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.

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  drawers under, no superstructure
A dramatic piece with the moulded three-drawer form we saw in the previous section plus two extra cupboards below. The heavy top moulding, the geometric moulding on the cushion-shaped drawer fronts and the applied split baluster pieces on the cleverly arranged centre panel suggest an early date. c. 1680
A typical dresser from the West Midlands made over a long period of time in the country and therefore hard to date. The side is panelled and decorated with scratch moulding, and the feet are formed as a simple
continuation of the end stiles. The doors have arched shaped panels constructed in the traditional manner. There is a scratch moulding round the frames into which the drawers fit  a simulation of cockbeading.
c. 1750
A fruitwood example dated towards the end of the eighteenth century though it exhibits many early features. The two end drawers are false, no doubt a concession to the view that a dresser should have a row of
drawers in line under the top board. There is still the feeling that a good bold moulding is needed and two appear at the top and bottom. The ends are panelled and the feet are simply an extension of the side stiles.
Most significant is the fact that the drawers are formed with mouldings round. The area of manufacture is ascribed to Yorkshire, where this type of dresser was made over a considerable period.
Unlike 474, the joiner, using framed panels, has made a conscious effort to imitate the smooth flat expanses of the finer cabinet maker’s work, clearly seen in the careful flush fitting of the end panels, thus avoiding the archaic effect of the sides of example 474. The feet were originally bracket.
The ogee headed fielded panel stands out from the door as in mahogany work, whereas in 474 the rails and stiles are at the same level as the panel  an earlier feature. This is the last stage in the development of the
joiner’s art. A good colour helps the price. c. 1780
It looks like a dresser base so it comes into this section, but in fact what on the face of it could be rechristened a `dresser of drawers’ is in fact a chest because all the drawers are false! Each has two handles, a keyhole and is cross-banded in mahogany. The keyhole for the lifting top is under the top moulding. The give-away as to date is the reeded quarter pillars.

DRESSERS  with shelves, and tridarns
It may seem odd to start a section on dressers with shelves by discussing tridarns, but they are closely linked both in their Welsh origin and in the possibility that the court (short) cupboard had a third layer
superimposed on top purely for display and that this proved so popular that the middle was turned over to display rather than storage which resulted in the dresser. This subject is fully explored in Chinnery, Oak
Furniture, his earliest date for tridarns, incidentally, being 1685, the latest in the nineteenth century.
The tridarns are surprisingly similar in design but in details there is a wide variation. This one has solid sides to the top level instead of parallel straight or wavy slats. It is decorated with contrasting woods and has a well-designed central panel. The back also is closely panelled. It probably dates from the first few years of the eighteenth century. It is at the top end of the quality scale. c.1710
An early dresser. The overhang and the pendants result in it being described as a canopy dresser. Cupboards on either side in the middle section are all that remain of the tridarn design. Probably from Denbighshire in
North Wales. A good piece with panelling throughout except on the back-boards which is normal. c.1 720s
The arched fielded panels of this tridarn suggest a later date for this piece. The top third seems to be gaining in importance at the expense of the middle section. c. 1735
Northern Welsh oak enclosed dresser of six drawers and two cupboards. The drawers cross-banded with mahogany, the plain panelled doors with mahogany inlaid line to the framing. The superstructure of shelves with pine back-boards containing two cupboards, the doors cross-banded with mahogany. The frieze of simple shaping and centrally pierced with heart motif. c. 1780
A magnificent example of an English oak enclosed dresser of architectural proportions, containing two cupboards and three drawers. The doors with shaped fielded panels, and these, together with the drawer fronts, being cross-banded and inlaid. The sides to the base with shaped canted corners and applied pilasters. The superstructure of shelves, unbacked, with central figure compartments, the top finely shaped and pierced frieze under the cornice supported at the sides by applied pilaster supports. 1750
Northern Welsh oak enclosed dresser of six drawers and two cupboards, the door panels shaped and fielded. The superstructure of shelves, with shaped sides, the frieze shaped and cusped. c.1730
An Anglesey, oak, enclosed break-front dresser of six drawers and two cupboards, the doors to which have applied shaped panels, the breakfront with reeded column. The superstructure of shelves has shaped sides,
better quality examples have been seen with reeded columns on the ends and the frieze. c.1780
A Lancashire dresser with applied raised moulding and the drawer fronts cross-banded in mahogany. The superstructure of shelves containing nests of drawers with figure compartment above. The frieze under the
dentil cornice with applied pierced banding. c. 1800
Northern Welsh oak enclosed dresser. The front is inlaid with mahogany forms and ivory escutcheons. The superstructure of shelves is very simple. c. 1850
Anglesey, oak, enclosed break-front dresser. The corner of the break-front has applied quarter turning which any longcase clock collector will recognise. Other examples have split applied double columns at
the ends as well as the breakfronts, and are inlaid with mahogany stars. c. 1850
A large Cumberland oak enclosed dresser. The framed doors to the cupboards with ogee fielded panel doors. The applied pilasters to the front giving the whole architectural proportions. The superstructure of shelves,
containing at the base a row of spice drawers.
A plain example, the decoration is supplied by the reeded support, shelves and top moulding.
Early 19th century
An English dresser, which makes an interesting comparison with 487. The rack arrangement, the reeded canted column supports at the ends, and the applied raised moulding round the door all suggest that it too
comes from Lancashire.
A slightly unusual oak example because of the use made of the fielded panels at the ends of the base and the architectural moulding on the supports, as well as the very wide space between the shelves. The use of
mahogany crossbanding on the drawers indicates a late date.
Late 18th century
A very simple dresser with panelled doors and the traditional six drawer arrangement. The ivory key surrounds are typical of late production.

