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.

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

painted bow-front Corner Whatnot, Louis XVI-style carved giltwood Jardiniere, Victorian walnut small Bookcase, Wing Armchair

A large maple pedestal Desk, the shaped leather inset top above an arrangement of seven drawers, on carved cabriole legs.; together with a small bow-front Cabinet en suite, with

an open recess above a pair of doors and cabriole legs.

A Louis XVI-style carved giltwood Jardiniere, with a metal liner, the pairs of fluted turned supports united by a triform undertier, on scroll feet,  diam.
Two cream painted and parcel-gilt triptych Dressing Table Mirrors, with ornate carved surrounds; together with three bevelled and etched glass triptych Dressing Table Mirrors

A Victorian ebonised and
mother-of-pearl inlaid Occasional Chair,
the shaped papier-mache splat with
chinoiserie decoration, the caned seat on
cabriole legs

A Victorian walnut small Bookcase, enclosed by a pair of glazed panel doors, on a plinth base with bun feet.

A pair of late George III mahogany ‘D’-shaped Table Ends, with reeded borders, on ring turned legs.

An early Victorian rectangular mahogany Occasional Table, now with a reduced chamfered stem, on a shaped platform base.

A mahogany Collector’s Cabinet, with two columns of seven drawers, on a plinth base.

A George III-style painted break-front Pier Cabinet, with bowed sides, the diaper decorated frieze above three panel doors divided by simulated fluted pilasters,  wide.;

together with a ‘D’-end pedestal Dining Table en suite, with a spare leaf, the simulated marble top on twin turned supports and splayed legs,  long

An Italian carved giltwood and
green painted Bedroom Suite in
rococo-style, comprising: a Double Bed
Frame, decorated with reserved
cartouches depicting floral sprays and
cherubs., a pair of
serpentine Console Tables, one with a
marble top., a marble top low
serpentihed Occasional Table, on
cabriole legs., a serpentined
Stool, on cabriole legs, a Bergere and a
Dressing Table, the serpentine marble
top above three drawers.

A pair of carved and gilt painted
Console Brackets,  high; together
with a florentine carved giltwood
rectangular Wall Mirror, with an ornate
foliate pierced frame,  by

A George III mahogany Wing Armchair, upholstered in pale-blue fabric, on chamfered square legs joined by stretchers

A George III-style mahogany standing Corner Cupboard in two sections, the crenellated cornice above two pairs of fielded panel doors, on bracket feet,  nigh by  wide.

An 19th Century-style Continental
carved beechwood Armchair, with a
pierced splat, on carved cabriole legs

A red lacquer chinoiserie Side
Cabinet, with gilt painted decoration
depicting Oriental scenes, the central
bowed cupboard door above four
cabriole legs.—

A three-piece black lacquer
chinoiserie Bergere Suite, with double
carved backs and sides and loose yellow
damask cushions, on carved cabriole legs
with claw and ball feet, comprising: a
Settee and a pair of Armchairs

A black lacquer tub-shaped Bergere, with chinoiserie decoration similar to the previous lot, on square legs

A nest of three black lacquer chinoiserie Occasional Tables, with bowed tops, on slender turned legs and splayed feet.

A mahogany tilt-top Tripod Table, 19th Century, with later black lacquer chinoiserie decoration,  diam., retaining the trade label of Druce s Co.

A Japanese black lacquer and gilt painted bow-front Corner Whatnot, the three graduated tiers with turned supports,  high

A pair of Victorian rosewood balloon-back Chairs, with carved mid-rails, on cabriole legs

Continental mahogany Chairs, Louis XV-style carved giltwood three-piece Suite, Louis XV-style kingwood parquetry low Table

A late George III mahogany rail-back Armchair, with a drop-in seat, on reeded square legs joined by stretchers, restored—

A George III mahogany Chair, with a hoop-shaped splat-back, on chamfered square legs

A Louis XV-style carved giltwood
three-piece Suite, comprising: a small
Settee and a pair of Armchairs

A George III small mahogany
Chest of three long drawers with later
burr handles, on bracket feet.

A late Victorian mahogany pedestal Desk, the red leather inset top above an arrangement of nine drawers.

A set of twelve Continental cherrywood Dining Chairs, 19th Century, with pierced splats and drop-in seats, on tapered square legs

A Continental rosewood five-piece
Drawing Room Suite, mid-19th Century,
each piece with a carved cresting rail and cabriole legs, comprising: a serpentine-back Settee, a pair of Armchairs and a pair of single Chairs

A Queen Anne oak Side Chair, with a solid vase-shaped splat and solid seat, on turned and square legs joined by stretchers

A George II oak Side Table, with a frieze drawer, on square legs.

An Edwardian mahogany and
inlaid Writing Table, with a leather inset
top, on tapered square legs.

An Edwardian chinoiserie cheval Mirror, with a shaped cresting, the turned supports on splayed legs.

A mahogany low Bookcase, in two sections with sliding glass doors flanked by fluted pilasters.

A Louis XV-style kingwood
parquetry low Table, with gilt-metal
mounts, on cabriole legs.

A George II revival burr walnut
and carved Dining Room Suite,
comprising: two serpentine-front
Sideboards, with pierced aprons and
cabriole legs on paw feet.
and  wide., an extending Dining
Table, with one spare leaf, on cabriole
legs, some water damage,  long, six
Dining Chairs and a pair of Carvers,
with nailed red leatherette upholstery
and a Display Cabinet, with a pair of
bevelled glass doors above a pair of
frieze drawers and cupboard doors,
wide.

A burr walnut Cocktail Cabinet of
similar design to the previous lot, with
an arrangement of doors revealing
sycamore veneered fitted interior, the
frieze drawer surmounted by a mirror
slide, raised on cabriole legs

A Louis XV/XVI Transitional-style rosewood and tulipwood marquetry Card Table, with gilt-metal mounts and a frieze drawer, on cabriole legs.

A mahogany Pedestal, the square top and foot divided by a fluted columnar pIIIar,  high    —

A late George III yew-wood Commode Armchair, with a hinged seat revealing ceramic liner, on tapered square legs.

A pair of Continental mahogany Chairs, mid-19th Century, with moulded and padded balloon-shaped backs upholstered in green dralon, on cabriole legs.

An Edwardian satinwood and
floral painted Bedside Cupboard, with
harewood and tulipwood-banding, the
freize drawer above a panel door, on
tapered square legs.

A set of three Louis XlV-style
carved giltwood Armchairs, upholstered
in distressed Genoa velvet, on scrolled
supports with ‘X’-shaped stretchers.

An Edwardian mahogany and
satin birch inlaid oval two-tier
Occasional Table by Heal c Son, the
oval top with a stylised leaf border above
a small frieze drawer, on shaped tapered
square legs.

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.