Gothic to Renaissance
IT may be whimsical to suggest, as I have done in the antique firefighter pictures Introduction, that some pieces of furniture reflect the antique dining tables with d ends personalities of the arts and antiques weekly people who made them, but even if you dismiss that as too fanciful, it is certainly true that they often tell us a great deal about the antique eastern maryland shore people for whom they were made.
Of all the antique atlas uk influences that combine, at any given time, to dictate the antique club motor outboard trend of design, it is social pressure—the compulsion to keep up with the antique collar silver victorian Jones’—that is one of the antique box door mail postal most powerful. It is surprising how very little furniture is really essential, and how much has been made to enhance the antique french beds metal owner’s status rather than increase his comfort. In many an African village, the antiques art noveau sideboard stool that serves the antique art pottery chief as a throne is the antique iron wagon wheel only piece of furniture for miles around. The chief would be more comfortable sitting on his haunches, but he has to boost his ego and get the www antiques sos com mallsalesreporter htm edge on the antique mirror hardware witch-doctor somehow. The same principle applies in what is laughably known as ‘Western Civilization’, where large organizations, both commercial and civil, enforce a strict grading System specifying exactly what furnishings an executive may have in his office. I know of one such hierarchy where the barrister bookcase antique lowest level is permitted only a whitewood table and chair on bare boards, while the five foot round antique table highest achieves the provincial regency chair last word in room-at-the-top man ship with an office furnished entirely with antiques and Persian rugs.
In the architect table with several drawers private house, there is of course no written rule that permits Mrs Smith of Sutton Coldfield to have a genuine reproduction Tudor cocktail bar in her lounge, while forbidding Mrs Brown of Lexington, Ky., the la vie romantique luxury of a ten-foot bedstead with Corinthian columns in green marble at the antique bathroom dealer furniture vanity corners; yet both these ladies know, in their secret souls, just what is permitted to them, tacitly, by protocol. They know it is all right to go one better than the antique john deere lawn tractors neighbours whose husbands earn the hardback books on european rare european antiques same salary as their own, but to go two better is to run a grave risk of being ostracized on coffee-mornings.
In other words—snobbishness, pure and simple, with very little harm in it, and possibly quite a bit of good resulting! If the lalique dining table competitive spirit prompts people to beautify their homes.
English Oak of the antique bookshelfs Late Gothic Period Mid-Sixteenth Century
A. Box-seated arm-chair.
B. Trestle table.
C. Iron hinge and lock plate.
D. Chest showing a different type of carved decoration in each of three
Panels; in actuality, the 17th century french dressers designs would be arranged symmetrically.
E. Solid-ended stool.
It has been going on for a very long time indeed. It has provided one of the french marquetry writing table with reeded supports most valuable Stimuli to the antique ivory chess making and collecting of fine things. My dictionary tells me that the 17th century mirrors american original meaning of’ snob’ was ’shoemaker’. I’m surprised it wasn’t ‘furniture-maker’.
To demonstrate that this really is an histories principle and not just a petty piece of personal cynicism, it is necessary only to consider the frederick hurten rhead sgraffito development of the antique french bed chair—an article which those of us who live mainly sedentary lives have corner to regard as a basic necessity. By custom and usage, that is what it has become, but the antique boot scrapers example already given of the antique walnut dressing table kidney African perched on his stool suggests that the italian plastic sideboards original purpose, in primitive society, was to be, literally, ‘one up’—about one foot up—above the scandinavian painted antique beds rest when all were in a sitting position.
The stool was largely ousted, as a status-symbol, early in Northern European history, though in Italy, it took on grand forms and served as a seat of honour. The Doge of Venice, for example, used a type of stool as a judgement-seat. In Britain, the secretaire chests stool was a relatively humble article, normal seating for the antique ge fan less important people.
In its Gothic form, it was supported on a pair of shaped end-supports, joined together by a stretcher below that penetrates them, projects beyond them and is held in position by wedges. The top is often hinged, with a box-like compartment such as we have in the walnut drop leaf table round rectangle modern music-stool. This box became gradually shallower and was eventually discarded as a feature. The solid end-supports were ultimately replaced by four turned legs.
In according the antique tobacco humidor important person a seat commensurate with his social standing, the antique rolls royce cars for sale Early English really went to town. One might be forgiven for expecting a stool with a back tacked on, making it into a primitive sort of chair. Not on your life! It was ages before anything as simple and logical as a nice little chair with a back and no arms were to develop. In the antique car packard middle Ages, the lattice arts and crafts chair great ones were provided with something much more like a throne than a chair, having a seat of box-construction, a high, solid back, and equally solid arms (Fig. 1). Even in the wiener werkstatte toy knight lathe great halls, there were seldom more than three chairs—one for the antique door pocket pull lord, one for his lady-wife, and possibly another, held in reserve for a visiting V.I.P.
Any entertainment was provided by the louis xiii furniture resident jester or strolling minstrel, for whom a Space was made in the antiqued metal and crystal chandeliers great hall by taking the antique wood canopy bed table to pieces when the antique thread cabinet meal was done. Life in feudal England was lived, to a large extent, communally, and the antiques seattle wa lord and master sat at high table, with his pretty wife on one side of him and a philandering knight on the antique radio appraisal other, making eyes at her across the antique doll clothes pattern gold plate. Apart from the antique coleman lamps afore-mentioned jester or minstrel, that was about the antique auction jersey new only amusement available after dark. Today, we have television, with jesters telling the edwardian library table same jokes they told then, otherwise things are much the antique concession stand same. Tables, however, have undergone a series of changes.
The type of dining-table in general use until late Tudor times was a massive affair consisting of oak boards joined together and resting on movable trestles. Reproductions of these, duly scaled down, abound, but few genuine examples corner on to the walnut daybed with cane market and as nothing less than a mooted grange will happily accommodate one, a book about antiques for the secret drawers smaller home needs hardly devote much space to the antique chairs origin subject. To understand what came after, it is necessary to have some idea of what went on before; otherwise the 1700’s antique carved parlor furniture mighty table of the antique auction desk house roll top so-called Gothic period would not get a mention here.

