Antique Bed

HANGING WALL SHELVES - REGENCY BLUEJOHN GOBLET - MAHOGANY DRESSING CHEST - ROSEWOOD SIDE CABINET

A SET OF GILTWOOD HANGING WALL SHELVES, with five tiers supported by gilt plaster “ropes” tied in a bow at the top, 5ft. Vhin. high by 3ft. 2in. wide
The Property of a Lady.

A FINE SET OF EIGHT GEORGE III PAiNTED SATINWOOD ARMCHAIRS in the manner of Seddon & Sons, the backs with three stick splats and each toprail with a rectangular panel painted

with flowers and a black ground, with downcurved arms, bowed caned seats and square tapering legs, circa 1780.
V The style of the decoration suggests that these chairs and the following three lots all formed part of an original decorative scheme in one room.

A GEORGE III PAINTED SATINWOOD SIDE TABLE en suite with the preceding lot, and of bowed breakfront form, raised on six slender square tapering legs, 2ft. 9?гт. high by 3ft. 11

in. wide (85cm. by 112cm.) circa 1780.

A PAIR OF GEORGE III MAHOGANY DINING ROOM URNS AND PEDESTALS with tulipwood crossbanding, each urn with a domed lid and gilt-metal leaf finial and with a tap at the back to

drain the iced water into the lower part; the lower part slightly bow-fronted and with-a zinc-lined drawer above a zinc-lined cupboard, the quarter-veneered door

withanovalpanel, 5ft. Win. high (178cm.)circa 1780.

A GEORGE III MAHOGANY STOOL, the moulded frame with drop-in seat, brackets and trefoil paw feet, lft. Win. wide (56cm.) circa 1800.

A GEORGE III MAHOGANY TWO-TIER DUMB WAITER, the circular top with brass
gallery and a tapering turned stem and three reeded sabre legs with brass castors, 2ft. Hin.
high by lft. lHAin. diameter (89cm. by 59cm.) circa 1800.

A LARGE REGENCY BLUEJOHN GOBLET, of pale honey colour with rieh amethyst marking, raised on later silver stem, HVzin. high by 63Ain. diameter (29cm. by 17cm.) bowl early 19th

Century, silver hallmarked London 1911, probably by Richard Comyns.

A GOOD GEORGE III MAHOGANY DRESSING CHEST of golden colour cross-banded in tulipwood and with narrow chequered stringing, with four graduated long crossbanded drawers, the top

one fitted with Iidded compartments and an adjustable mirror, with shaped apron and splayed bracket feet, 2ft. Hin. high by 3ft. Bin. wide (89cm. by 99cm.) circa 1790.

A GEORGE III CARVED GILTWOOD SOFA, with beaded and moulded frame, rec-tangular stuffed back, padded and upholstered arms, stuffed bow-fronted seat and fluted tapering legs, 5ft.

Hin. wide (181cm.) circa 1780.

A FINE GEORGE III ROSEWOOD SIDE CABINET, the shaped top with a three-quarters brass gallery and inlaid with boxwood stringing, the frieze centred by a drawer flanked to each

side by a convex and concave drawer, the centre section open and mirror-backed and flanked by convex and concave brass grille doors punctuated by tapered fluted gilded

pilasters, with panelled grille sides and carved giltwood lion-paw feet; the recess contain-ing a blue and white Chinese 18th Century lidded baluster vase decorated with panels

of flowers and landscapes on a trellis ground, cabinet 3ft. lin. high by 5ft. 63Ain. wide (94cm. by 170cm.) circa 1800, vase Ift. 53Ain. high (44cm.).

