Joinery Furniture

Large Antique Victorian (1837-1901) Bow Front Chest Of Drawers. Made in England. This is a tall design with two over three drawers, which are all beautifully made with oak bottoms. T...

English 19th century towering chest-on-chest in the Georgian style, circa 1850, the case is built from mahogany with beautiful coloration in the grain. Dentil molding accentuates th...

A simple, yet versatile pine bookcase from 19th century England, that will be the perfect backdrop to display treasured collections & collectibles as well as books. Five shelves,...

A 19th century French farmhouse table, whose robust design is a practical solution for the modern kitchen to pivot between dining and preparation. The beech wood top is 2 ½” thick, a...

An exceptional and rare set of six labeled "Stiletto" dining chairs designed by Holly Hunt. The set is comprised of four side chairs and two armchairs. The chairs are constructed in ...

The Maresias Sofa is a contemporary Brazilian modular seating system defined by its architectural wooden base and deliberately low, horizontal proportions. Designed as a platform for...

An expressive Biedermeier period chaise lounge–also called a “recamier”--dating to circa 1820 Sweden, in the manner of the famous maker Karl Johan. Resembling a gondola in silhouette...

This exceptional walnut confiturier comes from France, circa 1840, and displays a beautiful, rich patina over the case that exhibits striking color and grain. It features a single dr...

A French vintage rectangular footstool with curule-form base to reference Neoclassical style and yet still look timeless for any interior. Perfect to use as a small bench or vanity s...

Essentially two people would comfortably use this remarkable French 19th century mahogany partner’s desk, that is they are willing to share such a magnificent design. A wonderful anc...

The Vino armchair is an exclusive piece, created from leftover premium wood from other projects. With a design that combines softness and clean lines, it elegantly explores the flexi...

New finds from a long-established hardware shop in Ibaraki pref., Japan. Single tier Mizuya tansu is made from premium quality, reddish Sugi Cedar, the product of circa 1870s to 190...

A substantial 20th century French bleached oak farmhouse trestle dining table crafted in the Country Provincial style. The construction features a rustic thick plank top, elaborately...

A handsome rustic country Italian oak farmhouse trestle dining table in the Provincial style. The table is crafted on a massive scale, measuring nearly ten feet long with a three inc...

A Japanese antique Kurado, a large, thick iron-plated wooden door for the entrance of Kura (a traditional storehouse), made of solid Keyaki Zelkova. It was manufactured in the 1870s–1900s (Meiji period) based on its style and condition. The front panel is fully covered with iron sheets that have been nailed down, and a warm patina has developed on the black rust. The surface is partly rough with red rust. This piece's distinctive feature is its large door lock plate, which is not commonly found on traditional Kurado pieces. This lock plate shares similarities with the decorative lock plates attached to Tansu furniture...

This Japanese mizuya cabinet was crafted during the Taisho period, circa 1920. At approximately three shaku wide (about 90 cm / 35.4 inches), this dimension represents a traditional...

This Japanese chadansu (tea cabinet) dates to the Early Showa period, circa 1930. Traditionally placed in the main living area of the home, a chadansu functioned much like a living-...

Spectacular French demilune table with two drawers that pull out differently. They pivot on the outside corners so you get the benefit of the entire drawer which is locked in so it c...

A robust mid-20th century oak farmhouse trestle harvest dining table with solid oak construction in a classic French Country European rustic style measuring over 7 feet long. The tab...

Japanese antique mid-size apothecary chest, tansu chest of drawers for medicines (Kusuri dansu). Product of late Edo to early Meiji era (1850s-1890s), estimate from the style & ...

The Pitta Bar Cart is a piece that combines functionality with timeless design. Crafted from solid wood with a natural finish, it highlights the unique grain and tones of the materia...

A substantial country French oak farmhouse trestle dining table in a classic refectory or monastery style featuring demi-lune ends over twin trestle legs from the early 20th century....

A handsome and functional 19th-century Country English provincial farmhouse pine kitchen dresser or cupboard featuring an open plate rack above a deep serving/work surface and a thre...

A substantial 19th century rustic country French oak farmhouse table of classical provincial style featuring a wide, rectangular plank top. The table shows original 19th century cons...

Solid wood credenza / sideboard with slatted screen doors in white oak built by Material in Portland, Oregon. This piece is outfitted with a top hatch door for access to a space for ...

A pair of tall, thick and huge antique wooden sliding doors covered with tin-coated iron sheet panels. These types of doors were used at the gate / entrance of western-influenced la...