It is known, was usually constructed of walnut or cypress, and carved in high relief, favourite subjects being the antique army knife swiss family coat-of-arms, foliage, figures representing the duncan phyfe design tables and chairs Christian saints of the antique ebay glassware pottery paging gods and goddesses of mythology, and—as the dantesca chair restless Baroque feeling gained momentum—elaborate scrollwork. In all but the antique chamber pot tables poorest families it was the open armchair mahogany gothic scroll ended custom to give the bible drop leaf table bride a dower chest, and when the antique bbc road show caisson was serving this purpose, it was often decorated with a painted panel depicting a famous love-story. For the antique sugar dome skeleton clock great houses, great artists worked—and not merely as designers. There are cassoni existing to this day with paintings executed by such masters as Botticelli and Pietro di Cosimo. Others were covered with a layer of hard plaster called gesso, which was intricately carved and then gilded. The shape varied from the how can i find out information on a mahogany 4 post canopy bed? rectangular box that had served in Gothic times to a sarcophagus-form that tapered down towards the antique horse painting feet, sometimes in a straight line, sometimes following a curve .
Visitors to London can see, at the 1910 spindle chair Courtauld Institute, two very fine cassoni, set among other splendid Renaissance pieces, not to mention the hepplewhitechairs fine collection of pietures. These are large and ornate examples, little suited to use in the very early sevres modem home; but smaller and simpler specimens are to be found, which would grace any hall or living-room of good proportions. A cassone is a commanding piece of furniture that looks its best against a plain, even severe background, or eise against rieh and ruddy draperies. I would favour a white wall or a window hung with crimson velvet curtains, but I must confess that mine has to be accommodated under the antique chair canadian stairs in a narrow hall, where it does not look its handsome best, but does hold a lot of blankets and bed-linen. The cassone is essentially functional, and often did service as a seat when chairs were still scarce. Sometimes it was fitted with a back and arms, and became akin to the antique powder compacts settle commonly found in the georgian brass candlesticks country districts of Britain, Holland, and America. When the antique mahogany table cassone is fitted with a back, it is called a cassa panca. The Metropolitan Museum of Art in New York boasts an example almost nine feet in length, but again, smaller specimens are to be bought.
I must confess I have never really understood why chairs should have continued to be scarce, even in Italy, birthplace and cradle of the antique swordsticks Renaissance, as late as 1600. Some magnificent
throne-like constructions were made, which were usually more or less permanent fixtures. A lighter and more portable type of chair was made to fold, having an X-shaped frame, back and front, which closed up like a pair of scissors. This is known in Italy as a Savonarola, presumably because it was popular in Florence at about the american chippendle sideboard time the lacquer black and wood dining sideboard lacquer martyred monk was dictator of that city. In Germany, it is also associated with the art deco mahogany tub chair Reformation, but is given a national flavour by calling it a Luther chair. A more correct name, indicating its true origins, is curule, which is what the makers marks on antique tables Romans had called the chicago antique store stool of similar shape used by a chief magistrate to sit on when riding in a chariot. Don’t let these fancy names concern you too much. Most English writers are content to call this type of chair an ‘X’ chair. A version of it was current in Britain early in the antique car sell seventeenth Century .
Another portable type of chair in sixteenth-century Italy was the antique corner chairs Sgabello. This had a tall, narrow back, a solid seat and legs composed either of two solid slabs of wood, one at the stained glass window antique front and one at the upholstered chairs without arms rear, or three staves thrust into the antique crackle underside of the antique kohler 10kva generator seat, milk-maid’s-stool-fashion. In Britain these are known as ‘gossip’ or ’spinning’ chairs, and are said to have been used by the antique oak bench women while spinning a yarn in more senses than one. This, so far as Britain is concerned, is probably an old wives’ tale in itself, or possibly a dealers’ story. I doubt very much whether any of these chairs were made in England until some coarse reproductions, with treacly black stain over the antique maps uk crude carving, was turned out in late Victorian times. They are still being made today, and are of Freed for sale, quite honestly, in the whieldon tortoiseshell shops specializing in the antique music jewlery boxes sort of furniture that no one seems to want to buy if it is genuine. The type is related to the inlaid tilt top table scroll foot French ‘caqueteuse’ .
The paucity of chairs throughout Europe at a time when their rather tricky construction had been mastered can only be explained—and then not very satisfactorily—by the antique oak corner cupboards persisting social taboo that reserved chairs for important people (it persists to this day in our use of the antique edison victrola term ‘chairman’) and also by an aesthetic objection, very marked in even the antique light nickel pendant largest Italian palaces, to cluttering any room, especially its centre, with an excess of furniture. The magnificence of individual pieces told to good effect only if they could be given reasonable wall space, and could be viewed at a little distance. An arrangement of tables
and chairs in the antique furniture milford connecticut middle of the antique german bisque doll room, such as we often have today, which tends to make even a nobly proportioned salon take on the english 17th century, chest chippendale air of a village hall set out for a whist drive, would have interfered with the victorian stretcher card table view of the orlando antique boat show wall-pieces.
These included, as well as the antiques music box gilded birdcage omnipresent cassone, various types of cabinet and cupboard. There was the walnut furniture century stamped with century dovetail full-length cabinet with solid doors, from which the antique victoria fire screens - needlepoint - 19th century modem wardrobe is derived, but which had few English counterparts. In Spain, Germany, and France, however, it became a standard item, and as it has come to be thought of as characteristically French, with the old coin sanaa antique quran French name of armoire, we will postpone its consideration for the antique glass windows moment, reviewing more typically Italian pieces in the antique kitchen pantry meantime.
Of these, the mason jar antique lead lids architecturally conceived cabinet of drawers is perhaps the colonial chair table piece that is met with most often—and most often overlooked or dismissed as a useless article of furniture that has no place in the tuttle silversmiths and cocktail shaker modem home. True, the antique brass builder hardwares elaborate arrangement of small drawers, set within a carcase and usually mounted on a stand which is really in the painting a antique car form of a table, is limited in its practical application. The drawers were intended to contain small and precious objects, and those of us who have anything of the antique corner cupboards sort, these days, usually prefer to display them rather than hide them away. And yet there must be many uses for these dignified and pleasing pieces of furniture, when you consider ail the oak coffer flower carving bits and pieces that are not fit for display, that get lost in large drawers and cause frayed tempers because they can never be found when wanted—everything from a card of fuse-wire to the taperedlegs with brass balls football-pool coupons. Anyone with a tidy mind could have a glorious time with one of these cabinets, gathering together the alabaster mantelpiece ornaments entire little home-less objects in a house and allocating a drawer to this and that. Very often there is a small compartment set at the pbs org antique centre, having a miniature ‘front door’ with its own pilasters and pediment. The stand is usually about two-and-a-half feet high, with two or three elaborate legs at the dresden porcelain meissen style clocks front, and plainer ones at the antique captain desk english back. The way in which the antique trading cards legs are elaborated provides a clue as to date, and in cases of doubt, to nationality, as these cabinets were much imitated in other countries. National varieties will be noted in due course. Early Italian specimens frequently have legs in the english hall chairs form of caryatids—semi-human figures, carved and sometimes gilt. The cabinet on stand can vary in size, the pier antique show ny smaller ones being
only about three feet across and under six feet in overall height, so that size alone cannot be made a good reason for rejecting them as furnishing pieces in the antique percussion broomhandle pistol smaller house. They are among the 18th century french center table rococo most obviously under-priced items on the antique gilded mirror market today .
In case it should be thought that I am waxing unduly enthusiastic about Italian Renaissance furniture, I would venture a word of warning about a certain type of table of the antique road show online period which is sometimes bought in the antique auto photo mistaken belief that it will serve the large oval orange antique rug purpose of a dining-table. Like any long narrow table with some carving to it, it is usually described as a ‘refectory table’. It normally has a pair of turned legs at each end which rest on a cross-piece. Under the french antique phone table top is a deep freeze (not deep freeze!) in which drawers is set. The frieze and the goantiques.+com drawer-fronts which form part of it are not usually flat and vertical, but curved in cross section, so that the antique glass vaseline bottom edge recedes, thus creating an illusion that there is more knee-room for anyone sitting at the antique church furniture in texas table than is, in fact, the antique radio controls case. These tables, or banconi, were really intended, like so much of the english antique chess tables Italian furniture of the antique opium pipe time, to be placed against the antique rose gold rings wall. They are not really meant for sitting at, and can be most uncomfortable as dining-tables. They were reproduced in vast numbers in the antique maytag washers nineteenth Century, mostly in oak with nasty black stain on it. Genuine Italian pieces of the carvings on art nouveau furniture sixteenth and seventeenth centuries are almost always of walnut, used in the antique cane sword solid and not exhibiting the harp dinning table elaborately figured grain of burr-walnut used as veneers—which is the 1950 antique cadillac car only kind of walnut many people recognize as such. Solid walnut, as used for this early Italian furniture, is very like that employed for the antique chair in teak vintage stocks of good sporting guns. Study that, and you will know how to recognize it.
It was not, of course, the rca antique radio parts only wood used. I have made mention of cypress. This, and pine, were employed with a coating of gesso for the antique repair toronto pieces intended to be painted or gilt. (The term ‘pine’ is used, as in most books about old furniture, as a generic one to cover a number of coniferous timbers that includes all varieties of the new jersey antique dealer pine-tree itself, together with fir and larch.) When decoration took the antique surveyors tools form of inlaying a design, woods of contrast-ing colours were used, such as fruitwoods—pear and citrus— acacia and sycamore. Other materials used for inlay were ivory, bone, shell, coloured stones, silver, and pewter. When these metals were employed, they were usually engraved.
The softer woods such as pine and lime were much favoured for the victorian papiere mache settee very elaborate carving of frames for pictures and mirrors. Until the sheraton pembroke table cuffs middle of the antique marble and fruitwood coffee table seventeenth Century, Italy—to be precise, Venice—had a Virtual monopoly in the 1940’s shield back chairs manufacture of mirror-glass. Better and larger pieces of glass were made here than anywhere eise in the antique fireplace uk world, and the antique ebay set tv secret of their manufacture was jealously guarded, the decoative curved back button sofas workmen being forbidden, on pain of death, to reveal it. A looking-glass was thus a valuable object, and no expense was considered too great in preparing a frame for it.
Italian frames dating from the sideboard table - palladian style late sixteenth Century onwards demonstrate the antique and china and children transition from disciplined Renaissance to extravagant, High Baroque as nothing else can. Plate II provides a good example. It shows a carved pine frame of seventeenth-century Italian workmanship—most probably Florentine. There is not a straight line to be seen in it anywhere, whereas the show picture of vintage drawer peg construction carcase of the heavy oak dining table with leaves that pul out cabinet-on-stand shown is essentially rectilinear. Not all examples of the antique institutional chairs Baroque are quite so curving and curling as is this mirror-frame—not everything offers such opportunities for reckless abandon but the antique label old sign principal features here are characteristic of the tin tankards from 19th century style as a whole. Notice that the inlaid specimen marble table top popular motifs curves—excluding the victorian table lacquered black mother pearl internal oval—do not become a continuous flow, but turn in on themselves to form scrolls, or else corner to abrupt stops. They are mostly S-shaped rather than C-shaped, and some of them have an almost savage, hook-like appearance that accords well enough with the free online antique price guide grotesque sea-monsters and satyr-masks, but hardly with the 1890 s wash stand musically cherubim or— keeping to the antique american desk Italian idiom—putty. The swags of fruit and the antique japanese vase overhanging shell are also typical Baroque motifs. Considering the centerville michigan antique show thing as a whole, it will be noticed that, in spite of its fantastic elaboration, the mahogany gateleg drop table with draws design is almost perfectly symmetrical. This point is an important one to keep in mind when we come to examine the bbc antiques transition from Baroque to Rococo, in the boulle louis xv tables next chapter.
It must be borne in mind that the antique mack truck for sale Italians themselves designate the sutherland refectory table centuries differently. What we call, in English, the antique furniture dealers in parisfrance ’sixteenth Century’ (1500-1600) is, in Italian, the authentic 18th century queen anne chairs ‘cinquecento’— the antique beautiful bracelet grandma jewelry vintage watch ‘fifteenth Century’.
In writing of Italian furniture, I have made no attempt to designate the corner inlaid mother of pearl chair succeeding periods by any particular names, such as those of kings and princes, as the antique hotpoint stove history of the antique white lighting country and its division into small states can really only be sorted out by a keen Student of Italian affairs during the antique door knob links related Renaissance. Personally, I have never got much further than the chinese washed rug 11 chinese figures in a row romantic but confused picture of the antique oak gateleg tables times presented by such names as Medici, Borgia, Machiavelli, with a scheming pope or two thrown in for good measure. In this I think I am probably no more and no less enlightened than are most British people. However, the antique cabinet hardware and cleveland ohio near-impossibility of labelling Italian periods neatly, according to the wrought iron chairs scroll design who made them in usa 1920 era name of this or that petty tyrant, should be no bar to the antique gun and sword study and appreciation of the tallboy chest of drawers furniture itself. It has its place in the antique mall ontario modern home, if we care to move the annex antiques fair sideboard and adjust our ideas to accommodate it. For those wishing to go more deeply into the spanish style gillow oak dining table subject, detailed classification is best made according to cities—Florence, Venice, Rome, and so on.

