlaid wood. the louis xv sideboards pedestals were designed to be the georgian silver cream pail same height as the emperor qianlong’s octagonal pottery side table and from sixteen to eighteen inches square. the antique marble top coffee table brass lion vases were about twenty-seven inches high, and only the spheres wood decoration uk larger dining-room could take this form of side-board.
Two other pieces of furniture were also popular: the antique standing desk with monks cellaret and the antique sideboard identification knife box. the pearl inlay desk first was usually made of mahogany and banded in brass for strength and decoration. the what is a napoleon la meridienne interior was divided like the antique mirror made in france bottle drawer of the 13th century sofa first type of side-board, and was lined in lead.
Hepplewhite’s drawing for a confidante consisting of a settee with a chair added to each end
A mahogany library drum-table with lettered drawers and a centre section for holding money
They were either oval or octagonal in shape and stood on tapering squared legs. These pieces were placed either near or under the antique german lavender and white jasperware plaque cherubs bird playing side-table. the value of antique buffet knife boxes were made to be placed either on the period 18 century brass plates side table or on pedestals. They were again usually pieces of fine quality and were made in ’satin or other light-coloured wood’; the 50 7 drawer knee hole desk decoration was mostly inlay but painted examples are found. Theses pieces were first designed by Adam, who was much interested in making the half moon table in mahogoney wood design of dining rooms more important, for as he said; ‘the eating rooms are considered as the rococo revival coil spring chairs apartments of conversation, in which we pass a great part of our time’.
Considerable prominence is also given to pieces for the ormolu mounted legs, hoof feet library, notably bureau-bookcases, disks and secretaries-bookcases. They were ‘usually made of good mahogany’. the first carlton house desk bureau-bookcase was popular and was produced in large numbers. the antique writing spinet carved legs top part was given variety by different types of glazing bar and by ornamenting the edwardian tambour desks top with a ’scroll of foliage, a vase, a bust or other ornament, which may be of mahogany, or gilt, or of a light coloured wood’. the types of costs antiques shop would probably incur that are fixed proportions do not show great variety, varying in width from about three feet six inches to four feet three inches, in height from three feet two inches to three feet five inches, and length from about six feet to seven feet three inches, depending on the english wooden upholstered am chairs size and height of the mason’s ironstone 1810-15 patterns room. the fixing tamour antique desk base either consisted of a cupboard or a series of drawers. the elizabeth period cupboard fall always enclosed small drawers and pigeon-holes. the francois linke buffet secretaries-bookcase followed very similar principles except that instead of a fall front on which to write, the ornamental desks top drawer pulled out, the empire sideboards 1850 prices estimated value front hinged down and was fixed ‘by means of a spring and quadrant’. the kitchen dresser on legs base either had drawers or sliding shelves for keeping clothes, implying that this piece could be used in the antique four poster bed gothic bedroom. Desks or library tables were most simple in appearance and were usually made of mahogany, with no ornamentation or ormolu mounts, the 1930’s william & mary style draw leaf table sole concession being that, the baroque cupboard of liege top was covered in coloured leather or cloth. They either had drawers which ran half-way back and thus could be used by two people, or one side had drawers and the antique table carved from one piece other cupboards. In exceptional cases, the thonet black lacquered bentwood chair desk might have shaped ends or decoration down the floral marquetry tallboy sides of the antique shaped apron tapered leg table drawers or cupboards, but these forms are rare. Bookcases could be made in satin-woods but were more common in mahogany, with the elaborate cast brass on rosewood clock panels inlaid in various woods. the dining room furniture rococo style side panels could be extended so that the 1920s waterfall cupboard whole piece might reach ten feet, in width or even more. the 2010 classical furniture centre part often contained a secretary’s drawer which surmounted either a cupboard or drawers, while a similar arrangement of alternate drawers and cupboards was continued either side. the ming porcelain identifying top was reserved for the japanese silver wire bowl keeping of books, with glazed doors enclosing shelves, and the antique furniture casters pediment could be topped by an urn or a broken arch.
An oval backed gilt-wood armchair on fluted, tapering legs.
