George III oak Dining Chairs, oak Corner Cupboard, Chippendale-style carved mahogany Armchairs, mirror-back Side Cabinet

A set of four George III oak Dining Chairs, with pierced vase-shaped splats and drop-in seats, on chamfered square legs

A late George III oak Corner Cupboard, on associated Stand, the panel door above bobbin-turned legs.

An Art Deco mirror glass Dressing Table, with etched decoration, the pair of frieze drawers above chamfered column supports.

A George II later painted
bow-front hanging Corner Cupboard,
enclosed by a pair of doors.

An American beechwood Music Seat, late 19th Century, with a spindle-back and revolving seat, on turned legs ending in metal talon and glass ball feet

A George III-style mahogany serpentine-front Serving Table by GIII & Reigate, with a freize drawer, on carved tapered square legs and spade feet.

A WIIIiam and Mary-style walnut and pink dralon upholstered three-piece Drawing Room Suite, each piece on turned legs with scroll feet joined by ‘X’-shaped stretchers,

comprising: a twin-seat Sofa and a pair of Armchairs

A George III-style mahogany and buttoned green dralon upholstered Armchair, on moulded square legs

A George III mahogany and pine Chest-on-Chest, the upper part with two short and three long drawers flanked by fluted corners, the base with three long drawers, on shaped

bracket feet, restored.

A pair of Chippendale-style carved mahogany Armchairs, with lancet pierced splats and drop-in needlework seats, on chamfered square legs

A late Victorian walnut glazed hanging Corner Display Cabinet, with pierced fret carving and a single bevelled glass astragal door.   —

A WIIIiam IV carved and gilt painted circular convex Girandole, with an eagle cresting, candle arms later,  diam.

An Irish ebonised and parcel-gilt oval Wall Mirror, the moulded frame set with simulated gems tones.

A Victorian figured walnut Wardrobe, the triple arched panel doors centred by a full-length mirror.

A Victorian ebonised and gilt-metal mounted mirror-back Side Cabinet, the base with projecting Corinthian columns dividing a cupboard door and a pair of glazed panel doors.

A George III-style mahogany and chevron inlaid Bookcase on Stand,
enclosed by a pair of astragal doors
above two dummy and one real frieze
drawer, on tapered square legs ending in
spade feet.

An ebonised upright Piano by
C. Bechstein, Serial No. , the
panelled front with candle sconces,
wide.

A Victorian black lacquer
papier-mache and gilt painted salon
Chair, the scroll over back centred by an
oval solid splat decorated with
chinoiserie motifs and mother-of-pearl
inlay, the unupholstered seat aperture
above cabriole legs. For IIIus. see page

A late George III mahogany rectangular Pembroke Table, with a drawer, on tapered square legs, restored.

A late George III mahogany and inlaid Press Cupboard, now with a
partially hinged top above a pair of anel doors with oval satinwood andings, the apron drawer above bracket feet, altered.