A substantial late 19th/early 20th Century rustic, country French farmhouse trestle dining table made in the decorative Arts and Crafts style. Constructed on a monumental scale from solid oak timbers featuring a thick plank top with a deep, rich natural patina. The top is supported by double square post legs conjoined by a long stretcher having an exposed mortise and tenon joinery. The multi-plank top, measuring 2" thick, presents a rustic surface with authentic tool marks and an aged patina. Shaped trestle feet and mortise-and-tenon joinery give the table a stable, classical presence and profile. The "H"-shaped uprights and pedestal shaped sled feet suggest refectory or monasterial origins. The table works across styles of French Provincial, Rustic, European Farmhouse, Wabi-Sabi, and Country Arts and Crafts...

A charming mid-century wingback armchair, newly upholstered in a soft rose velvet, offering a relaxed silhouette and an inviting, cocooning comfort, bringing an air of romance and co...

A French, solid oak coffer from the 1700s, the heavy storage trunk has a paneled construction graced by various hand-carved patterns such as roses along the upper trim, and more abst...

Laziness is a laid-back and spacious rocking armchair, crafted for sitting/lying down and unwinding. The low seat height from the ground draws inspiration from Japanese rocking chairs...

Large Antique Victorian (1837-1901) solid Mahogany Chest Of Drawers with five wooden knob handle drawers, three large and two small. The drawer knobs are beautifully made with unique...

Weave bedside table Bedside table, made of solid birch wood and laminated birchveneér or solid oak wood and oak veneér. Modern yet classic, bold yet mod...

Contemporary round walnut dining table with sculptural blackened steel base designed by Kirk Van Ludwig. The Ban Round Dining Table pairs sculptural blackened steel with the warmth o...

1860s French "Atelier" Love Seat — A Study in Seduction & Construction An exceptionally elegant and large-scale French Napoleon III period piece, circa 1860 - the construction s...

An exceptional Swedish Gustavian period painted pine center table from circa 1790. There are many layers of paint washing the frame, blending ethereal aquamarine over red in that tac...

A handsome set of ten mid-century country French Provincial style dining chairs with rush seats, comprised of eight side chairs and two armchairs. The design balances a refined count...

The Hana Trestle Dining table is our take on the classic trestle form, beloved by both the shakers and their distant woodworking cousins, the Japanese-who have reinterpreted the desi...

English 19th century farmhouse (dining) table, recently adapted for use as a coffee table to recontextualize the familiarity of a rustic farm table, placing that sense of warmth &...

A handsome late 19th century French country farmhouse dining table constructed in solid oak measuring 9 feet long. The 2" thick top features plank construction showcasing the woodgra...

The McNichols dining table is made of a solid walnut board top that has been hand-selected to show off the natural beauty and character of the black walnut. The tabletop is set on so...

A stunning classic early American Federal style mahogany pembroke occasional table by renowned fine quality American furniture maker Baker Furniture (United States, 1890-Present) S...

A beautiful English antique pitch pine console table with drawers. The console table has attractive slim, turned legs and beautiful dark wood knob handles on the deep drawers. An ele...

Laziness is a laid-back and spacious rocking armchair, crafted for sitting/lying down and unwinding. The low seat height from the ground draws inspiration from Japanese rocking chairs...

Weave bedside table Bedside table, made of solid birch wood and laminated birchveneér or solid oak wood and oak veneér. Modern yet classic, bold yet modest the bedside serves as a great example of Scandinavian contemporary design. Designed by Lukas Dahlén...

Antique English Oak Bench Stool Farmhouse Table Trestle Jacobean 4 ft Seating c1890. Direct from England, a VERY long, 4 ft. antique English oak bench, excellent for use as seating ...

A refined set of four Thonet bentwood labeled and stamped armchairs designed by Josef Hoffman, known as the "Model 811 Prague" chair. The chairs are constructed in bent beechwood and...

Perfect for use as an armoire, a wardrobe, a bar, or in an entry - anywhere additional storage would be helpful. This piece is exquisitely crafted by hand out of solid white oak. It is completely customizable; both in size and storage configuration. The piece shown is outfitted with shelving and a hang bar on the left, and drawers and shelves on the right. Slatted doors...

A capacious, 19th century French Louis Philippe style bibliothèque, handcrafted of pine with a row of four glass-front doors for displaying treasured books, heirlooms, and other coll...