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Early 20th Century and 1920-30`s Art Deco French, Austrian and German Beds
Increased mechanization brings revolutionary changes in design, manufacture and distribution.
Revivals, art nouveau, modernist, Art Deco beds:
French: Hotels built on the Riviera in the 1880-1900 era installed imposing beds, antique olive wood commode chest many in pastiches of 18thC styles now known collectively as ‘Hotel Louis’.
As practised by Majorelle and other art nouveau designers, signed coalport in blue underglaze marking the asymmetrical curves and marquetry decoration on beds owed much to the rococo. Debased versions of art nouveau limped along until 1920.
By that time, czechoslovakia china value industrial design as preached by Le Corbusier was eliminating decoration from modernist furniture, marchese ginori antique porcelin while Ruhlmann and other Art Deco designers produced beds veneered with exotic materials. In the 1930s, oak library table 7 ft antuque the low divan bed with headboard but no footboard became popular internationally.
Italy: Political unification in 1870 stimulated national awareness and a revival (Dantesque) that featured pseudo- Renaissance beds produced partly with machinery.
Wrought-iron bedsteads from Tuscany and Liguria have curving headboards and footboards inset with panels painted with landscapes. From 1900, antique period chippendale sideboard beds in Carlo Bugatti’s unique style were inspired by the Turkish divan.
Beds in a cheaper version of the stile Liberty (art nouveau) continued into the 1920s.
Late-19thC bed in Louis XV style. This type was much used in smart hotels.
Belgium: Scaled down, rugs infinity model machine-made beds in baroque styles popular in the late-19thC. From 1890-1915 many show the influence of art nouveau designers, curtains for four post brass victorian bed van de Velde and Horta, brooch maundy coins who used the whiplash line, john widdicomb oval shaped dining table and of Serrurier-Bovy who preferred the angular forms of the Arts and Crafts Movement (p. 68).
Austria: The Sezession, table legs turkish founded 1897, examples of antique islamic pottery broke with prevailing historicism. Otto Wagner, english pembroke breakfast table with drawers Hoffmann, tripod table construction pieces Moser and Olbrich anticipated and influenced both art nouveau and Bauhaus designs for beds. In Vienna and at their
other factories the firm of Thonet manufactured bentwood bedsteads.
Germany: Heavily carved baroque-style bedsteads, antique royal worcester flowers potpourri 1912 1880-1900. In Munich in the1880s, vintage wood dresser round feet in front the Jugendstil (young style) movement led by Behrens favoured quiet curves. One of his students, dutch tobacco box Gropius, cromwellian straight chair went on to direct the
Bauhaus school of art and design at Weimar, b-b new stone soup tureen no 6034 where Breuer, sliding glass doors waterfall edge sideboard inspired by the handlebars of his bicycle, white cane armchair fluted legs for sale designed furniture made of tubular steel that came to include simple bed frames.
Ethnic types: Peasant communities in many countries had, antique glass ball claw foot table up to 1900, corner table designs continued the tradition of the marriage bed, georgian round side table, 3 drawers decorated with symbols of good fortune and fertility. Support came from folk culture enthusiasts in Poland, antique timber commode chair Russia, waxing refrectory table Scandinavia and Hungary.
Interior of box spring mattes; spiral springs are aced to webbings, antique corner cabinet pennsylvania covered with canvas supporting a layer, hepplewhite furniture couch which is in turn covered with ticking.
french art nouveau bed ivilh inlaid dcCol’Ition, 17 century english chest of drawers abut 1900.
Native and imported timbers. Plywood developed in the late-19thC from the 18thC technique of lamination. Cast- and wrought-iron in the 19thC, examples of sideboards from the 1920’s tubular steel in the early 20th. Interior sprung mattresses on sprung
bases from 1920s. Machine-cut veneers, free black and white leafy vines frames thinner than earlier saw-cut kind.
Machinery in use for cutting dovetail and other joints, e gomme chair but machine-made, early 1700’s georgian overmantle mirror tapered screws often used in place of joints.
Carving by machine, www.antique watches but fine handwork still practised.
Many art nouveau beds painted white. Veneered surfaces French-polished. In the 1930s limed oak was fashionable: the lime was applied and left in the grain only.
From about 1920 to 1970, sextant adams ornate late-19th century bedsteads were regarded as monstrosities, antique cobalt blue glass trays but have now come into their own again and can often command high prices, art deco french clock as do luxurious Art Deco types. Simply
designed 1930s beds can still be bought reasonably.

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