ANTIQUE SCREENS

Although made from Tudor times, antique screens furniture mostly date from the 18th century onwards, the majority from after 1750. A few screens were intended to block draughts or, in the bedroom furniture, to
protect modesty, but by far the majority were designed as fire-screens - particularly important for women, whose make-up was often wax-based. At all times these were principally decorative objects.
A good vehicle for wood carving. Needlework was always fashionable for the screen panel, but prints, paintings, imported Chinese wallpapers, embroidery, filigree paper, Berlin woolwork, bead and other handiwork are also found (frequently executed by ladies of the house). Around 1750 panels often contained fabric matching the upholstery, wall hangings and so on.
Cheval screen with sliding panel, about 1810,
There are three hree main types of screens antiques:
Cheval, (called a’horse’screen until about 1815): A panel set between two uprights (or standards), supported on feet projecting to the front and back. Sometimes a stretcher below. Cresting often rounded or shaped.
Panel occasionally adjustable in height, moving through grooves in standards.
Generally design followed fashionable styles and showed exuberant scrolling carving (particularly on crestings and stretchers) around 1700, rather less bold carving during Queen Anne’s reign, followed by curvaceous and often asymetrical rococo designs during the Chippendale period, finally becoming straighter and squarer towards 1770. Overall size was gradually reduced. Screens in neoclassical style were far simpler, often with panels of oval or shield shape, straight and simple uprights, and small carved neo-classical details. Uprights often ended in vase finials.
Considerably less popular in 19th century, but available in many revival styles - rococo, Queen Anne, ‘Sheraton’, Gothic, even Elizabethan screens . Ornament often excessive. Many made in papier mch, usually of scrolling outline. Gilded screens also fashionable, with carving of scrolling and naturalistic design, sometimes with double panels of glass enclosing stuffed birds, butterflies and so on.
Pole screens: First made around 1700, but few have survived from before 1750. Also gradually reduced in size. Originally made in pairs to stand either side of fireplace. Designed specifically to protect the face from
heat. Standard pattern was tripod base with turned pillar supporting pole to which a small adjustable screen was attached. Pole topped by finial, often ivory.
Tripod base similar in design to occasional tables (see p. 175) but generally lighter. Shape of panel rectangular in mid-century, more varied after - circles, shields or ovals common, often with shaped edges.
Particularly popular during Regency, though by 1820 bases were clumsier and detail fussier. ‘Banner’ screens introduced in which screen was replaced by similarly attached tasselled fabric banner hung from a wood or
metal cross-bar.
Folding ‘panel’ screens: Relatively seldom seen today. In the 17th century and 18th century mostly a feature of very large houses. Could have simple frame completely covered with decorative leather or painted cloth,
fixed around the edges with decorative nails. Imported Oriental lacquer screens, which could have up to twelve panels, were highly prized.
Some small and simple wood-framed two-leaf screens made around 1750, generally with straight legs, their principal feature being the fabric or print contained within them.
Early Victorian pole screens.    George I// mahogany pole screen, about 1770.
Two-leaf mahogany screen containing Chinese wallpapers, about 1765.
Victorian mahogany cheual screen containing needlework picture.
Large three- or four-leaf folding screens with straight or arched tops popular during Victorian times, covered with leather or cloth, sometimes pasted with ephemera.
Typical woods of their day; beech (when painted, gilded or japanned), walnut, mahogany, rosewood, satinwood, papier mache, bamboo and wicker. Occasionally cast iron used for the bases.
Standard methods employed. Height of pole and banner screens adjusted by tightening the brass ring attached to the back of the panel with a wing screw. Sheraton introduced a new mechanism with a hollow pole and counterbalanced weights adjusted on a pulley and cord system. The lower weight was hidden within a tassel below.
Carving of fashionable details according to date. Typical papier mache decoration, often enclosing popular views.
Victorian screens decorated with ephemera are very collectable today. Though often damaged, relatively easy to repair as reproduction ephemera is widely available.
Polish, gilding, japanning, paint (sometimes simulating bronze or gold).
For both cheval and pole screens, an 18th rather than 19th century date makes all the difference to value; four figures for the first, seldom more than three for the latter, though an exceptionally fine or interesting panel filler could push the price up. Folding screens really too scarce and varied to evaluate in general terms.
Late-Victorlan Japanese 19th century painted leather folding bamboo’ and lacquer screen.

SETTEES  sofas, day-beds and couches
A George I walnut settee with shepherd’s crook arms. The cabriole legs have thread and scroll decoration and end in pad feet. The fabric is not contemporary, which would increase the price considerably. 1715-1725
A Chippendale mahogany settee showing the double back design taken from a single chair. 1750-1770
The earliest forms of settee were simply extended versions of the armchairs of the period, whether upholstered or, like Chippendale’s examples, with backs that were a two-, three- or four-fold repeat of the single chair back with which the settee went en suite. These are, understandably, not very popular and it is not until the return of the fully upholstered back that any great enthusiasm emerges amongst general collectors.
From about 1770 onwards the fully upholstered settee, then the couch or day-bed of Regency times and the exuberantly carved Victorian chaise-longues and couches, the Chesterfield and all the other forms made their appearance in sequence. These are now part of the general antique collecting scene, whereas the upholstered late seventeenth century pieces and hard-backed Chippendale versions are a specialist taste.
The price is obviously greatly influenced by the condition of the upholstery, and unless otherwise stated values are based on the piece being covered in good quality modern upholstery.
A Hepplewhite mahogany upholstered settee on slightly splayed legs. Note that the hessian below the seat has been ripped out. At this price one needs to check that the frame is period as well, as it appears somebody has done by the torn canvas at the bottom of the seat. 1780-1800
A Hepplewhite button upholstered settee on tapering legs. An elegant serviceable piece. 1780-1800
A superb Adam sofa or window seat. The workmanship is of the highest quality. A very elegant piece.
c. 1775
Bear in mind that the prices which follow take account of the cost of new upholstery, which they are assumed to have.
A four-seat Sheraton settee on turned and fluted legs.
A Regency  chaise-longue with carved decoration on the front.
A Regency mahogany chaise-longue on paw feet. 1810-1825
A mahogany chaise-longue with metal decoration and heavy rounded padded ends. 1810-1830
A Victorian single-ended chaise-longue with deeply buttoned back.
A Victorian walnut richly carved settee. c.1825-1850
A Victorian double-ended settee with flowing scrolled lines and considerable carving, offered over a wide range of time. 1850-1880
A William IV mahogany sofa, with rather bulbous reeded legs, showing the doubleended design favoured by several designers.
A walnut Victorian double spoon-backed settee with leaf carving and fretted scrolls.
A mahogany Victorian settee with French influence in the back design. The legs are the same as the chairs of this date.
An unusual Victorian button backed Chesterfield with scrolled arms and turned legs.
A Victorian Chesterfield with typical button upholstery. Now very often recovered in leather. 1860-1900