Weave bedside table Bedside table, made of solid birch wood and laminated birchveneér or solid oak wood and oak veneér. Modern yet classic, bold yet modest the bedside serves as a great example of Scandinavian contemporary design. Designed by Lukas Dahlén...

The Hana Trestle Dining table is our take on the classic trestle form, beloved by both the shakers and their distant woodworking cousins, the Jap...

The Fen Bed rests gently on box-style feet handcrafted with extreme precision using dovetail joinery. A warm, steady feeling emanates from this solid bamboo piece, featuring a wide h...

George Trollope and Sons. Exhibited at the Paris Universal Exhibition in 1878 winning a Gold Medal for Excellence. The set forms the four sides of a complete panelled room that was exhibited as a boudoir room or petit salon at the Paris Exhibition 1878 . The main feature and centrepiece of this boudoir room is the Rosso Antico marble fireplace surmounted by an open display niche carved in cedar wood. Each side of the room is composed of various panels and are as follows: One side with a grand Rosso Antico marble fireplace flanked by two doorways. One side with French doors originally opening onto a balcony, flanked by two large bookshelves. One side with a window flanked by two mirrors. The opposite side with three large mirrors. The complete room measures: 21 ft / 6.4 m wide, 17 ft / 5.18 m deep, and 12 ft / 3.65 m high. It could also be used in a number of different combinations to suit various room layouts. The mirrors could be replaced with windows or further bookcases. Each side is decorated with various sizes of finely carved panels and holds ornate Corinthian style columns surmounted with cherubim's on the capitals. Three cherubs are formed at the top of each corner with three columns, at the column bases there are circular carved pedestals to display statues. Published & illustrated in the ‘Illustrated Catalogue of the Paris International Exhibition’. The main part of this room, the Rosso Antico marble fireplace is surmounted by a large open display niche carved in cedar wood are illustrated with a line drawing in the Paris Universal Exhibition catalogue on page 209. The whereabouts of the seminaked caryatids and the marble bust of Alexander Pope are unknown. The bust of Alexander Pope was copied from the original one in Westminster Abbey, London. The Corinthian columns now flanking the niche above the fireplace are also in cedar wood having the identical carved fluting to the rest of the room and were made to replace the caryatid figures. Those Corinthian columns are period to the room and can only have been made shortly after it arrived back to London and before it was reassembled and fitted into the house built by George Trollope and Sons in the 1880's, and where we removed it all from. George Trollope made clever use of Alexander Pope's early 18th-century poetical successes in Great Britain and France by using ‘The Rape of Lock’, a mock-heroic narrative poem Pope wrote in 1712 about Petre who cut off a lock of Arabella’s hair without her permission, as the theme of the boudoir room or petit salon at the 1878 Paris Exhibition. In the original exhibition display of the room set, tapestries depicting the Rape of Lock were hung where the mirrors are now positioned. Alexander Pope's The Rape of the Lock is a humorous indictment of the vanities and idleness of 18th-century high society. Basing his poem on an actual incident among two families of his acquaintance, Pope intended his verses to quench hot tempers and to encourage his friends to laugh at their own foolishness. The poem is an outstanding example in the English language of the genre of mock-epic. The 'epic' was considered one of the most serious of literary forms; it had been applied, in the classical period, to the trivialities of love and war. Pope’s mock-epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in The Rape of the Lock underlines the ridiculousness of a society in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The 18th-century society in this poem fails to distinguish between things that are important and things that are not. The poem mocks the men it portrays by representing them as unworthy of a heroic culture. Therefore the mock-epic follows the epic in that its main concerns are serious and moral. The point that the theme must now be satirical rather than earnest is symptomatic of how far the culture has fallen. Retaining the original exhibition label The back of the panelling still retains two original labels printed with the 'Union Jack' and printed adjacent to it, 'The Secretary Royal British Commission for the Universal Exhibition 1878 Champ de Mars Paris'. Adjacent to that and below, printed and written in ink vertically: Exhibitor: (and signed in ink) George Trollope & Sons. Address: (written in ink) Halkin Street West. London. Allotment in Block: (written in ink) a2. In the printed floor plan 'a2 square' is in the very first line to the right of the floor plan and handwritten in ink with a 'diamond shape' also written with '101' within it. This pin points where George Trollope's stand was located. With thousands of items being displayed at the Exhibition, this label would have been the floor plan for the craftsmen, so they knew the correct place to install the boudoir room or petit salon. The firm continued expanding house building and interior decoration side of the business and by 1849 was also trading as an estate agency, letting and controlling property for the Grosvenor Estates. A separate branch of cabinet-makers, bearing the family name, was opened at West Halkin Street, London. becoming known as 'The Museum of Decorative Arts' (looked after by George Robinson). Here Trollope and Sons also sold high-class antique furniture made by other makers. In 1851, the firm became formally known as George Trollope and Sons. West Halkin Street, London. The address was recorded in the listing for the firm in The Furniture Gazette Directory, 1876 & 1877. Period Press Coverage & Art Critic Review. everal newspapers also thoroughly describe George Trollope and Son's stand including the different tapestries that were hung where the mirrors are now, illustrating the poem 'The Rape of Lock', by Alexander Pope. Marius Vachon, a French Art Critic and journalist, who wrote for the journal ‘La France’ published an extensive review of the Trollope and Sons stand in a book called Les Merveilles de l'Exposition de 1878 (The Wonders of the 1878 Exhibition). Note: In the World Fairs translation it states door frame, Marius Vachon had originally written ‘chambranle’ in French, 'chambranle' loosely translates to a frame around something, and should read in its correct context: ‘fireplace in rosso antico’. We have taken the extract below written by Marius Vachon in its translated form from: Les Merveilles de l'Exposition de 1878, (The Wonders of the 1878 Exhibition). This puts into perspective the importance of this fine quality room interior when he viewed it at the exhibition in 1878: Marius Vachon: English furniture is very curious to