Joinery Furniture

A fine early 18th or late 17th century Welsh oak Deuddarn or court cupboard, dated and initialed 1737. A deuddarn is a uniquely piece of vernacular Welsh furniture, and translates l...

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 ...

Solid white oak extendable dining table designed for residential, hospitality, and executive interiors. The Georgia Extendable Dining Table is handcrafted in Canada from solid 2-inch...

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...

Acquired in Saitama Prefecture in Japan’s Kanto region, this mizuya tansu is estimated to date from the late Edo period, circa 1820s–1850s, based on its construction, materials, surf...

A beautifully crafted Italian "Os de Mouton" bench crafted from beechwood with hair on hide leather upholstery designed by Ralph Lauren measuring nearly 5 feet long. The piece featur...

A unique handcrafted oak drapery or work table from France, early 20th century, its Art Nouveau styling would be ideal for any creative pursuit from artistic to culinary which makes ...

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...

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 &...

Vanity set designed in the style of Dutch furniture designer Ate van Apeldoorn, exemplifying the geometric, material-forward aesthetic of 1970s Dutch Modern. The desk surface is supp...

Inspired by Danish simplicity and organic design, the laurel bed features sculpted legs, modest angles, and sturdy joinery. The bed is constructed from Nort...

A fabulous Mid Century modern sideboard / desk with drawers unit in Teak. This sideboard has five drawers, four large ones and two small ones on top. Elegant metal handles. The desk ...

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 Swedish pine buffet à deux corps (that is, a cabinet on chest in two sections) with origins in the 18th century designed with features and style that suit many decorating tastes an...

Weave 196-Black oil Weave credenza, made of solid birch wood and laminated birch veneér. Modern yet classic, bold yet modest the cabinet serves as a great example of scandinavian co...

A small, quietly elegant antique low table, crafted from a thick live-edge slab of solid Japanese keyaki zelkova wood, dating from the Late Edo period, circa the 1850s to late 1860s....

Acquired in Japan’s Tokai region, this substantial late 19th-century apothecary counter dates to the Meiji period, circa 1870s–1910s. It retains not only its original configuration...

Fantastic set of four French Chairs by Francois Carre with the signature sunburst seat and back. Two arm and two side chairs with slightly canted backs for comfortable lounging. Some...

Fabulous stained glass window large(36x42) with an archtop design and funeral pyre in the oval section. One tiny crack, see pics. Otherwise in excellent antique condition with lead a...

A very unusual Swedish Gustavian period painted demilune commode/chest of drawers from the late 18th century in charming proportions that could easily take the place of a small buffe...

Mid century coffee table in Zebra wood. A lovely long, low shape with elegantly shaped legs. The table top has beautiful zebra grain with great colour and patina. Size; 137cm x 47cm...

Antique Spanish Colonial side table with early construction - mortise & pegged at lower legs where joined to stretchers & pegged at upper legs where joined to boards under ta...

Acquired in Saitama prefecture, Japan's Kanto region, this Mizuya Tansu chest has been used to store the tableware & kitchen tools in ordinal households, dating back to the late Edo ...

An elegant and rare signed round center or dining table crafted in the neoclassical Greco-Roman Palladian style designed in the late 20th century by Ralph Lauren. Known as the "Fulle...

A large rustic French provincial farmhouse trestle dining table featuring a bleached oak finish measuring more than eight feet long. The table is constructed with a large thick plank...

A very fine antique English George III period oak Welsh dresser with plate rack, circa 1780. This very handsome oak dresser of attractive proportions comes from the Conwy area of No...

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

Light and strong, the Beachcomber Counter Stool evokes the sight of an old wooden single hull; it's lean, sturdy mast together with the rigging worthy of the high seas. Constructed of hand shaped legs and stretchers, each piece is carefully fit and pinned with hardwood pegs and wedges to last for generations, much like the sea craft that inspire them. For every bar stool, we start with scrupulously chosen lumber; each board must consist of straight grain and have absolutely no defects. This is not just for aesthetics, the clear grain gives the stool its strength. The boards are then milled to dimension and shaped by hand using a combination of machines and time honored hand tools. They are then given a polish by taking thin shavings with well sharpened planes and spokeshaves; rarely is sandpaper used in our shop. Once assembled, the Beachcomber bar stool...

