George III mahogany and chevron-banded square Piano, George III oak Side Table, simulated bamboo Dining Room Suite

A Victorian carved walnut button
upholstered balloon-back Chair, covered
in russet velvet, on cabriole legs

A late George III mahogany and chevron-banded square Piano with an incomplete action, on tapered square legs, manufacturers trade mark indistinct.,

An Edwardian mahogany and inlaid Display Cabinet, enclosed by a
air of astragal doors, on tapered square :gs ending in spade feet.

A late George III mahogany Chest, the fluted frieze above two short and three long drawers, on bracket feet.

An early Victorian rosewood Centre Table, the rectangular top with a pair of frieze drawers, on pierced fret trestle supports joined by a conforming stretcher.

A Victorian walnut and string banded Davenport, with a lateral door enclosing drawers, distressed.

A George III-style painted satinwood rectangular Occasional Table, on tapered square legs with stretchers.

An Edwardian mahogany Writing Table, with a pierced gallery back, the inlaid frieze drawer above tapered square legs.—

A George III-style mahogany bow-front Side Table, with a pair of drawers, on tapered square legs.

A George III oak Side Table, with a drawer, on chamfered square legs, restored.—

A Victorian walnut rectangular Sutherland Table, on turned legs and castors. open

An Edwardian mahogany and satinwood-banded square revolving Book Canterbury, the cruciform base on castors.

A WIIIiam IV carved giltwood
scroll-end Chaise Longue, upholstered
in blue fabric, on scrolled legs with
gadrooned feet,  long

An oak Mule Chest, 19th Century, of dovetailed construction, the base with a pair of drawers. —

A Continental mahogany and ebonised Shaving Stand, mid-19th Century, with an adjustable mirror above a drawer, on a turned stem with tripod supports,  high

A George IV gilt painted convex
Wall Mirror, with an ebonised eagle
surmount, later painted,  high

A George II-style carved giltwood Overmantel Mirror, the broken arch cresting centred by a winged cherub mask, restored.       —

A mahogany bow-front Chest, early 19th Century, with two short and three long drawers, on splayed bracket feet.

A George II elm and chestnut Armchair, with a pierced splat and outscrolled arms, on cabriole legs, restored

A large oak Coffer, early 19th Century, of multi-fielded panel construction, on stem feet, distressed.

A Dutch 19th Century-style large
oak Cupboard, the massive moulded
cornice above a pair of doors with mitred
panels and Corinthian pilasters, the
interior with shelves, below are two
apron drawers and bold bun feet,
high by  wide.; ft. in. by ft. in.

A mahogany Bureau Bookcase,
with a pair of glazed doors and cabriole
legs.

A simulated bamboo Dining Room Suite, comprising: a twin-door Side Cabinet., six Standard Dining Chairs and a pair of Standard Lamps, together with an associated Dining Tame,

the under-painted glass top on a scrolled ironwork base,  long, with two leaf extensions    —
An Edwardian-style mahogany and satinwood-inlaid square revolving Bookcase, made-up.

An Edwardian mahogany
rectangular Sutherland Table,
wide.; together with a pair of beechwood
spindle-back Chairs

Victorian mahogany scroll-end Chaise Longue, George III mahogany Pot Cupboard, satinwood-banded Display Cabinet

A late George III mahogany and
inlaid swing-frame Dressing Table
Mirror, with three drawers.;
three other small mahogany swing-frame
Toilet Mirrors and one larger, th
Century and later, distressed.

A late George III mahogany Pot Cupboard, on tapered square Tegs, distressed.

An ash and elm Windsor wheel-back Armchair, early 19th Century, on slender turned legs; together with a similar standard Windsor Chair

A WIIIiam IV mahogany rectangular tilt-top Occasional Table,
with a triform base.; together with a Victorian mahogany tilt-top tripod Table.