JACOBEAN CARVED OAK TESTER BED - JAMES I OAK TESTER BED - OAK COURT CUPBOARD - OAK CREDENCE TABLE - CHARLES I OAK REFECTORY TABLE - AN OAK COFFER

A JACOBEAN CARVED OAK TESTER BED, the cornice
carved with arcading, the tester with twelve scrolled and
carved panels, the headboard with a pair of arches filled
with and flanked by leaves, the end posts with turned
upper sections and incised lower parts, 6ft. 6in. high by
6ft. 6in. long by 4ft. 9in. wide (198cm. by 198cm. by
145cm.) early 17th Century, partly painted red, with
restoration.

A JAMES I OAK TESTER BED, the tester with twelve
leaf-carved panels, the headboard carved with two panels
of leaves above a pair of flower-filled arches divided and
flanked by term figures, the carved end-posts each with
a cup-and-cover section below leaf-carved columns, 7ft.
high by 4ft. 8in. zoide by 6ft. 8in. long (214cm. by 142cm. by
by 203cm.) early 17th Century.

A JAMES I OAK COURT CUPBOARD, the upper part with a strapwork-carved
overhanging comice supported on bulbous columns, the two recessed
panelled doors centred by a further panel inlaid with geometrie strapwork,
the projecting lower part with two panelled doors carved with guilloche,
lozenges, and ribbing, 6ft. lin. high by 4ft. 9in. wide (185cm. by 145cm.)
early 17th Century.

AN OAK REFECTORY TABLE, the three plank top with end cleats
over a moulded frieze and six turned legs with shaped brackets
and joined at the square section by stretchers, 2ft. high by llft.
wide (77.5cm. by 350cm.) mid-17th Century, re-constructed.

AN OAK COFFER with three panel hinged lid, the front carved with a portcullis
motif and flanked by pilas-ters similarly decorated, on Stile feet, 2ft. 3in.
high by 4ft. l’/zin. wide (69cm. by 126cm.) early 17th Century.

AN OAK COFFER of simple construction, the front
carved with two massive stylized flowerheads, lft. 8in.
high by 3ft. 2in. wide (51cm. by 97cm.) 17th Century, possibly
Continental.

AN OAK CREDENCE TABLE, with canted corners,
the carved frieze above fielded panelled doors inlaid
in a herring-bone design in walnut, the sides similarly
carved, on ring-turned baluster legs joined by a moulded
stretcher, 2ft. 6′Mn. high by 3ft. 5in. wide (78cm. by 104cm.)
19th Century.

AN OAK COFFER, with pitched lid, the front carved with
three panels of flowerheads and foliage, the ends with
iron carrying handles, lft. l’Mn. high by 3ft. Hin. wide
(65cm. by 120cm.) 17th Century, re-constructed.

A CHARLES I OAK REFECTORY TABLE, the three-plank top with a
lunette-carved frieze and ring-turned baluster legs joined
by stretchers, 2ft. 6in. high by 5ft. 8in. wide (76cm. by 172.5cm.)
early 17th. Century.

A CHARLES I OAK “BIBLE” BOX, with moulded lid
and base and with fluted frieze, 8′/2in. high by 2ft. 6in.
wide (21.5cm. by 76cm.) circa 1639.

A CHARLES I OAK SIX-PANEL COFFER with moulded
hinged lid, the front with a large panel of diamond
trellis-work and iron lockplate, lft. 9′/2in. high by 3ft. 7in.
wide (54cm. by 109cm.) circa 1630.

ANOTHER with sloping lid, the front and sides carved
with scrollwork, lft. high by 2ft. 3V2in. wide (31cm. by
70cm.) mid-17th Century.

A SMALL CHARLES I OAK SIX PLANK COFFER,
the end boards pierced at the base to form legs, lft.
high by lft. Hin. wide (45cm. by 58cm.) circa 1630.

ANOTHER with moulded lid and interior lidded
compartiment, the front incised with leafy lunettes,
Hin. high by 2ft. 7in. wide (28cm. by 79cm.) mid-1Ith
Century.

A GEORGE I OAK “BIBLE” BOX with sloping lid
and pine sides, the front carved with the initiais GT and
the date 1723 and with a pair of roundels, 2ft. 6in. wide
(76cm.).