The St Helena Tray is a piece that will complete your kitchen. Hang it from a pot rack, or simply lean it against the back splash and the warm walnut and hand shaped minimalist form...

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 magnificent large French Provincial country farmhouse trestle dining table having a stripped bleached oak finish measuring over 8 feet long. The table features a generously proport...

Beautiful Antique French flame Mahogany secretaire/bureau/cabinet. The inside is lined with maple and finished with ebonized black details. The cabinet has got lots of charm and char...

French, late 19th century solid oak table from a bistro or cafe, like an abbreviated refectory-style table for a wide range of functions around the home. The planks of the top surfac...

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...

A Japanese merchant counter tansu from the late Edo period, circa 1840s–1860s, constructed from solid Sugi cedar and finished in layers of original urushi lacquer. This piece was fo...

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 ...

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...

This Japanese antique glass showcase cabinet was crafted in the late Taisho to early Showa period (1910s–1930s). Defined by strong horizontal lines, the cabinet features a crown-lik...

A finely crafted Japanese Mizuya tansu from the early 20th century, circa 1910s to 1930 (Taisho to early Showa period). Constructed from richly figured keyaki wood, prized for its s...

Our artisan-made Lake Credenza is an extra-wide storage piece with a lower overall height, making it ideally suited for use as a credenza or media cabine...

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

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...

An impressive mid-century modern four-panel teak geometric latticed folding screen or room divider in light honey-toned wood. Each rectangular panel is fitted with elaborately arrang...

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...

An English Regency drop-leaf sofa table crafted in mahogany during the early 19th century. Its narrow rectangular top is flanked by two hinged leaves with softly rounded outer corner...

Fabulous late Victorian walnut writing table desk c1875 wit green felt top. Single drawer for storage. Elaborated base with multiple turnings sitting on brass castors for easy moveme...

A lovely antique Mahogany console table. The console table has two small drawers at the front with silver handles, and cabriole legs with round feet. The table top has an attractive...

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...

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...

It’s believed that ancient Egyptians may have had the technology to harness electricity and create light thousands of years ago. This technology is referred to as the light of the Dendera Temple. This customizable pendant light...

A stylish English Aeshtetic Movement style seven-drawer semainier or chest of drawers screen-used in Carrie Bradshaw's Gramercy Park, New York apartment in "And Just Like That…". Cra...

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...

This versatile and essential bench is both iconic and minimal. The painted facets of its angular geometry capture the ever-changing gradients of light....

A stylish Mid-Century Modern bronze, brass and burl walnut console table or writing desk designed by Bernard Rohne for Mastercraft in Grand Rapids, Michigan. The piece features a str...

This is a weathered, aged ship plank sourced from the Hokuriku region, purchased from an antique dealer in Kanazawa, Ishikawa Prefecture. According to the dealer, it is thought to be...

Spanish workshop, sideboard, elm, Spain, 1950s. Four drawers sit in the frieze above four doors, and the entire front is worked into a close grid of small square panels raised in str...

This medium-sized mizura tansu (kitchen chest) dates to the mid-to-late Edo period (circa 1830s-1869), as determined by its style and condition. The original urushi lacquer has a ni...

Lloyd bar stool Solid wood frame / hand rubbed oil finish / solid brass rungs / leather wrapped back support / recessed leather seat cushion Measure...

The Chaise Sossego was created to offer moments of rest with elegance and authenticity. With its organic design and construction entirely in solid wood, it combines smooth, flowing l...

Carlotta Oddone blends creative freedom and Boho Chic aesthetics with the precision of fine woodworking. This low, round side table—which can also be used as a coffee table—stands ou...