Antique Victorian, Edwardian, Art Deco and 1920`s Dressers

The term ‘dresser’ comes from the side table used for the `dressing’ of food in the medieval hall. The form which was used in kitchens of the 17th and 18th centuries was still unchanged in the early 19th. Indeed
kitchen furniture, as a general rule, has been the least subject to the vagaries of fashion. The dressers illustrated here show how the piece seems to have become acceptable as a piece of furniture which could be used either in the kitchen or the dining room of the cottage or modest house. Mainly the styles reflect the popular taste for oak furniture of Stuart or Jacobean type but modern versions, in art nouveau or Edwardian styles were also made. The simplest type of dresser, illustrated by Percy Wells in the 1920s, shows little change from its predecessor of a hundred years before; it is an enduringly useful form.
Due to the tremendous rise in popularity and price of antique dressers, the late Victorian version has now also become expensive as these examples show. Pine dressers of more modest price have also become very
fashionable and the fact that a pine dresser may be virtually brand new does not seem affect price very much provided it is an attractive version.
An oak sideboard of commercial manufacture which comes quite close to the spirit of the original period from which it derives. It seems that the designers of such pieces were always surer in their touch with the top halves. It is the cabriole front legs which disappoint; they are too curvaceous, too wavy to provide the ‘Queen Anne’ solidity and proportion that one seeks. The three deep drawers could have done with a fielded effect also, to relate them to the top. 1900-1920
An oak dresser in a style which derives from court cupboards of the early 17th century and later influences. The top half in its way is impressive, even if the downward-going turned knobs do conflict with the
upward-going turned pillars with their bulbous bases. The lower half is less sure, as the turned legs are thinner and the stretcher arrangement an eyesore. Inconsistency has triumphed by putting applied split balusters on the end stiles but a split bobbin turning at the centre. The asymmetric arrangement of a cupboard with two doors occupying one side and two drawers the other is purely 20th century. 1900-1920
An oak ‘Jacobean’ dresser with much twist turning to the legs, stretchers and tier shelf supports. The central and top aprons are shaped with stylistically consistent forms, but the two side cupboards, while doubtless
useful, are borrowed from the 18th century sideboard. Geometric applied mouldings to drawer and cupboard doors complete the Jacobean effect. A bold and decorative piece. 1910-1920
An oak dresser with twist-turned front legs and inlaid boxwood and ebony stringing lines to the panels on the very deep drawers. Borrowing a bit from the Jacobean in design and a bit from the Arts and Crafts Movement.
Another oak ‘Jacobean’ dresser sporting art nouveau handles to the drawers which are set beside a pair of cupboard doors in an asymmetric arrangement. Twist turned legs, stretchers and top supports and a rather
more expensively panelled back than the usual vertical planking.
Although in oak, this dresser exhibits the typical bas-relief machined carving in panels, also to be found on walnut and mahogany furniture of this period. The weakest point of the design is the use of the prissy cabriole front legs and scrolled bottom apron. If these are ignored, the base and top half are quite a bold, well-proportioned construction.
An open oak dresser by the same maker as the previous example, 349, but without the smashable glazed centre door disapproved of by Percy Wells (see 353). The use of ebony and boxwood diagonally-banded
stringing lines and inlays seems to have originated with Arts and Crafts Movement designers and remained popular in the 1910-1925 period. 1910-1925
An oak dresser on ‘Queen Anne’ cabriole front legs and plain construction but with a centre cupboard to the top shelf with a glazed door showing a stained glass tulip motif as decoration. Quite an Arts and Crafts
addition to a commercial mass-produced piece. 1900-1920
An oak dresser of plain construction sporting a set of art nouveau hinges to the doors, otherwise unremarkable.
A dresser from Percy Wells c.1920, intended to be made from whitewood and stained light brown. It is 3ft.6ins. wide and the top is “not to high to dust”. Wells was concerned with designs for new cottages in which there would be a kitchen-living room combined, in which such a dresser would stand. He was worried about the use of glass doors in the upper part, as recommended by the `Women’s Housing Sub-Committee’
(shades of 1984) because glass doors would add to cost. Since the china on the shelves would be used three times a day, there would be little time for it “to get dusty”. Glass doors would mean “more work to keep
them clean” and “expense if the glass got broken”. (Presumably this would happen when the husband of the wife emancipated from dusting and cleaning meretricious ornaments, hurled his beer mug at his spouse.)
Wells preferred solid doors instead of glass. The dresser was intended to be in the living room, thus preventing the purchase of a modern, cheap chiffonier or sideboard  “anything but good or pleasant”. The rails of the doors are chamfered on the inside edges, but a plain rounded surface “is better than a chamfer” as far as “leaving no edge at all for dust to settle on”. Banter apart, the piece is useful, functional and proportionally well designed. A desirable unit which is virtually ageless unless the built-in kitchen takes over completely  including the dining room. c. 1920
A small dresser of Percy Wells design, c.1920, apparently in oak but also conceived for whitewood, stained a light brown, waxed and set with a rubber polish. The shelf at the back was intended for china or books. The
terms ‘dresser’ and ,sideboard’ were somewhat interchangeable to Wells, who visualised the use of such a piece in either the kitchen or living room  rooms which were combined into one large room in contemporary
designs for new cottages. He was quite right to say that it is difficult to see where a dresser ends and a sideboard begins, but took a tier of shelves as being the definitive feature of a dresser.
A dwarf dresser from Wells, c.1920, of simple and straightforward design. Almost down to a kitchen cupboard but still conceived from Wells’ dresser principle  certainly low enough to dust. It is interesting to compare this unit with the one designed by Ambrose Heal see p. 34. c.1920
A walnut dresser base on cabriole legs connected by moulded stretchers. The three drawers are veneered in burr walnut and have a herringbone inlay between the burr veneer and the crossbanding. The piece is an
interesting interpretation of a ‘Queen Anne’ style, with rather high-quality cabrioles ending in a squared hoof-type foot and with shell motifs carved on the knees. There is a solid half-round moulding applied to the carcase edge around the drawers. The stretchers are an agreeable fantasy, quite unnecessary structurally and of a form derived from the cross-stretchers of the William and Mary period. Not knowing quite how to use the cross-stretcher idea between an uneven number of legs  five  the maker has compromised by putting in straight ones around the sides and back, and then has connected his traditional ogee curves to the back one by means of a semi-circular one in each case. 1920-1940
An oak dresser base from Maurice Adams, the stout column-turned baluster front legs of which are let down badly by the weak stretchers and back legs. There are two cupboard doors and two deep drawers with applied geometric mouldings in the Jacobean manner. 1920-1930