A CHARLES II OAK COFFER, the four panelled top
above a band of fiuted carving and centred by a panel
depicting the Tree of Life and flanked by carved lozenges,
above a guilloche band, 2ft. 3l/tin. high by 3ft. Hin. wide
(100cm. by 119cm.) circa 1660.

A CHARLES II OAK CHEST
of four long drawers, each with a pair of simple
geometrie mouldings, on bun feet, 2ft.
high by3ft. wide (88cm. by 92cm.) circa 1670.

A CHARLES I OAK JOINT STOOL with a moulded
top and scroll carved frieze, on turned legs with piain
stretchers, lft. 9′/2in. high by lft. 6V2in. long (55cm. by
47cm.) circa 1640, top replaced.

A CHARLES I OAK JOINT STOOL, on ringed legs with
plain stretchers, the underside of the top stamped with
initiais, lft. 9in. high by lft. 6in. wide (53cm. by 46cm.)
circa 1640.

A CHARLES II OAK JOINT STOOL, the rectangular
moulded top above a moulded frieze, on turned legs joined
at the square section by stretchers and on bun feet,
lft. lV/tin. high by lft. wide (89cm. by 47cm.) circa
1660.

CHARLES II OAK CRADLE - WALNUT ARMCHAIR - CHARLES II OVAL OAK GATELEG TABLE - FOUR CHARLES II BEECHWOOD ARMCHAIRS - BEECHWOOD SIDE CHAIR

A CHARLES I OAK CHEST, with a three-panelled
top, the front with three panels outlined with geometrie
mouldings and enclosed by lunettes carved with fleur-de-
lys, lft. Whin. high by 4ft. 3in. wide (57cm. by 129cm.)
circa 1640.

A CHARLES II OAK CHEST,
the moulded hinged top above a frieze set with two
geometrically moulded panels above one drawer similarly
decorated, on style feet, 2ft. high by 4ft. 2′/2in.
wide (73cm. by 128cm.) circa 1670, the sides carved with later carving.

A CHARLES II OAK CRADLE
with baluster finials and scrolling ends on rockers,
lft. lOin. high by 2ft. 10′Ain. wide (56cm. by 88cm.) late 17th Century.

A CHARLES II WALNUT ARMCHAIR with a pierced,
scrolling, arched cresting and caned back flanked by
turned baluster supports, the outcurved scrolling arms
supported on balusters, with caned seat on S-scrolled legs
joined by a pierced curved stretcher, circa 1680, seatrail
restored.

A CHARLES II OAK COFFER,
rectangular moulded top above a carved frieze, with three
carved arcaded panels beneath, with Stile feet,
2ft. 3′/2in. high by 4ft. Hin. wide (70cm. by 151cm.)
circa 1660, converted.

A LATE 17TH CENTURY CARVED GILTWOOD MIRROR,
the rectangular plate within a gadrooned frame carved
with scrolls, acanthus leaves and cherubs and with a
winged cherub cresting, 3ft. 4in. high by 2ft. 7in. wide
(102cm. by 79cm.) circa 1660, formerly a picture frame,
with restoration.

AN OAK COFFER, with four panelled hinged top,
the front similarly panelled and with two short drawers
in the base, 2ft. high by 4ft. 6in. wide (75cm. by
137cm.) mid-17th Century.

A CHARLES II OAK BIBLE BOX with hinged lid,
the front and sides applied with split ringed balusters
at the corners, with moulded base, high by lft. 91/2in.
wide (21.5cm. by 54cm.) circa 1680.

A CHARLES II OVAL OAK GATELEG TABLE on bobbin-
turned legs and stretchers, 4ft. 2in. long by 5ft. 4in.
open (127cm. by 163cm.) circa 1670.

AN OAK CHEST, the piain top with moulded and
carved edge above a panelled front and sides with chip
carving and dated 1773, 2ft. high by 4ft. 2in. wide
(80cm. by 127cm.) late 17th Century.

A CHARLES II OAK GATELEG TABLE with an oval
top, turned legs and moulded stretchers, 2ft. bin. wide
(74cm.) circa 1685.

AN OAK DROP-LEAF TABLE, the oval top with two
flaps raised on turned and trestle Support, 2ft. 3in. high
by 2ft. 5in. wide (69cm. by 74cm.).

AN OAK SIDE TABLE with a Single drawer in the
frieze, on ring-turned legs joined by an X-stretcher,
on scroll feet, 2ft. 5in. high by 2ft. 5in. wide (74cm. by 74cm.)

A CHARLES II OAK DRESSER BASE
with moulded top and three drawers, each with two geometrie
panels divided and outlined by split-bobbin turning,
raised on six legs, the front four of double baluster form,
2ft. 7in. high by 6ft. 6in. long (79cm. by 198cm.) circa 1670,
some bobbin decoration and handles of later date.

A SET OF FOUR CHARLES II BEECHWOOD ARMCHAIRS,
the acanthus leaf-carved and pierced toprail centred by a
crown and thistles, the cane panelled back carved with
double crowns, leaves and thistles, with carved turned
uprights, with carved turned finials, the out-swept
moulded and carved arms with turned supports, a caned
panel seat and carved moulded frame, the leaf-carved
scrolling legs joined at the front by a pierced carved
stretcher centred by a crown and joined at the sides
by turned H-stretchers, one chair stamped EP, one chair
stamped TT, circa 1660, with restorations and later
carving.

A PAIR OF SIDE CHAIRS similar to and en suite with
the preceding lot, one chair indistinctly stamped RMC

A LARGE CHARLES II OAK GATELEG TABLE, the oval
top raised on bobbin and baluster-turned legs joined at
the square section by bobbin stretchers, the top 4ft. 7in.
by 5ft. 6lMn. open (139cm. by 169cm.) circa 1680, re-
polished and restored.

AN OAK GATELEG TABLE with an oval top on eight
ringed supports joined by square stretchers, on turned feet,
2ft. 4V2in. high by 3ft. 4in. wide (72cm. by 102cm.) partly
late 17th Century.

ANOTHER also with an oval top, with a frieze
drawer and eight spiral-twist legs with square stretchers
and turned feet, 3ft. 6in. by 4ft. Vhin. open (107cm. by
141cm.) circa 1680.

A CHARLES II BEECHWOOD SIDE CHAIR, the pierced
carved toprail above a caned panel back within twist-
turned uprights, the cane panelled seat on twist-turned
legs joined at the square front section by a pierced carved
stretcher and twist-turned H-stretchers, circa 1665, with
restoration.

OAK AND ELM SETTLE - WILLIAM AND MARY OAK SIDE TABLE - GEORGE II OAK LOW CUPBOARD - GEORGE I OAK PRESS CUPBOARD - OAK WALL CUPBOARD

AN OAK AND ELM SETTLE, the rectangular back
carved with lunettes above three panels set with lozenges
with down-curved arms and baluster supports, the solid
plank seat on baluster legs joined by stretchers, 4ft. 6in.
(137cm.)partl7th Century.

A WILLIAM AND MARY OAK SIDE TABLE, with
moulded top, frieze drawer and the turned legs joined by
plain stretchers, 2ft. 5in. high by 2ft. 8in. wide (74cm. by
81cm.) circa 1690.

AN OAK TRIPOD TABLE, the almost square top with
incurved canted corners and raised on a turned stem
with simple cabriole legs, lft. llViin. high by lft. 4in. long
(60cm. by 41cm.) base early 18th Century, top 18th
Century.

AN OAK COFFER with panelled top, front and sides,
2dr.high by 4ft. 4′/2in.. wide (73cm. by 134cm.)
17th/18th Century, the front now carved with lunettes
and lozenges.

AN OAK SETTLE, the rectangular back with six panels,
the loose-cushioned seat on turned front legs, 6ft.
wide (183cm.) late 17th/early 18th Century.

A PAIR OF UNUSUAL GEORGE I PROVINCIAL ELM
AND WALNUT S IDE CHAIRS with ogee-arched toprails, plain
splats and turned columnar supports, now with stufFed
seats on turned legs joined by a turned front stretcher
and H-stretchers, on later bun feet.