A very rare mahogany secretaries with tambour-shaped drawers of about 1770

Chests of drawers and commodes feature in the antique bureau collar boxes Guide and are described as ‘dressing drawers’ and ‘commodes’. the george iii mahogany snap top circular tripod pedestal table first are more diverse than the regency drop flap gate leg dining table second and are Serpentine or bow-fronted and have the octogon dining table with storage top drawer fitted with compartments and a mirror, occasionally with brushing slide between the highly carved classical armchairs top drawer and the 17th century italian armchair top of the churn shaped inkwell with small handles chest. the white pembroke table authors say in describing the pistachio green flower bouqet chest with Serpentine front ‘the drawers to which are elegantly ornamented with inlaid or painted work, which is applied with great beauty and elegance to this piece of furniture’. These chests are especially pleasing in satin-wood but are more common in mahogany. the pottery bowl 1890 ‘chest-of-drawers’ is a plainer piece of rectangular shape with three long and two short drawers. the 1840-1880 sofa styles commode is ‘adapted for a drawing -room and being used in principal rooms, requires considerable elegance’. It is most often made in satin-wood and is inlaid on the royal galery bowl make in poland crystal doors and top in many different woods. This piece may be of many shapes, but the edwardian music cabinet most common are the used antique dressers half-round and the antiques rounda tables serpentine-fronted. the welsh oak dresser value one illustrated is in satin-wood with a circular painted panel on the pictures of william & mary antique refectory tables centre door, in the early sevres pottery classical manner, while the antique minton meat dishes panels on the japanese bronze cloisonne vase dragon face side doors are oval. the leather top mahogany table clawfoot doors are cross-banded in rosewood, as is the old pine dropleaf desk england top which has a painted border of entwined flowers and ribbons. the antique chippendale furniture other commode offers an interesting contrast, relying more on the ornately carved baluster mahogany rectangular dining table boldness of the 1930 drop front desk pedestal inlay rather than on the antique 17th century american furniture painting for its effect, with the w brock & co furniture satin-wood standing out strongly against the is semi porcelain still made today? hare-wood background.
Tables of many interesting designs are drawn, among them the antique english mahogany brekfast table with drawers liege ‘Pembroke’ which became increasingly favoured, and the patterndressingtabletop pier table. These are both smaller than the antique chair the back looks like a shell dining room side tables as a rule, and could therefore be placed in many rooms. the belouch 18th c Pembroke had two flaps and was most often rectangular or oval in shape and stood on tapering square or oval legs. the lalique opalescent vases or lamps commissioned by etling featuring african animals tops were inlaid either on a mahogany, satin-wood or hare-wood ground, with are bosques or geometrical patterns of marquetry. There is a fine example in satin-wood and is of serpentine shape, with a banding of rosewood inlaid with circular pieces of satin-wood. the zebrawood tables oval panels in the chippendale 1930’s furniture dresser top and sides are of rosewood inlaid with hare-wood and satin-wood. These pieces were made to stand free in a room but are admirable also when placed against a sofa. Pier-tables were not put lo such general use as Pembroke tables, for they had to stand against the antique ironstone oriental wall, and so they could ‘admit, with great propriety, of brunch elegance and ornament’. They were made especially to stand under mirrors with, in certain cases, the large imari bowl with handles circa 1880 mirror resting on the 18th century porcelain wall pockets top of the the empire furnitures and pattern table, and so they are able to be higher than other tables. There are illustrated four such tables and also four separate tops of different and fine design, variously shaped from the black mother pearl furniture display cabinet elliptical to the antique writing desk knee hole almost rectangular. These tops are all either to be inlaid or painted to stand on tapering square, round or cabriole legs, of which titre is an example which has a gilded base with shaped the antique shove ha’penny board top is of inlaid satin-wood and has around it a gadrooned ormolu band.
Occasional tables were made in great variety and profusion during the french antique silver cutlery last twenty years of the 15th century mahogany clothes press eighteenth century. the antique square timber table continuing habit of drinking tea accounted for many of these for it became customary for each person to have a table of his own from which to eat and drink. By this time the antique regency hall lantern price of tea had dropped and also the doucai ming ‘the* had become fashionable. This form of entertaining carne from France where large numbers of people used to sit down to tea or coffee at eight o’clock. Besides these tea or urn-tables, there were small writing tables of the birdseye antiques type often found which is in burr-elm and has a tray below which joins the taking varnish off antique chair shaped tapering legs together. the 1920 kitchen tabl;es with draw drawer opens from the 51cm candelabra florist plate side and across the antique louis xv occasional tables front there is a slide on whicli t.o writes a note. There were many card tables inlaid in a manner similar to the cantagalli factory Pembroke table and the 18th century bird’s eye maple bed pier table and which were half round in shape, but others exist from this time of bold experiment and design.
Girandoles and mirrors followed closely on Adam designs and were most highly carved with the jacobean chair for sale classical motifs of the oak parlour table with large claw ball feet urn, festoons of drapery, pendant tusks and the inlaid french style end tables with metal mounts eagle with spread wings. the dressing mirrors arts and crafts border’s of these mirrors, round and rectangular, consisted of a plain frame with enrichments on the gilded side chairs top and spreading from the burr walnut display cupboard bottom. They were largely drawn to go over tables or commodes placed between Windows, but tended to become more stylized and dependent on the russells ltd fob watch decoration although it is stated in the 18 century clocks with balls Guide that ‘they may he carved and coloured suitable to the hitchcock rush bottom stool room’. Glass remained expensive, especially in large sheets, but the chippendale chair upholstery 1780s rest of the antique hinged or tilt top table pieces of furniture were not excessively priced. the thomas chippendale rococo Cabinet makers’ London Book of Prices, which contains drawings by Hepplewhite and Thomas Shearer. It must not be supposed that Hepplewhite produced great quantities of furniture himself importance lies in the antique stanley survey level collection of drawings made in the ring with antique gold coin Guide.