DRESSERS: DUMB WAITERS
About 1750-1830
Straightforward mahogany dumb waiter, ,lbout 1760.
Acontemporary term for an early form of supper trolley for use when servants were not in attendance. Designed to stand within easy reach of the table to hold condiments, plates and other dining accessories.
A central turned column on a tripod (or occasionally four-legged) base, with feet mounted on castors and two or three open circular shelves of graduating size with moulded rims. Rare examples have four tiers.
In mid-18thC pieces the tripod base is similar to tripod tables (see p.175), but with castors. Cabriole legs, pad feet and central column formed as vase-shaped baluster. Occasionally claw-and-ball feet. Knees, feet (or entire leg) and central column sometimes carved with foliate decoration.
Regency columns straight-edged, slightly tapering, with moulded collars at widely spaced intervals.
Post-1790, reeded and splayed legs on box castors. ‘Kneed’ legs indicate a post-1810 date. Castors can be of lion’s paw or claw feet form.
In best pieces turnings between trays are of diminishing diameter.
Rims to trays usually formed as simple mouldings but occasionally scalloped or carved with leaf or other patterns. Sometimes a fret-carved gallery, on early examples of Gothic or Chinese design. Sometimes shallow recesses turned in surface to prevent dishes from sliding about.
Variations include:
Flat trays with hinged, folding flaps, the flaps supported by a swivelling bar.
Trays of equal diameter supported on thin brass columns fixed around the edge rather than the central column.
A relatively complex Sheraton-style with drawers below, plate racks on shelves, and so on.
Base formed as wine cooler with column rising from centre.
Nearly always mahogany; just occasionally rosewood during Regency.
Trays turned on a lathe, the best quality from one piece of timber, though occasionally two, fixed together with tongue-and-groove joints. Can be very thin.
Top tray usually supported on column with wooden flange although sometimes the top section of the column projects right through and ends in a finial.
Until 1790 castors attached to separate block with grain running in opposite direction.
Column made in sections which screw together and hold the intervening trays in place.
Carving on some pieces around the rims and on the base. Not uncommon for carving to be added at a later date to enhance value. Original carving will stand proud of the surface; later additions flush with it.
VALUES
Yet another item invariably priced in four figures nowadays (assuming it is right). Be very suspicious if less.
CONVERSIONS
Not very popular items in the past; many converted to more valuable and popular tripod tables (usually given away by filling of the central hole). More collectable today though.
Check that borders of trays and turnings of column match exactly; if not, suspect a marriage. Check also that all the trays are level and that none have warped.

Antique English Dressers - Charles II period small oak dresser - 17th Century oak dresser - fruitwood dresser of the early 18th century on cabriole legs -  English country dresser - oak dresser with upper shelves and single cupboard door - Queen Anne mahogany cupboarded oak dresser with drawers

The demarcation between antique cupboards and antique dressers in the 17th century is somewhat difficult to define, particularly where the lower portion is enclosed by doors. About 1650 and afterwards it was common to have  dressers which were without the upper superstructure although sometimes shelves may have been fastened to the wall above. Naturally these dressers reflected the style of the period as far as drawer decoration and leg turning was concerned. In country districts dressers were made by local craftsmen on throughout the 18th century long after they had ceased to be fashionable in town houses. In this waythe cabriole leg continued to appear on dressers when it had disappeared on other town-made furniture. In the second half of the 18th century side cupboards were included in the upper half and the top cornice carried mouldings copied from more refined furniture, such as dentil friezes. The dresser does not appear to have developed much beyond this period; since it has long been relegated to a piece of kitchen furniture it may have been neglected stylistically for this reason.
The prices given are assuming good structural condition and originality. No pine dressers are shown and it must be emphasized that pine dressers are generally late in date and less than half the oak prices shown.