A GEORGE I OAK DRESSER, the low superstructure
containing six small drawers and with three drawers
in the shaped frieze, on cabriole front legs and turned
back legs, 3ft. 2lhin. high by 6ft. Hin. wide (98cm. by
211cm.) circa 1720.

A GEORGE II OAK LOW CUPBOARD, the moulded panelled top above a pair
of ogee fielded panelled cup-board doors, the lower part with three
short drawers above a further two short drawers with a serpentine apron,
on bracket feet, 3ft. llin. high by 4ft. lOin. wide (119.5cm. by 147cm.)
early 18th Century, top replaced.

A BRASS CHANDELIER, the baluster stem with gadrooned base and
supporting eight scroll branches, 20in. high (51cm.) early 18th Century,
English or Flemish.

ANOTHER SIMILAR, 3ft. 9in. high by 4ft. 9in. wide
(114cm. by 145cm.) early 18th Century.

A GEORGE I OAK PRESS CUPBOARD, the panelled
overhanging comice with pendant bosses above three
arched fielded panels, two forming doors, the projecting
lower part with three drawers above two cupboards also
with arched fielded panels, 5ft. 2in. high by 4ft. Hin. wide
(158cm. by 150cm.) circa 1725.

A GEORGE II OAK AND ELM DRESSER with a three-
quarter gallery, three frieze drawers above three central
drawers flanked by a pair of fielded panel cupboard doors,
the sides similarly panelled, 3ft. lin. high by 5ft.
wide (194cm. by 177cm.) circa 1740.

A RARE GEORGE II OAK GATELEG TABLE
with oval top and unusual hipped moulded legs ending
in paw feet, 2ft. 4in. high by 5ft. 4lhin. wide, circa 1730.

A GEORGE II OAK CHEST with a hinged top, the front
with three fielded panels, the centre one now form-ing a door,
with pair of drawers below, 2ft. Hin. high by 4ft. 9in. wide
(89cm. by 145cm.) circa 1740.

A GEORGE II OAK SIDE TABLE with a moulded rec-
tangular top, the frieze with one long drawer flanked by
a deep drawer, on cabriole legs ending in pad feet,
2ft. 3′/2in. high by 2ft. 8in. wide (70cm. by 81cm.) circa
1730.

A GEORGE II OAK BUREAU, the Aap crossbanded in walnut
and enclosing an interior fitted with drawers and pigeon-holes
surrounding a central cupboard with canted fluted sides, with
two short and three long walnut crossbanded drawers, 3ft.
high by 3ft. lin. wide (103cm. by 94cm.) circa 1740, feet missing.

A GEORGE II OAK WALL CUPBOARD, the moulded
cornice above a pair of shaped panel doors crossbanded
in burr-oak, lft. Hin. high by 2ft. 5′Ain. wide (59cm. by
75cm.) circa 1730.

AN EARLY GEORGE II OAK MINIATURE BUREAU, the
sloping front enclosing a fitted interior above four
shallow drawers, with a separate ehest stand of two
drawers, 3ft. 2in. high by lft. Hin. wide (97cm. by 58.5cm.)
circa 1730.

AN OAK DRESSER, the rack with moulded cornice
and three shelves, the lower two shelves flanked by a
pair of doors, the base crossbanded in mahogany with
three drawers and cabriole front legs, 3ft. 5in. high by
5ft. 8V2in. wide (104cm. by 174cm.) mid-18th Century,
cornice of rack and front legs replaced.

A GEORGE II OAK CHEST with hinged lid, the
frieze carved with the initiais IR and the date 1752, above
a pair of panels and a drawer, 2ft. high by 3ft. 9in. long
(63cm. by 114cm.) mid-18th Century.

OAK CUPBOARD - OAK DRESSER - OAK CORNER CUPBOARD - GEORGE III OAK CHEST - OAK TALLBOY -  ELM CRICKET TABLE - OAK CHILD’S TABLE

A SMALL GEORGE II OAK CUPBOARD with cavetto
cornice and a pair of pendant finials, above a pair of
recessed doors with fielded ogee-shaped panels, the
slightly projecting lower part with a pair of drawers
above a pair of doors each with four fielded panels,
5ft. lin. high by 3ft. wide (110cm. by 106cm.) circa
1150, later handles.

A GEORGE III OAK CUPBOARD, the rectangular
moulded cornice above a central moulded panelled
door flanked by a pair of moulded panelled cupboard
doors, the base with three moulded dummy drawers
above three opening drawers, on bracket feet, 1ft. high by
5ft. Win. wide (21cm. by 178cm.) circa 1160, with restora-
tions.

A GEORGE III OAK DRESSER, the superstructure with
three shelves, the breakfront lower part with four drawers
in the centre section flanked on each side by a drawer
above a cupboard, 6ft. 6in. high by 5ft. 4in. wide (198cm. by
163cm.) circa 1770.

A GEORGE III OAK DRESSER
with three frieze drawers, on ringed-baluster
front legs, 2ft. 6in. high by 5ft. 6in. wide
(76cm. by 168cm.) late 18th Century.

A GEORGE III OAK CORNER CUPBOARD,
the frieze set with split acorns and a mahogany panel
flanked by lozenges above a pair of cupboard doors
crossbanded in mahogany and set with lozenges, with
three frieze drawers below and canted corners, 3ft.
high by 3ft. 2in. wide (117cm. by 196.5cm.) circa 1780.

A GEORGE III OAK AND ELM DROP-LEAF TABLE
with rounded ends, on chamfered moulded square taper-
ing legs, 2ft. 3in. high by 3ft. 4′/2in. wide extended (68cm. by
103cm.) circa 1790.

AN OAK CUPBOARD
with a fielded top and moulded corners above a pair of
fielded doors enclosing shelves, the sides similarly panelled
on a plinth base, the doors with two copper plates engraved with
the names of James Harrison 1794 and Thomas Ogden 1814, which
suggests that it was a clerk’s locker, 3ft. llin. high by 3ft.
wide (120cm. by 103cm.) late 18th Century.

A RARE GEORGE II SOLID YEW-WOOD DROP-LEAF
TABLE, with one flap, raised on slender turned legs and
four fluted scroll feet, the gateleg support with unusual
pierced stretcher, 2ft. 3in. high by 2ft. wide (69cm. by
70cm.) circa 1755.

A GEORGE III OAK CHEST with a hinged top, on
bracket feet, lft. 4in. high by 3fa. lin. wide (43cm. by
94.5cm.) late 18th Century.

A GEORGE III OAK AND ELM CRICKET TABLE on
square tapering legs joined by a circular platform stretcher,
2ft. high by lft.diam. (67cm. by 59cm.)
late 18th Century.

A PAIR OF EARLY GEORGE III OAK CHAIRS with
stufied buttoned serpentine-topped backs, stufFed seats
and square chamfered legs with H-stretchers, circa
1770.

AN ARMCHAIR in elm and fruitwood, with simple
raked back, dipped solid seat and square legs, circa
1810.

A RARE WELSH OAK CHILD’S TABLE, with attractively
figured cleated two-plank top, on square tapering legs
joined by H-stretchers, 2ft.high by 2ft. 6in. long
(62cm. by 77cm.) late 18th Century.

A GEORGE III OAK TALLBOY, the moulded and key
pattern comice above a shallow drawer inlaid with a
patera and a lozenge above three short and three long
graduated drawers with pilaster sides, the base with a
brushing slide above three long graduated drawers, on
bracket feet, Oft. 3in. high by 3ft. 8in. wide (190cm. by
112cm.) circa 1790.

TWO SIMILAR YEW-WOOD AND ELMWOOD WlNDSOR
CHAIRS with arched backs and pierced vase-shaped splats
flanked by dowels, the crossbars curving around to form the arms,
on turned supports with slide seats and ringed legs joined by
crinoline stretchers, late 18th Century.