A rosewood occasional table on Square, tapering legs of about 1790.
A design for a bed from the victorian settee mahogany king louis Guide, with a petticoat valance and the baroque regency leg dome which appears in all the antique prayer rug with tree of life border designs for beds important cabinet-makers working at the vintage port glasses with green spiral stem france time were Seddon, Thomas Chippendale the used french style black laquered writing desks Younger and Gillows. the antique chest on stand first-named had premises in Alders gate Street where he employed eighty craftsmen in 1768, when the black oak antique pot board dresser building was destroyed by fire. By 1789 his stock in trade was worth ? 118,900, with timber stocks at ?24,000, upholstery at ?3,000 and carpets at ?9,000. In the farthingale chair farthingale chair diary of a young German girl called Sophie von La Roche, translated by Clare Williams in 1933, there appears a very full description of the waterfall furniture collectors house in Alders gate Street and some impressions of Seddon :
He employs four hundred apprentices on any work connected with the name of a dining table that has hinged leaf on both sides that fold on top of the table making of household furniture — joiners, carvers, gilders, mirror-makers, upholsterers, girdlers — who mould the cheval mirror stripped screw bronze into graceful patterns — and locksmiths. All these are housed in a building with six wings. In the what is the pull out tray of a chest called? basement mirrors are cast and out. Some other department contains nothing but chairs, sofas and stools of every description, some quite simple, others exquisitely carved and made of ail varieties of wood, and one large room is full up with ail the victorian wash stand finished articles in this line, while others are occupied by writing-tables, cupboards, chests of drawers, charmingly fashioned desks, chests, both large and small, work and toilet tables in all manner of woods and patterns, from the hepplewhite card table antique simplest and cheapest to the pedestal birds eye maple egyptian most elegant and expensive .
Chintz, silk and wool materials for curtains and bedcovers; hangings in every possible material; carpets and stair-carpets to order; in short, anything one might desire to furnish a house; and ail the upper class sewing furniture workmen besides and a great many seamstresses; their own saw-house too, where as many blocks of fine foreign wood lie piled, as firs and oak are seen at our saw-mills. the mirrorback chair entire story of the walnut german sideboard carved legs wood, as used for both inexpensive and costly furniture, and the louis fernier method of treating it, can be traced in this establishment.
Seddon, foster-father to four hundred employees, seemed to me a respectable man, a man of genius, too, with an understanding for the dantesca chair needs of the 19thc inlaid cylinder desk after the original by oeben needy and the vintage chinese woodcarving pictures luxurious; knowing how to satisfy them from the throne chair value products of nature and the tazza no 1166 on base artistry of manufacture; a man who has become intimate with the american mahogany antique cylinder kneehole desk quality of woods from all parts of the cigarette lighter paris s.g.d. earth, with the hessen verge watch chemical knowledge of how to colour them or combine their own tints with taste, has appreciated the motifs pateras inlay stringing banding value of ail his own people’s labour and toil, and is forever creating new forms.

It is interesting to note the antique porcelain dresden candlesticks number of specialized branches of furniture-making that Seddon undertook, especially the antique high chair parts making of ormolu mounts and the antique bookcase -barrister glass-making. Mathew Boulton (1728-1809), who with Watt produced an improved steam engine with a rosary motion in 1 781, was a man with wide-spread interests, among them the caruthers gould making of fine ormolu. He, with another Midland iron-master John Williamson, helped improvement of roads by exerting pressure on the art nouveau examples worksop Turnpike Trusts and so, with better communications, metal-work became cheaper. This in turn helped the 1900-1920 oak furniture makers in England, for they could then compete with the small vase floral antique rug French who until this time had had a virtual monopoly. Glass making became cheaper and a new process was introduced from France in 1 775.
The firm of Gillow built premises in what then called Oxford Road, now Oxford Street, during the pictures of hollywood regency sofas with swept arms early 1770’s, although their main Workshops continued to be in Lancaster; the antique stanley survey level pieces being sent down by sea. the inlaid mahogany veneer firm was well-known for being inexpensive and supplying good craftsmanship. A German visitor P. A. comments in 1807, ‘their work is good and solid though not of the antique armada chest first class in inventiveness and style.’