A fine Charles II period small oak dresser. The drawers illustrate the geometrical mouldings found on chests of the period-the swan-neck handles are a replacement and simple pear-drops or pulls would have been more likely. The legs show a fine example of Restoration turning with inverted cup and baluster forms. Although the legs finish square in section as though to take stretchers, these were not originally fitted. The top edge surface shows a simple thumb nail moulding and the cornice beneath shows a fine bold concave form.
Value points: Small Size - 5ft to 6ft long  Quality of leg turning  Drawer mouldings  Colour and patination  Original handles

Another fine larger oak dresser of c. 1680. The drawers show the same form as the previous example, with mitred decorative mouldings, but applied split baluster forms decorate the frame at the sides and between
them. The legs show fine column turning of the same form as our gate-leg table illustrated in that section. Again the legs are squared above the turned feet as though to take stretcher joints, but in fact stretchers are
only fitted at the side.
Value points: Size - length 6ft or under  Colour and patination
Quality of drawer mouldings  Quality of leg turning
Original handles

A fruitwood dresser of the early 18th century. The drawers show a simpler form of the earlier moulded panels but the top edge mouldings retain the same form. The cupboard door panels are also moulded with mock drawer fronts in the top half to retain proportion.
Value points: Fruitwood
Colour and patination  Quality of mouldings  Original handles

A rathermore countrified dresser of the early 18th century showing very simple leg turning. The shaped apron with projecting lip moulding follows that of side table styles of the period. The drawer fronts are very simple but there is a form of cock bead around them on the frame. The top edge has a simple thumb-nail moulding.
Value points: Size - 7ft wide or under … Colour and patination
Quality of mouldings
Original handles

An oak dresser of c. 1725 with upper shelves. The top cornice has an ogee moulding and shaped frieze beneath. The door panels are fielded and shaped,with the solid panel between them repeating this form. The drawers are simple, with no moulding, but the frame around them and the cupboard doors show a simple moulded edge. Note the panelled side to the lower section.
Value points: Small Size
Colour and patination  Fielded door panels  Original handles
Quality of mouldings

An oak dresser of c. 1725 also, but without the upper structure. The cupboard doors are again fielded and shaped. There is also the same moulded edge form on the frame around doors and drawers. The latter are simple; the handles are not original. Note that the sides are panelled; a form found on chests of drawers of the previous century.
Value points: Small Size
Colour and patination Quality of mouldings  Original handles

A much simpler and cruder oak dresser of the early 18th century with simple single cupboard door. There is a simple thumb-nail moulding round the top edge and the frame also has a simple moulding around drawers
and panel edges.
Value points: Small Size
Colour and patination  Quality of mouldings  Original handles

An oak dresser of mid-18th century period on cabriole legs. The upper part is fitted with three spice drawers, which adds to value. The top edge moulding is rather more sophisticated and the drawers have an ovolo lip moulding around the edge to lap over the carcase frame. The cabriole legs are well shaped ending in a pad foot.
Value points: Small Size
Colour and patination  Spice drawers
cabriole legs
Original handles

An oak dresser of mid-18th century. The top cornice shows a dentillated section in the moulding with a shaped frieze beneath. The side cupboard doors are panelled and moulded. The drawers are cock beaded and the swan-neck handles are possibly original. The shaped apron repeats the curves of the top frieze. It is interesting to note the C scroll behind the knee on the cabriole legs - a sign of quality coming from cabrioles of the Queen Anne period.
Value points: Small Size
cabriole legs
Colour and patination  Quality of mouldings  Shaped apron and frieze

A cupboarded oak dresser of mid-18th century with fielded panels in doors and drawers. The cupboards on either side of the upper structure have a spice drawer beneath. The whole form of construction dates from a much earlier period, showing how country craftsmen retained these methods long after they were superseded elsewhere.
Value points: Small Size
Colour and patination  Spice drawers
Original handles

A later 18th century oak dresser with drawers cross banded in mahogany. The top cornice is well moulded and the row of spice drawers in the upper section adds greatly to value. The cross banded drawers are cock
beaded and it can be seen that small drawers have been let into the frieze. The ‘gallery’ beneath with its useful floor-level shelf was used for larger kitchen utensils and pots,
Value points: Small Size
Colour and patination  Spice drawers
Original handles
Quality of leg turning

A Welsh oak dresser of last quarter of the 18th century. Note that the drawers are cock-beaded and that the shaped central apron reflects a form of much earlier origin. The apron is also cock-beaded like some Queen Anne forms. The panelled or boarded-in back gives a heavier appearance and it is well to remember that many may have had this removed.
Value points: Small Size
Colour and patination  Original handles