observe; irreproachable from the point of view of execution, the furniture of our neighbours always reaches the last degree of respectability and comfort. One thing to be noticed is that for large pieces of furniture, the English upholsterer is transformed into a sort of architect; everything he makes takes on a monumental aspect. The first object that catches the eye when one enters the furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. The boudoir (or petit salon), of carved cedar wood, is an attempt to reproduce the style which prevailed in England during the first decade of Queen Anne's reign, and all the details have been studied, but not copied, from examples of decorative work of the time. The fireplace is in "rosso antico" movement, and the ceiling is in portable plaster. The panels painted on canvas represent scenes from the heroic-comic poem "The Abduction of the Hairpin," (The Rape of Lock) written by Alexander Pope in 1712, the eighth year of Queen Anne's reign, in which the customs and mores of the time are satirized in a pleasing manner. The apotheosis of the Loop and its sidereal transformations will form the decoration of the ceiling. In these illustrations of Pope's charming poem, the costumes and accessories have been taken from models of the time; and the bust of the poet, copied from his tomb in Westminster Abbey, occupies the niche in the centre of the mantelpiece. M. Marius Vachon, the period writer of the above continues with: Now we shall mention at random the magnificent dining table of Messrs. Johnston and Co., their oak mantelpiece, their boudoir table; Mr. Watt's drawing-room mantelpiece stepped in the old style and imitating the Japanese; Mr. James Shoolbred's great The Decorative Arts Society on Trollope and Sons The boudoir or petit salon is mentioned again in the Decorative Arts Society: Trollope did not exhibit such highly rated objects at the 1878 Paris Exhibition as at previous exhibitions; items included a large mirror frame carved in limewood in Renaissance style and a satinwood cabinet in Adam revival style, with a similar armchair (illus. Meyer (2006), p. 242) and probably two rooms; one was a boudoir in cedar wood in Queen Anne style and the other was a boudoir decorated by the firm in the theme of Pope’s The Rape of Lock. In the above extract, it is quite clear that the two rooms mentioned are in fact the very same room, because the fireplace and niche are illustrated in The Paris Universal Exhibition catalogue on page 209 and Marius Vachon describes the rest of the room set in the above… Trollope and Sons exhibition pieces listed and described by Meyer in an article he wrote for: The Decorative Arts Society 1850 to present, Journal 25 in 2001., where he points out the importance of George Trollope and Sons and mentions a table by Trollope exhibited at the 1867 exhibition that sold for £40,000 in 1996. He also mentions a cabinet exhibited by Trollope at the International Exhibition of 1862 that sold at Sotheby's in 1997 for £150,000. Interest was not as strong in the 1990's as it is today for rare exhibition pieces, high quality items were abundant back then, it was a golden era when the most beautiful works of art just kept coming onto the market. But there are exceptions as in this instance, when a unique, gold medal-winning exhibition work of art comes onto the market for the very first time. Meyer continued researching and writing about the great exhibitions and released his book in 2006, 'The Great Exhibitions, London, New York, Paris and Philadelphia 1851- 1900, where he mentions only in passing, The Boudoir Room or Petite Salon exhibited by Trollope, he even states that an image was not reproduced and that Trollope's exhibits in 1878 were not up to the quality and class of the items Trollope exhibited in London in 1862 and Paris in 1868. This is probably because Meyer didn't know of the line drawing illustrating the Roso Antico Fireplace, Niche and Panelling reproduced in The Illustrated Catalogue of the Paris International Exhibition 1878 shown in the above which Geering recently uncovered. John Meyer continues in the DAS journal: Undoubtedly they (Trollope) are a firm worthy of further research as they were right at the forefront of the furniture business in London from 1860 to 1880. Our research shows that the Petite Boudoir was awarded the gold medal for excellence in 1878 (see Journal La Liberté 23-10-1878 with the list of all medals attributed), something George Trollope and Sons did not achieve at the London 1862 and the Paris 1867 exhibitions. Jonathan Meyer joined Bonham's in 1977. He was Director at Sotheby's in charge of 19th Century Furniture from 1994 to June 2007. He was also chairman of the Fine Arts Faculty for The Royal Institute of Chartered Surveyors. In the original description from the article in Les Merveilles de l’exposition de 1878, M. Marius Vachon states: The first object that catches the eye when one enters the (English) furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. Suggesting, it was in his opinion the very best on display in the English section, and being awarded the gold medal for excellence can only add weight to this. Adjacent to the original label that was printed by The Secretary - Royal British Commission for the Universal Exhibition 1878 in stencil ‘TO BE KEPT’, i.e. ‘to be returned’. This confirms why it came back to London. We removed the Boudoir Room or Petite Salon from a Trollope house, part of a grand high-class housing estate in London which around the time of the exhibition Trollope and Sons were in the process of building, and where the room set was installed directly after it returned from the exhibition in 1878 until now. Worthy of note is the machines that did the carving for the Boudoir Room or Petite Salon and also did all of the decorative carving (most of which was linenfold carving) for the Houses of Parliament, London. This machine, the engraving and description of which we copy from Engineering, was specially designed by its inventor, Mr. Jordan, for assisting in the production of the vast amount of carved decorations required for the walls and ceilings of the Houses of Parliament, London, and it was so employed during the entire progress of the work. The late Sir Charles Barry was so well satisfied with it, that he frequently declared it would have been impossible to have accomplished the work without it. The Department of Woods and Forests employed five of the machines at the Government Works, Thames Bank, for several years; and the machines have now passed into the hands of Messrs. George Trollope and Son, and are still used in the same building. They also exhibited the new technique of xylatechnography and sgraffito, methods of impressing coloured design into soft wood and engraving veneer to reveal the base wood. The newspaper, La Liberte October, 23rd 1878 listing the medal winners of the Paris 1878 exhibition. Third column, ''GROUPE III MOBILIER ET ACCESSOIRES'', (GROUP III FURNITURE AND ACCESSORIES). Medailles d'or. (Gold Medals) where G Trollope et fils (G Trollope and Sons...