A mahogany and walnut tripod
Torchere, with a reeded stem,
high; together with a late George III
painted beechwood rail-back Armchair
with a cane seat, on turned legs

A Victorian walnut miniature
Wellington Collector’s Chest, with seven
drawers, on a plinth base.

A George III oak hanging Corner Cupboard, with a panel door enclosing a shaped shelf.

A George III-style mahogany and string-inlaid serpentine-front Side Table, with three drawers, on tapered square legs.

A George III-style mahogany and
crossbanded bow-front Side Tame, with
three drawers surrounding a kneehole,
on tapered square legs ending in spade
feet.

An Edwardian mahogany and satinwood-banded Display Cabinet, with a pair of geometric astragal doors above a pair of panel doors, on tapered square legs.

A set of five late George III mahogany rail-back Chairs, with reeded frames and stuffed seats, on fluted turned legs

A Victorian walnut and gilt-metal mounted Coal Purdonium, with trefoil-shaped sides flanking a fluted loop handle.; together with a brass coal scoop

A George III mahogany drop-leaf Table, the rounded rectangular top on tapered legs ending in pad feet, altered and restored.—

A WIIIiam IV mahogany and rosewood crossbanded octagonal drum-top Occasional Table, with a small drawer, on a chamfered pIIIar with a shaped platform base.

An early Victorian mahogany scroll-end Chaise Longue, upholstered in pink striped brocade, on octagonal tapered legs,  long

A Victorian walnut and inlaid bow-front Whatnot, the four-tiers banded with Tunbridgeware and with turned beechwood supports,  high

A Regency mahogany combined
Writing and Dressing Table, inlaid with
ebonised stringing, the square top above
a frieze drawer fitted witn pen
compartments and an adjustable mirror,
on partially reeded turned legs,
wide.

A Flemish 19th Century-style
ebonised Credence Table, circa ,
the fold-over top with amboyna and
rosewood veneers, with stippled scroll
motifs, the turned legs witn scroll angle
brackets, joined by stretchers.;
ft. in.

A Portuguese painted Display
Cabinet, the serpentine cornice above a
glazed panel door enclosing shelves,
wide.

A pair of George III-style
mahogany and upholstered Armchairs,
with satinwood fan medallion inlay, the
oval backs with fluted surrounds, the
bowed seats with matching aprons, on
turned and fluted tapering legs