WINDSOR ARMCHAIR in elmwood with an arched toprail,
dowelled back, solid seat and ringed legs joined by an
H-stretcher, late 18th Century.

ANOTHER WINDSOR ARMCHAIR IN ELM, with vase-
shaped splat, solid seat, ringed legs and crinoline stretcher,
earlyl9th Century.

A RARE SET OF TEN ELMWOOD AND BEECHWOOD
CHILDREN’S SCHOOL-ROOM CHAIRS, the railed backs with
curved toprails and with dished seats and turned legs
and stretchers, first half 19th Century.

153 A HARLEQUIN SET OF SIX ELMWOOD LADDERBACK CHAIRS,
each with five crossbars, rush seats, turned legs
and stretchers and pad feet, late 18th/early 19th Century

A WINDSOR ARMCHAIR in elm and yew-wood, the
arched dowelled back with pierced two-tier splat, shaped
seat and turned legs with crinoline stretcher, second
quarter 19th Centur.

AN ELM WINDSOR ARMCHAIR, the high dowelled
back with a crossbar curving to form the arms, on a solid
seat and splayed legs joined by an H-stretcher, late 19th
Century.

GEORGE III OAK AND ELM DRESSER - GEORGE II OAK TRAVELLING CHEST OF DRAWERS - OAK SETTLE - GEORGE II OAK BUREAU - OAK AND ELM ARMCHAIR - OAK BUREAU BOOKCASE

AN EARLY GEORGE III OAK AND ELM DRESSER, the
rack with a moulded comice and three shelves, the
lower part with three frieze drawers above ogee-carved
aprons, on ringed column supports and a platform base
with bracket feet, 7ft. high by 5ft. 3in. wide (213cm.
by 160cm.) mid-18th Century.

AN OAK DRESSER,
the rack with a moulded cornice above three
shelves and five short drawers, the lower part
with three frieze drawers above an ogee-carved apron and
chamfered legs with a platform stretcher and block feet,
7ft. bin. high by 6ft. 2in. wide (226cm. by 188cm.) mid-18th
Century, rack probably later.

AN UNUSUAL GEORGE II OAK TRAVELLING CHEST OF DRAWERS in four
sections, the lower part with
two short and two long drawers supporting three sections each
of three short drawers, with iron loop handles, 3ft. 8in. high by 3ft. wide (112cm. by 92cm.) circa 1750.

AN EARLY GEORGE III SOLID ELM BUREAU of rieh
dark colour, the Aap enclosing a fitted interior with four
graduated long drawers with ogee bracket feet, 3ft. 5′/2in.
high by 3ft. lin. wide (106cm. by 94cm.) circa 1770,
handles replaced.

AN OAK DRESSER with moulded cornice and three
shelves flanked by two narrow shelves on each side
flanked by a cupboard, the base with three drawers and
cabriole legs, 7ft. lin. high by 5ft. wide (216cm. by
164cm.).

A GEORGE II OAK CHEST with moulded top, the
front with four ogee-arched fielded panels, the later
stand with three drawers, on tall bracket feet, 3ft. 5in.
high by 4ft. 9l/2in. wide (104cm. by 146cm.) circa 1750, top
originally hinged.

A GEORGE II OAK SETTLE,
the slightly canted back with four arched panels,
with a plank seat and scrolled arms, on cabriole legs, 6ft. wide (183cm.) circa 1740.

A GEORGE III OAK CHEST, the rectangular
moulded top above a brushing slide and two short and
two long drawers, on bracket feet, 2ft. 4lhin. high by
2ft. Hin. wide (72cm. by 90cm.) circa 1770, top and feet
restored.

AN OAK SETTLE, the back with four fielded rec-
tangular panels, the seat with a pair of hinged panels
above four fielded base panels, the arms with turned
supports, 4ft. ‘Mn. high by 5ft. 2in. wide (123cm. by
157cm.) late 18th Century.

A PAIR OF GEORGE III CHAIRS in beechwood and
oak, the shaped toprails set with brass studs above a
pierced, shaped splat similarly studded, the stuffed seat
on square moulded legs joined by back stretchers, circa
1775.

A GEORGE II OAK BUREAU, the flap enclosing a
fitted interior above two short and three long drawers,
on bracket feet, the whole inlaid with walnut crossband-
ing, 3ft. 3′hin. high by 2ft. Win. wide (100cm. by 86cm)
mid-18th Century, Provincial.

A GEORGE III OAK AND ELM ARMCHAIR with a
curved toprail and three plain crossbars joined by turned
balusters with outcurved arms on ringed supports, with
a rush seat and turned legs ending in pad feet joined by
stretchers, late 18th Century.

A GEORGE III OAK BUREAU, the flap enclosing a
fitted interior above two short and three, graduated long
drawers, on bracket feet, the whole crossbanded in
mahogany with rosewood stringwood 3ft. 3′/2in. high by
3ft. 1 in. (101cm. by 94cm.) circa 1775.

A SET OF SIX GEORGE III OAK LADDERBACK CHAIRS
with rush seats and ringed legs joined by baluster
stretchers, late 18th Century.

A GEORGE III OAK CORNER CUPBOARD, the door
with three panels, 2ft. high by 2ft. 2′hin. wide
(89cm. by 67cm.) circa 1770.

AN OAK TABLE with rectangular plank top, simple
moulded frieze and chamfered legs, 2ft. 4in. high by
2ft. 10′hin. wide (71cm. by 87.5cm.) second half 18th
Century.

A GEORGE II ELM “CRICKET” OR DRINKING TABLE
with rounded top on splayed legs joined by a triangular
platform stretcher, 2ft. by lft. 9in. wide (65cm. by
53cm.) circa 1740.

ANOTHER similar, 2ft. 2′/2in. high by 3ft. ‘hin.
wide (67cm. by 93cm.) second half 18th Century.

ANOTHER similar, with splayed square tapering
legs, 2ft. high by lft. Win. wide (65cm. by 56cm.)
circa 1760.

A GEORGE III OAK DRESSER with three frieze
drawers, on ringed baluster front legs, 2ft.
6in. high by 5ft. 6in. wide (76cm. by 168cm.) late 18th Century.

AN EARLY GEORGE III OAK ARMCHAIR
with curved toprail, plain solid splat,
curving arms and supports with a rope seat and plain stretchers, circa 1765.

A GEORGE III OAK TALLBOY with three frieze
drawers above four graduated long drawers, the lower
part also with four graduated long drawers, on bracket
feet, 6ft. 5′hin. high by 3ft. 8′hin. wide (196cm. by 113cm.)
circa 1780.

A GEORGE III OAK DRESSER,
the upper part with open shelves and a pair of panelled doors,
the lower part with three drawers and square tapering legs, 6ft. 4in. high by 6ft. 6′/2in. wide (193cm. by 199cm.) circa 1780.

A GEORGE III OAK BUREAU BOOKCASE, with a narrow mahogany
crossbanding, the upper part with dentil cornice and a pair
of panelled doors enclosing shelves, the flap enclosing a fitted interior above two short and three long drawers,
on bracket feet, 7ft. 3in. high by 3ft. lO’Mn. wide
(221cm. by 118cm.) base circa 1780, upper part partly late 18th Century.

A WILLIAM AND MARY SMALL OAK CHEST - A WILLIAM AND MARY OAK SIDE TABLE - QUEEN ANNE WALNUT SIDE CHAIR - GEORGE II OAK LOW CUPBOARD

A WILLIAM AND MARY SMALL OAK CHEST of two
short and two long drawers with simple rectangular
fielded panels, 2ft.high by 2ft. wide (75cm.
by 77cm.) circa 1690.

AN OAK DRESSER, the upper part with moulded
cornice and serpentine carved frieze with two shelves,
the lower part with a superstructure, panelled with five
dummy drawers with three drawers in the frieze, on
ringed legs joined by a platform stretcher, 5ft. Hin. high
by 5ft. 4in. wide (181cm. by 163cm.) circa 1690, rack
possibly associated, restored.

