Linen Presses

18th Century Georgian mahogany tack cupboard crowned by a flared cornice top above four paneled doors with brass escutcheons and hinges. On the lower section, there are six drawers w...

Featuring stunning flamed mahogany timbers, this fine George III period linen press is a most striking storage device. The doors feature absolutely stunning book-matched crotch-cut v...

George III Linen Press England circa 1780 Raised on splayed feet with apron, and graduated drawers below. The paneled doors on top reveal four sliding trays. 49.5”L x 23.5”D...

Pine Linen Press England Circa 1880 In original painted finish, with pullout drawers for linen on top. Measures: 50.5”W x 22.5”D x 84.5”H.

A George II mahogany linen press, with two fielded cupboard doors enclosing four oak linen slides above two short and two long drawers, all on bracket feet, with the original handles...

A gorgeous linen press from the turn of the 19th century, being a product of England circa 1790-1810, it is perhaps most notable for the incredible crotch-mahogany panels in the pair...

Swedish Gustavian Archive cabinet, origin: Sweden, circa 1795, dry-scraped to the original paint, the interior with shelves.

A George II period mahogany 2 section linen press in the manner of Giles Grendy, the upper stage with cartouche panelled doors enclosing a single shelf, t...

This finely crafted Deco period chiffonier is an interesting intersection of angular simplicity against the rich materials with only light surface embellishment. The primary surfaces...

English George III mahogany linen press, circa 1780, with gorgeous early patina.     A silky and beautifully developed early surface patina allows the dense island mahogany utilized throughout the case to simply glow beneath a projecting cornice, this remains in untouched condition with all original blocking and nearly black levels of oxidization in the unseen areas. Fine little dentil molded teeth surround the three sides over cove molding. The doors are crafted with mahogany through tenon-mortised frames within which are set chamfered solid mahogany panels, opening on original brass hinges to reveal what originally would have been four linen drawers, the top drawer is no longer with the case. This upper section is self contained and lifts off of the lower chest for easy transport, the entire unit locked together with dovetailing in the upper and lower pine planks. The lower chest of drawers features a pair of smaller drawers over two broad drawers, all graduated only gently. The backboards remain untouched in both the upper and lower portions of the linen press. The case presents beautifully and is particularly attractive for it’s relatively diminutive size, being only 74 1/2” in overall height, the press does not overwhelm an interior but rather seems to be of quite perfect proportions. Condition Report: Brasses are period replacements. Loss to proper right corner of cornice. Missing top linen...

Crafted distinctly in the British tradition, this exceedingly fine piece of case furniture serves many functions: A linen press, a chest of drawers, a secretary desk and is flanked by wardrobe wings. The quality is self evident, the craftsman choosing to employ solid mahogany panels instead of the more cost effective veneers available; these incredibly vibrant boards are chosen with great care, the two doors of the linen press clearly cut from the same plank of mahogany, each opposing the other with perfect chaotic symmetry. The wisps and curls of the grain throughout the drawers is most pleasing, tastefully placed horizontally in a way that accentuates the scrolls of the apron. The pair of large doors open to reveal the linen press drawers, each original and crafted in the same manner as all other drawers: tulip poplar sides dovetailed into the front and back boards, the poplar bottom board chamfered along the edges and set in grooves, being nailed along the back edge and supported with a series of small blocks (generally pine); the only variation between linen drawers/chest of drawers is that some drawers have some white pine and the drawer that holds the writing area is constructed of what appears to be walnut (not micro-analyzed). The linen drawers slide over square runners set into the sides of the case, the middle drawer running over a solid full depth pine dust board which locks the entire structure together and lends strength when the entire case is separated. The lower chest drawers run over full depth pine dust boards under the top drawers and no dust boards between the middle row of drawers. The top drawer opens to reveal a beautifully fitted writing area, a green baize covered writing surface raising over hinged legs so the writer can ergonomically complete writing or reading. Sliding panels on either side push back to reveal storage areas, the right side including an ink and pen well, the left side a simple storage box. The writing surface also can be pushed back to reveal a large storage space hidden beneath. Either end of the case houses a full length door that opens to reveal a wardrobe space that allows dresses and suits to be hung neatly and accessed easily during the period. The entire case is locked together under a removable cornice with integral Gothic arches under which are applied turned-and-split drops backed by white pine core. While we don’t attribute the piece to a specific workcenter, the coastal South is most frequently identified with the construction techniques, form and is known to employ the Gothic design of the cornice. This is a distinctly British treatment, inspired by the Cabinet-Makers’ London Book of Prices, and Designs of Cabinet Work first issued in 1788 and expanded in 1793; the design for this cornice is plate 3. Further, in plate 3, the design depicted is a linen press with wardrobe wings, each panel of the wardrobe being a different design - the present example is closely related to the rightmost design, with it's restrained applied molding and empty inverted spandrels; the cornice is identical, though plate 3 includes an arched crest that the craftsman chose to forgo. This same inspiration is found in at least four case pieces from Charleston, South Carolina shops, including a wardrobe with a butler’s desk top drawer made by Thomas Lee and signed by Grimball (Rauschenberg & Bivins Jr., p. 507, p. 602-603; Hurst & Prown, p. 404-408). Further, the treatment of the backboards in both the upper and lower cases is quite common in the coastal South, where the entire surface is crafted with panels set in grooves of the tenon mortised frame. The removable cornice was frequently employed in Southern works and is atypical to Northern work centers, in this piece allowing it to be completely and easily broken down into more manageable components: the cornice lifts off, the wardrobe wings pull away and the linen-press upper lifts off of the chest of drawers lower. While the entire unit can be secured without the use of screws, holes were drilled at one point to more securely lock the entire unit together. For collectors of very fine and inordinately powerful statement pieces of the American colonies, this is an outstanding and highly uncommon piece. It would be best suited for the period home where storage space is limited, being a well thought out solution to organization in the way it solves a host of storage and utility problems in a single piece, but it is a most interesting strike point for living areas and the study as well. Literature: The furniture of Charleston 1680-1820, Vol. II: Neoclassical furniture, Rauschenberg & Bivins Jr., 2003, NC-24, p. 506-508; NC-76, p. 602-603. Southern Furniture...

Georgian mahogany linen press. The cornice with blind fretwork above two doors with applied molding. The bottom section with three rows o...