SETTEES, CHAISES-LONGUES AND SOFAS
A bit too comfortable for the likes of architect-designers, the settee and sofa attracted less design attention of the ‘progressive’ sort between rococo and art nouveau. The general commercial manufacturer was left to
provide comfortable seating of this sort and did so, often of a buttoned and overstuffed nature. Settles (q.v.) were another matter and the production of some settle-like, art nouveau settees was a feature of the turn of
the century.
The value of old settees of the completely upholstered sort is nowadays dependent, obviously, on condition and upholstery as much as style. Chesterfields tend to be sought after as a perennially popular form and have been produced and reproduced in large numbers from their inception to the present day.
SETTEES  chaises-longues
A Victorian rococo single-ended settee or chaise-longue in the style so popular in the 1850s and made on to the 1880s. The buttoned upholstery gives it a luxurious appearance and the walnut cabriole legs are suitably over-scrolled to impress.
A more developed settee, again in walnut, with buttoned back upholstery and rococo curves which are so exuberant as almost to parody themselves. The legs and arm supports are carved with doubly-accentuated
scrolls and with leaves. Like much Victorian rococo furniture, it is designed more for effect than for heavy wear, but one cannot help admiring the sheer confidence of the maker.
Typical chaise-longue, with matching chairs, of a type made from the 1880s onwards, with turned legs, solid construction and turned-spindle gallery along the back. Covered in an imitation leather.
Chaise-longue 250  350 Suite of chaise-longue, two easy and six single chairs
A slightly later suite with spindled galleries to chaise-longue and armchair. 1890-1900
Chaise-longue only Suite of nine pieces
A chaise-longue, tub easy chair and single chair of a type made from c.1890 onwards. The curvy legs are a forerunner of the `Louis’ style popular in the early 1900s.
A commercial art nouveau’ chaise-longue and easy chair, with single chair of a suite. The ‘art nouveau’ bit is from the cut-through heart shapes but, since the legs remain rotundly turned throughout (and not square
section as normally done with art nouveau), it is a commercial gesture rather than a genuine design.
A fully upholstered chaise-longue and easy chair with attendant ,arty’ chair. The upholstery is of c.1910 velvet in a contemporary design. 1900-1930
SETTEES  chesterfields
Fully upholstered settees appear prominently in manufacturers’ catalogues of the 1850s onwards. The chesterfield sofa is one of the enduring types but possibly appeared later. By the 1870s fully buttoned chesterfields are visible in the catalogues of Shoolbred and others. The examples shown here are from later catalogues, but that on the right is a typical example of the breed.
A selection of six chesterfields from 1900 to 1930 showing variations in coverings over the period.
SETTEES  art nouveau
An ‘art nouveau’ settee-settle inlaid with stylised    404 A mahogany corner settee with an arm rest with turned flowers. The bowed sides are slatted above the upholstered    column supports at one end. An odd ‘art nouveau’ piece designed
arms and the square feet have castors inset.    for some special corner. C. 1900
SETTEES  drop arm
The drop-arm settee appears to have lost favour recently. There was a time when the pull of a lever could transform a settee into a piece of reclining furniture. Three versions are shown here, two of chesterfield type
and one shaped one on square tapering legs. 1900-1920
SETTEES  ‘reproduction’ styles, 1890-1930
A rather splendidly-covered ‘French’ style settee with gilded frame with gesso decoration. 1860-1890
An ebonised sofa with an inlaid panel in the back. The piece is made in a style derivative of French and dimmer traditions, with a hint of the Prince of Wales’ feathers thrown in this part of the suite of drawing room furniture. The overall effect is rather flimsy. c. 1890
A 19th century English reproduction of a French sofa, made with considerable skill and expertise. One of the great difficulties with the classic French designs from Louis XIV to Louis XVI is the fact that they have been so much reproduced and so accurately. Even now, Italian and Spanish workshops, as well as the French, are turning out Louis XV chairs on a grand production scale.
An ‘Edwardian Sheraton’ settee with a buttoned back and turned front legs. There is a characteristic inlay in boxwood and ivory in the centre of the top back seat rail, and inlaid boxwood stringing lines in the mahogany frame.
A settee and a day bed in walnut with much twist turning to meet the demand for ‘medieval’ furniture. The styles are, in fact, more attuned to Restoration furniture than the ‘Elizabethan’ taste they were intended to
satisfy. 1900-1920
A walnut two-back settee and easy chair with curving moulded cross-stretchers connecting the legs, which end in scrolled, folded feet. The legs are a fair emulation of William-and-Mary styles and the silk tapestry
upholstery was a quite expensive fabric.
A three-back settee with carved English walnut under-frame in the style of 1670 Restoration furniture, covered in silk tapestry.
A three-back carved walnut settee with caned panels in the backs and a caned seat. A fairly accurate copy of a type of 1670-1680 with bold turning in double bulbs to the front stretchers; scrolled, folded feet;
well-swept arms ending in scrolls and elaborately-carved top rails. A good quality piece but more decorative than utilitarian, so not very expensive.
A mahogany settee with a caned seat and caned oval back panel with a painted crest. It is carved with 18th century motifs in the Adam-Sheraton manner and is on square tapering legs with block feet.
A bergere settee and armchair in a style of French Hepplewhite derivation with painted decoration and an oval central painted panel to the settee, depicting a recumbent scantily-clad lady attended by cherubs on what looks like a sea shore. The contemporary fabric on the upholstery is somewhat fussy for the classical design and decoration of the structure.