The Santa Rosa bench is a simple piece of seating for the well appointed interior. Its clean lines, hand turned base, and wedged through tenons amount to a design that is at home in ...

A good antique English Georgian tall mahogany dresser, chest of drawers, circa 1790. This handsome tall antique country chest of drawers is from the late 1700s, the chest is made fr...

Dimensions: 72”W x 32”D x 15”H Extreme precision is required to construct the beautiful latticed frame of the Zither Lattice Coffee Table. Crafted by hand, this coffee table is the ...

Inspired by the clean, simple lines of Shaker pedestal tables, the Little Dume table is ideal for any small space that could use a little extra counter surface. Create a breakfast nook in an empty corner of the kitchen with one and a couple of our Hana dining chairs...

Designed by Adrian Pearsall for Craft Associates, this chair is a unique and very hard-to-find item. It features a single arm that curves across the back with two carved walnut panel...

Merging clean lines with warm materials, the faceted geometry of the MiMi dining table creates a slender, elegant profile punctuated with painted sur...

Solid Black Walnut credenza or sideboard with slatted exquisitely crafted wood screen doors. Designed and built in the workshop of Material Architecture in Portland, Oregon. Doors ar...

Our stoneware Juliette Lamp is handcrafted using slab-construction techniques. The lamp’s pattern is created by rolling the surface with textured rolling pins and rods. FINISH - Ca...