DRESSERS  space below
A magnificent and large example of an English oak dresser of four drawers, raised upon three frontal cabriole legs, united by finely pierced and shaped apron. The superstructure of shelves, containing two cupboards with fluted frontal stiles, containing doors with square fielded panels. The frontal edges to the shelves and the upright supporters finely shaped. The frieze under the cornice, finely pierced and shaped, carrying out the design of the apron. Shropshire. c. 1750
Southern Welsh pot boarded dresser of two drawers. The legs to the base being square, the apron with ogee shaping. The superstructure of shelves being unbacked, and with finely shaped sides. The frieze of simple
shaping. c. 1740
There are clear similarities between this piece and 495. The clever use of a similar pattern of decorative frieze on the top and bottom give it a feeling of lightness. The use of cabriole legs and the two side doors
suggest that this also may come from Shropshire, certainly the West Midlands. The only slight quibble is that the cabrioles are cut straight down one side and do not look as good as 495. c. 1770
Mid-Welsh or Montgomeryshire pot boarded dresser of four drawers. The legs to the base being of baluster turning, with a shaped apron of ogee form between the legs. The apron and the drawer fronts being
cock-beaded. Between each apron and drawer an applied reeded moulding. The superstructure of shelves, with horizontal back-boards, supported by cupboarded sides, the small base cupboards of plain panelled
doors, the tall narrow cupboards above, with reeded panel doors. The shaped frieze having an applied pierced tracing above the shaping. c.1750
Mid-Welsh or Montgomeryshire pot boarded dresser of three drawers. The legs to the base being square, and reeded upon the frontal surfaces. This reeding carried on between the drawers. The apron shaped with
ogee moulding between the legs. The superstructure of shelves containing two cupboards with ‘Gothic’ shaped doors. The frieze to the superstructure with fretting and scalloping. Initialled and dated inside the
right-hand shelf cupboard `W. G. 1801′. Early 19th century
An English chestnut dresser of three drawers raised upon square tapered legs, united by a finely pierced and shaped apron. The superstructure of shelves, unbacked, with finely shaped sides, and shelf edgings with
figure compartments at the sides. The top frieze, under the cornice, finely pierced and shaped, carrying out the design in the apron.
A Welsh open-based dresser, the top board raised upon three silhouette baluster-shaped legs. The moulding around the base, forming a simple bracket foot, is of later addition. The sides with two upright rails in the
framing. The superstructure of shelves, with shaped sides and plain frieze to the top. c. 1720
Southern Welsh pot boarded dresser of six drawers. The legs to the base are chamfered to give a slender or more delicate appearance. These are united by a finely shaped apron which is returned on the sides. The
superstrucure of unbacked shelves has reeded frontal edges, the sides being stepped back between each shelf. A finely pierced and shaped frieze of scalloping runs below the top moulding. Probably Glamorganshire.
A mid-19th century version of the South Welsh oak pot board dresser, of five drawers, all cock-beaded with small twin domed arch aprons simply inlaid as sunbursts in mahogany, between the two outside drawers. The drawers, all with their original wooden knobs with mother-of-pearl inlay. The whole is supported on three turned balusters, terminated upon the pot board surmounting bracket feet. The very simple superstructure of shelves is backed by wide pine back-boards which is typical of the period.
c. 1840
An oak pot board dresser with a pair of well-turned legs and bun feet, which give it the ‘lift’ necessary to avoid the rather square appearance of the other dressers on this page.
Late 18th century
A very simple square legged dresser with drawers, cock-beaded and cross-banded in mahogany. Very basic in design with only Regency type flat reeded moulding to give it a more finished appearance. c.1820
A cottage oak dresser with pot board and simple square legs. The design is helped slightly by the shaped fret to the underside of the base. It is however small and desirable where space is limited.
Early 19th century
A tiny little dresser in oak with a pot board base. Short of decoration but desirable because small.
A North Wales pot board dresser. The main body and pot board are in pine, the legs fruitwood, and the shelves and side elm-faced with pine strips. The dowelled construction is evident from the photograph. The reeled feet are a rare feature not seen on late pieces. The shaping on the sides of the rack add greatly to the attractiveness as do the good patination and original handles. c. 1750
An exceptional pine North Welsh dresser with three drawers, two cupboard doors and three false drawers in the base, as does 510. The excellent rack above has two cupboards with drawers underneath and a
remarkably moulded top cornice with an unusually complex lentil frieze. Comes from the North Wales coast.