A WILLIAM AND MARY OAK CHAIR, the scrolling
pierced toprail above a solid back carved with a lozenge,
the solid seat on turned legs joined by baluster
stretchers, circa 1690.

A WILLIAM AND MARY OAK SIDE TABLE
on ringed baluster legs joined by stretchers, 2ft.
5in. high by 2ft.
wide (74cm. by 77cm.) circa 1690.

A WILLIAM AND MARY OAK SIDE CHAIR with
serpentine toprail, panelled solid splat, flanked by
column supports, the solid seat joined by ringed legs and
stretchers, circa 1690.

A QUEEN ANNE OAK SIDE TABLE,
the moulded top crossbanded in walnut above
a frieze drawer, on hipped cabriole legs ending
in shoe feet, 2ft. high by 2ft. 53Mn. wide (67cm. by 75cm.) circa 1710.

A WILLIAM AND MARY OAK SIDE CHAIR with carved
toprail and panelled fielded back on plain supports
with solid seat and turned legs joined by scrolling cresting and plain stretchers, circa 1690.

A QUEEN ANNE OAK SIDE CHAIR with scrolling
toprail and vase-shaped splat, drop-in seat and cabriole
front legs ending in pad feet joined by a wavy stretcher,
circa 1710.

A QUEEN ANNE WALNUT SIDE CHAIR with an
inverted serpentine toprail carved with a shell, with a
vase-shaped splat and drop-in seat on cabriole legs joined
by an H-stretcher, circa 1710.

A WILLIAM AND MARY OAK BUREAU ON STAND, the
hinged flap enclosing shelves, with a panelled frieze
drawer and tapering baluster legs and plain stretchers,
3ft. г’/ЦР. high by wide (100cm. by 77cm.) late
17th Century.

AN OAK CRADLE with panelled sides and turned
finials, on rockers, 2ft. 6lhin. high by 3ft. 2in. wide (80cm.
by 96.5cm.).

A QUEEN ANNE WALNUT SIDE CHAIR, the high
dowelled back surmounted by finials, with rush seat on
ringed baluster front legs joined by plain stretchers, circa
1700.

GEORGE I OAK CHEST with moulded top above
one shallow and one deep long drawer applied with split-
bobbin decoration and flanked at the corners by turned
columns on ringed legs, 2ft. 5in. high by 2ft. 3in. wide
(74cm. by 68.5cm.) early 18th Century.

AN OAK CRADLE, with rectangular panelled body,
and an arched hood at one end, with six turned finials
and simple rockers, 2ft. 2in. high by 3ft. 3l/zin. long (66cm. by 101cm.)
early 18th Century, rockers replaced.

A GEORGE I OAK DRESSER BASE with a moulded
top above three deep drawers on ringed baluster legs
ending in ball feet5 2ft. high by 6ft. 9in. wide, (89cm.
by 206cm.) circa 1720.

A GEORGE II OAK LOW CUPBOARD, the moulded
panelled top above a pair of ogee-fielded cupboard
doors, the lower part with three short drawers above a
further two short drawers, with a serpentine apron and
bracket feet, 3ft. 9in. high by 4ft. 9in. wide (114cm. by
145cm.) early 18th Century.

AN OAK DEUDDARN with moulded cornice above a piain frieze
applied with bulbous ringed drops, the two cupboard doors flanking
an arched panel and the lower part with three frieze drawers above a pair of arcaded panelled doors
enclosing shelves, on Square legs, 5ft. 9in. high by 4ft. 8in. wide
(175cm. by 142cm.) mid-18th Century.

A GEORGE II OAK DRESSER with three drawers, a
shaped apron and cabriole legs ending in pointed pad feet,
2ft. loin. high by 6ft.  wide (86cm. by 211cm) circa
1740.

A GEORGE II OAK CUPBOARD with a moulded dentil comice above
a piain frieze and two fielded panelled arched doors flanked by
fluted pilasters, the lower part with six short drawers, on bracket feet, 6ft. 9in. high by 6ft. lin.
wide (200cm. by 185.5cm.) circa 1750.

AN OAK DRESSER, the rack with moulded cornice
above a pierced apron and three open shelves with
panelled sides, the base with three drawers and a pair of
panelled doors flanking an arched panel, the base 2ft.
Win. high by 6ft. 2in. wide (86cm. by 188cm.), the rack
4ft. OVzin. high (123cm.) the base mid-18th Century, rack
late 18th Century.

AN OAK SETTLE - AN OAK GATELEG TABLE - JAMES II OAK DINING CHAIRS - CHARLES II OAK CUPBOARD - WILLIAM AND MARY OAK SIDE TABLE - WILLIAM III WALNUT SIDE TABLE

A CHARLES II OAK CHEST in two parts and with
four geometrically panelled drawers with ebonised
dividing and flanking mouldings, 3ft. high by 3ft. lin.
wide (92cm. by 94cm.) circa 1670.

AN OAK SETTLE, the back with two rows of five panels
carved with foliate scrollwork, with shaped arms and
turned supports and the base with a hinged lid, 5ft. 4in.
high by 5ft. 2in. wide (163cm. by 158cm.) partly constructed
from 17th Century panelling.

A CHARLES II OAK SETTLE, the panelled top with a
moulded dentil-carved toprail applied with split-baluster
decoration, with downeurved arms on bulbous ring-
turned supports, the rope seat with a loose cushion, on
bulbous ring-turned legs joined by stretchers, 6ft. wide
(183cm.) circa 1680.

A CHARLES II OAK SETTLE, the four-panel back
with carved lozenges and downswept scrolled arms, the
hinged seat above four lozenge carved panels, 3ft. 4′hin.
high by 5ft. 9in. wide (103cm. by 176cm.) circa 1660,
restored.

AN OAK GATELEG TABLE, the hinged rectangular
top on spirally turned legs joined by stretchers, on pad
feet, 2ft. 3′/2in. high by 3ft. fully extended (70cm.
by 120cm.) late 17th Century.

A PAIR OF PEARWOOD FORMS OR NARROW BENCHES
of honey colour, each single plank top raised on two
pairs of inverted baluster-shaped legs, lft. 5in. high
by 4ft. Win. long (43cm. by 148cm.) late 17ih Century, probably French,
stretchers with restoration.

A RARE SET OF NINE JAMES II OAK DlNING CHAIRS
with moulded scrolled toprails centred by pierced interlaced
leaves, the three stick splats within moulded uprights and
with turned tapering supports, the panelled seats on turned legs joined at the front by a scrolled stretcher
centred by crossed pierced leaves and joined at the square section by box stretchers, circa 1685.

A WILLIAM AND MARY LARGE OAK AND WALNUT
GATELEG TABLE with deep semi-circular flaps, a drawer in
the frieze, on ring-turned hamster legs joined by plain
stretchers, on bun feet, 2ft. 5in. high by 5ft. wide
(74cm. by 164cm.) circa 1680, restored.

A CHARLES II OAK CUPBOARD
with a lunette-carved frieze above a pair of panelled
carved doors, on stile legs, 3ft. 3in. high by 5ft.
wide (102cm. by 152cm.) late 17th Century, formerly with an upper part.

A WILLIAM AND MARY WALNUT GATELEG TABLE,
the oval two-flap top above a single frieze drawer, on
turned legs joined by stretchers and with braganza feet,
2ft. 5in. high by 3ft. 7in. wide (73cm. by 109cm.) circa
1690, drawer and feet later.

A CARVED OAK CUPBOARD with projecting cornice
and pendant finials above a pair of recessed cupboards
flanking two arched panels, with a pair of four-panel
doors below, 6ft. 3in. high by 6ft. wide (190cm. by 183cm.)
late 17th Century, but with rieh 19th Century animal and
fiower carving.