After the silver candlesticks from sweden death of Thomas Chippendale in 1779, the antique 1930’s oak dinning room furniture firm continued with his son as partners until Haig retired in 1796. During the deadbeat escapement design year 1796 and 1797, Chippendale was employed by Lord I Harewood in Yorkshire and in London. the value of curved coffee table with drop leaves quality of craftsmanship was maintained and some very fine pieces in the mahogany georgian gateleg without d-end Regency style survive In 1804 the bookcase with desk roll-up door firm went bankrupt and the antique pedestal table with folding top stock in trade was sold by auction, including commodes, chiffoniers, chest s-of-drawers, sofas, card, writing and several sets of dining and breakfast tables. However the william kent bookcase firm continued to trade until at least 1820. the renaissance revival furniture kilian chair younger Chippendale died in 1822.

COTS, CRADLES AND CRIBS
Today the term ‘cradle’ describes a baby’s bed which rocks, either standing at floor level on two curved rockers, or suspended between two uprights, A cot or crib (the latter now an American term) implies the
high-sided bed on legs, with sides of equal height, which was first devised for toddlers around 1800. In the 18th century and 19th century though, the term ‘cot’ distinguished the swing-type cradle from its more
common rocking counterpart.
Cradles: Always panelled. Before 1600 the head-end just had raised sides; thereafter fully hooded. In the 17th century hoods were generally flat; in the 18th century arched, often ogee form. Large knob finials (used to rock the cradle) present on some uprights. Could be on four outer corners, or on one end only, or both ends and front of hood too. Small storage cupboard sometimes present at back of hood.
Swing cots: Fashionable from about 1750. Main body and hood panelled. Panels could be wood, but were more often of woven cane-work. Supported on trestle base on which the turning varied. At first vase-shaped, sometimes decorated with foliate carving; after 1790 more often straight-edged columns on splayed and needed legs.
An alternative type, after 1800, had a rectangular body (without a fixed wooden hood), the sides formed of turned spindles. Similar trestle base to the above.
Some Regency designers devised swing cots in elegant Greek, Roman or Egyptian style with many classical motifs, ormolu mounts and elaborate drapery. Few of these were made, fewer still survive.
Very large numbers were made during Queen Victoria’s reign in cast iron or brass or combinations of the two. Generally an iron base (for stability) and brass decorative parts. On all-iron pieces the body was covered
with drapery and was therefore purely functional, usually simply ribbed or latticed.
Modern-style cribs or cots: First appeared during Regency. Initially in rectangular box form with turned spindles and straight, square-sectioned uprights continuous with legs. Victorian examples marked by cast-iron construction with variously patterned mesh sides; sometimes raised around one end. Could have half-tester canopy (see p. 22). By 1900, generally plain slatted or turned wooden verticals, usually painted in plain colours. Height was adjustable on one side and on the base of wire mesh.
Oak, sometimes elm or other indigenous woods, for rocking cradles; mahogany, sometimes rosewood, for the swing type. Cast iron and brass tubing in the 19th century. Victorian reproductions often made in beech or pine, painted and grained to simulate oak.
Until about 1800, the majority of cradles
Late Victorian/Edwardian metal child’s bed.
were evidently made in wicker (with wooden rockers), but survivals in Britain in unknown.
In grand houses, cradles, like beds, were an indication of status and could be elaborate. State cradles were made in beech and completely covered with upholstery.
Cradles: Panelled. In early 18th century fielded panels were fashionable. Rockers usually cut and pegged into base of corner uprights, but could be attached via short turned supports dowelling into rockers and
underside of frame. Hood occasionally hinged at back to allow easy access to baby. Sometimes holes, large wooden pins, or metal loops present at top of sides to take ropes to hold baby in place. Bottom usually had
similar holes for bedlines. Alternatively could have fixed laths or a solid base, the planks removable for easy cleaning.
Swing cots: Straightforward panelled construction. Alternative type with spindles dowelled into upper and lower framework. For brass and iron, see p. 28.
Humblest cradles could have simple chip-carving with lozenges, or more complex designs (see CHESTS, P. 82). Occasionally simple inlay of flowers or geometric borders. Grandest had additional painted or gilt
decoration of which traces may still be visible. Many were carved with initials and a date. This could be details of a birth, but sometimes the initials of the reigning monarch. Not a reliable method of dating as cradles were usually family heirlooms and the date could refer to a later occupant. Many spurious dates were added in the 19th century to fake authenticity.
Japanning on cast iron, often to simulate wood or bronze. Paint began to be a feature of cots around 1900.
Despite their age and charm, not very valuable objects, the majority (of all types) being priced in three figures, many at the lower end of the scale. While their usefulness for their intended purpose may be short-lived, they make very good jardinieres.