A CHARLES II OAK GATELEG TABLE
with a moulded edge, a frieze drawer and eight spiral-twist
legs joined by square stretchers, 2ft. 5in. by 4ft. open (74cm. by 122cm.) the base circa 1680, the top 19th Century.

A LATE 17TH CENTURY OAK “CRICKET” OR
DRINKING TABLE with circular top and turned legs
joined by stretchers, lft. high by 2ft. 2in. diameter
(59cm. by 66cm.) top associated.

A CHARLES II OAK CUPBOARD, the pair of doors
faced with geometrie panels, 6ft. Vhin. high by
4ft. lOVein. wide (187cm. by 149cm.) circa 1675, with later
gadrooned cornice.

A WILLIAM AND MARY OAK SIDE TABLE, with
moulded top, a frieze drawer, the turned legs joined by
stretchers, 2ft. 2in. high by 2ft. 6in. wide (66cm. by 76cm.)
circa 1690.

A WILLIAM AND MARY OAK BUREAU, the flap with
angled banding enclosing a fitted interior of drawers and
secret drawers and with a hinged well, above three short
and two long banded drawers, on bun feet, 3ft. Vhin.
high by 3ft. wide (95cm. by 97.5cm.) circa 1695,
restored, feet replaced.

A RARE OAK LAMBING ARMCHAIR, the high back
with an arched hood, plain arms on columnar supports,
with a solid seat and turned legs joined by turned
stretchers, circa 1700.

A WILLIAM III WALNUT SIDE TABLE,
the moulded top above a frieze drawer, on bobbin-turned
legs joined by a bobbin-turned H-stretcher, 2ft.
high by 2ft. Win. wide (72cm. by 86.5cm.) circa 1700, drawer re-lined.

AN OAK CHEST with hinged lid, the panelled
front and sides carved with lunettes and stylized
foliage, 2ft. high by 4ft. 9in. wide (75cm. by 144cm.) late 17th/early 18th Century, carving possibly later.

A WILLIAM AND MARY SMALL OAK GATELEG TABLE
with a drawer in the frieze, on ringed legs joined by
plain stretchers, 2ft. 3′/2in. high by 3ft. 8in. wide (70cm. by
112cm.) late 17th Century.

A CHARLES II OAK GATELEG TABLE - A CHARLES II OAK CHEST - MID-17TH CENTURY FLEMISH OAK CUP-BOARD - CHARLES I OAK DRAW-LEAF DINING TABLE - CHARLES II OAK ARMCHAIR

A CHARLES II OAK COFFER with a two-plank
hinged top and three-panel front carved with lozenges,
on stile feet, lft.high by 3ft. Vhin. wide (59cm. by
95cm.) circa 1670.

A CHARLES II OAK GATELEG TABLE with semi-
circular flaps, a drawer at one end and ring-turned
columnar supports, joined by moulded stretchers,
2ft. 5in. high by 4ft. 7′/2in. wide (74cm. by 141cm.) circa
1670.

A CROMWELLIAN OAK SIDE CHAIR, the rectangular
back with carved scrolling toprail with downcurved
scrolling arms on baluster supports, the rope seat with
loose cushion, on ringed baluster legs joined by turned
stretchers, circa 1650.

A CHARLES II OAK CHEST of three panelled
graduated long drawers, 2ft. 2in. high by 3ft. wide (66cm.
by 91.5cm.) circa 1670.

AN OAK COFFER,
with two-plank hinged top, the front set with four
panels, on stile feet, 2ft. Tfcin. high by 4ft. Vhin. wide
(80cm. by 126cm.) mid-17th Century.

A CHARLES II OAK CHEST of two short and three
long drawers, 3ft. 5′/2in. high by 3ft. 3in. wide (105cm. by
99cm.) circa 1670, with added top, replaced bun feet and
added split-baluster mouldings.

A GOOD MID-17TH CENTURY FLEMISH OAK CUP-BOARD
with a moulded and dentil cornice above a pair of drawers
supported on a pair of balusters flanking a cupboard with
a geometrically panelled door with broad canted sides applied
with arches divided and flanked by slender split columns,
the lower part with a pair of doors with arched panels
similar to the upper part, divided and flanked by pairs
of split balusters, with panelled sides and bun feet,
5ft. 4in. high by 5ft. lin. wide (164cm. by 153cm.)
with restoration, bun feet replaced.

AN UNUSUAL CHARLES I OAK DRAW-LEAF DINING TABLE,
the top with mitred frame above a moulded frieze
set with lozenges and rectangular bosses supported on a
pair of baluster legs and a pair of square-cut moulded legs, the three-plank
platform base set with bosses, 2ft. 8V2W. high by 8ft.
long (82cm. by 244cm.) circa 1630, the square legs possibly replaced.

A CHARLES II OAK CHEST of three long drawers,
each drawer geometrically panelled and applied with
split bobbins, on bun feet, 2ft. Win. high by 3ft.
wide (86cm. by 92cm.) circa 1670.

A CHARLES II OAK CHEST of two short and three graduated
long drawers each panelled with a different geometrie design,
on stile feet, 2ft. 11′hin. high by 3ft 2in. wide (90cm. by 96.5cm.) circa 1680.

A LARGE CHARLES II OAK GATELEG TABLE, the oval
top on bobbin and baluster-turned legs joined at the
Square section by bobbin stretchers, the top 4ft. 7in. by
5ft. 6V2in. open (139cm. by 169cm.) circa 1680, repolished
andrestored.

AN OAK SIDE TABLE, the rectangular top with
grooved panels above a single frieze drawer carved with
scrolls and inlaid with chequered bandings, on turned
legs joined at the Square section by moulded stretchers,
the front stretcher partly carved and inlaid, 2ft. 2in. high
by 2ft. PAin. wide (66cm. by 65cm.) formed from earlier
fragments.

A CHARLES II OAK GATELEG TABLE
with deep rounded flaps, on ringed bobbin legs joined by
plain stretchers, 2ft. 4in. high by 5ft. 5′/2in.
wide open (71cm. by 167cm.) circa 1660, top possibly associated.

AN EARLY CHARLES II OAK ARMCHAIR with serpen-
tine toprail elaborately carved with stylized flowers, the
solid back carved with a rose and stem and flanked by
floral carving, with downcurved arms and turned
supports, with a loose cushion and solid seat on ringed
baluster legs joined by plain stretchers, circa 1660,
extended in height.

A CHARLES II OAK CHEST of four graduated long
drawers, on moulded base, 2ft. 8in. high by 3ft. ‘hin. wide
(81cm. by 93cm.) circa 1685.

AN OAK LOWBOY with plain top on ringed splayed
baluster legs joined by plain stretchers, 2ft. 4in. high by
lft. 8in. wide (61cm. by 51cm.) second half of the 17th
Century.

A CHARLES II OAK SIDE TABLE with moulded top
and frieze drawer on bobbin-turned legs joined by a
bobbin-turned H-stretcher, 2ft. 3in. high by 2ft. 9in. wide
(69cm. by 84cm.) circa 1680.

AN UNUSUAL CHARLES II OAK CABINET
with a pair of cupboard doors applied with elaborate fielded panels
flanked by tapering pilasters, the frieze carved with    75
dentils, on a solid base, 2ft. 9in. high by 2ft. 9in. wide
(84cm. by 84cm.) circa 1670, feet missing.

A CHARLES II OAK CUPBOARD with moulded
cornice above a lunette-carved frieze and a pair of cup-
board doors flanking an arched panel, inlaid with floral
marquetry and with two bulbous ringed balusters, the
lower part with a lunette-carved frieze above two
panelled cupboard doors, on stile feet, the sides similarly
panelled, 5ft. 9in. high by 5ft. 6in. wide (175cm. by
168cm.) second half of the 17th Century.

75 A CHARLES II OAK CHEST of four long drawers of
varying depth each applied with geometrie panels of
different designs and split bobbins, with panelled sides,
on stile feet, 3ft. lin. high by 3ft. 2in. wide (94cm. by
96.5cm.) circa 1680.