An exceptional Australian Colonial full cedar pedestal…
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An exceptional Australian Colonial full cedar pedestal sideboard, with carving by John Fletcher, Sydney, late 1840s, the rectangular top with cross-banded edge supporting a broad scrolled backboard with applied carved acanthus scrolls, over a beautifully decorated lobed frieze with four concealed drawers, on two pedestals with elaborate applied carving to the veneered panelled doors, enclosing storage spaces with sliding wine trays and a cellaret drawer (possibly later), raised on cross-banded plinths with gadrooned mouldings; the backboard signed (impressed) 'J. Fletcher, Carver' in two places. The cedar is of exceptional quality with both the top and the back board being formed out of one piece, the top alone being almost 9 feet long by 2 feet wide. The construction includes fine dovetails on the drawers, and is notable for the use of early handmade screws, evidenced by their asymmetric slot. The carving is very extensive and finely executed, particularly notable in the way in which the drawer frieze extends along both sides, indicating a lavishness of commission not often evidenced in this period. The sideboard is in excellent condition with no alterations beyond the possible addition of the cellaret drawer and shelf, and minimal evidence of restoration. The drawer runners have been replaced as would be expected with a piece of this age, and the top refinished. The back board and pedestal doors retain their original finish, and the colour of the unpolished dry surfaces of the back confirm both the age of this exceptional piece and the lack of any intervention. Length 267.5 cm. Depth 62.5 cm. Height 134 cm. provenance: Miss Charlotte Keyf, Roseville Sydney c. 1960. John Fletcher worked as a wood carver in Sydney between 1844 and 1851. (Some references place him at Clarence Street Sydney between 1844 and 1847). A chiffonier featuring a carved backboard in a similar style, and bearing the same impressed marks, is illustrated as plate 168 in Fahy, Simpson & Simpson 'Nineteenth century Australian a furniture', David Ell press, Sydney, 1984. A similar carved frieze appears in a design for a pedestal sideboard by W Smee & Sons, London, 1850, and various designs submitted for the great Exhibition of 1851 feature related friezes

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  • Scrolls - Serpentine-shaped forms, used in cabinet construction and decoration for centuries. The scroll appears in legs, feet, as carving in chair brackets, chair rails and arms. The deeper and more spontaneous the carving is, the earlier the piece is likely to be. The Regency or 'Thomas Hope' scroll, used on pediments and sideboard backs, consists of two scrolls on the horizontal plane, placed back to back in a mirror image, and sometimes decorated with a variety of carved and/or applied ornament, such as shells, foliate and other motifs. Chippendale-style furniture is often distinguished by two corresponding scrolls in the form of a 'C' in the upper splat or where chair legs join the seat rail.
  • Crossbanding - Crossbanding is a decorative technique used in furniture-making, where thin strips of wood, known as crossbands, are applied to the surface of a piece of furniture to create a decorative border or inlay. The crossbands are typically made of a different type of wood or a different color than the main piece of furniture, and are applied in a geometric pattern, such as a checkerboard or herringbone design.

    Crossbanding was a popular decorative technique in furniture-making from the 17th to the 19th centuries, particularly in the Baroque, Rococo, and Chippendale styles. It was often used to create intricate patterns and designs on the surfaces of tables, desks, cabinets, and other pieces of furniture. The crossbands were often made of exotic woods, such as ebony or rosewood, which were imported from other parts of the world and were highly prized for their rich colors and patterns.
  • Back Boards - As the name implies, the boards that back a piece of cabinet furniture such as a chest of drawers. The backing timber is usually of cheaper material like pine (often called 'deal' by the British trade), though in early Australian colonial days, red cedar was also used to back a piece. As cedar became scarcer during the later 19th century, craftsmen turned to kauri pine.

    On early furniture, made before the first half of the 19th century, the backboards were often chamfered at the edges and the wide boards slotted into grooves in a supporting central frame. In later furniture, the backboards were generally nailed or screwed into rebates cut directly into the carcase and the boards became much thinner and narrower.

    From about the first world war plywood was frequently used for cheaper pieces.

    Backboards are one important way of judging the age of a piece of furniture.
  • Dovetail Joints - At regular intervals in one board, wedge-shaped projections are cut, which fit and are glued into matching recesses cut in the corresponding board opposite, thus forming a 'dovetail' appearance. One of the strongest joints devised for furniture. Found in most drawers and the joints fixing the tops, bottoms and rails at right angles to the side pieces of most cabinets. Before the invention of the dovetail joint, furniture had been held together by metal or wooden dowels or pegs.
  • Runners - Runners or slides are wood on each side of the bottom of a drawer, being the surfaces which take the weight of the drawer and provide for its movement in and out. The runners of a drawer are usually the first areas of a drawer to display wear, due to the friction between the two surfaces. In modern cabinet making the wooden runners on th ebottom of the draer have been replaced by metal runners fixed to the side of the drawer and the side of the cabinet.
  • Veneers - Veneers are thin sheets of well-figured timber that are glued under pressure to the surface of a cheaper timber for decorative effect, and then used in the making of carcase furniture.

    Early veneers were saw-cut so were relatively thick, (up to 2 mm) but is was realised that saw cutting was wasteful, as timber to the equivilent of the thickness of the saw was lot on each cut.

    A more efficient method was devised to slice the timber, either horizontally with a knife, or in a rotary lathe.

    Flame veneer, commonly found in mahogany or cedar furniture, is cut from the junction of the branches and main trunk. So-called fiddleback veneers, where the grain is crossed by a series of pronounced darker lines, is usually cut from the outer sections of the tree trunk.

    During the 17th and 18th centuries, and in much of the walnut marquetry furniture made during the latter part of the 19th century, the veneer was laid in quarters, each of the same grain, so that one half of the surface was the mirror image of the other.

    The use of veneer allows many other decorative effects to be employed, including stringing, feather banding, cross banding, and inlaid decorative panels in the piece. The carcase over which veneer is laid is usually of cheaper timber such as pine, oak or, sometimes in Australia during the first half of the 19th century, red cedar.

    The important thing to remember about veneers is that prior to about 1850 they were cut by hand, and were consequently quite thick - ranging up to about 2mm deep.

    From the mid-19th century veneers were cut by machines and were almost wafer-thin. This is a critical point when trying to judge the approximate age of veneered furniture.
  • Acanthus - A stylized leaf motif, one of the primary decorative elements of classical Greek and Roman architecture, derived from the genus of flowering plants in the family Acanthaceae, native to tropical and subtropical regions of the Mediterranean area. It is a common element in classical Greek and Roman design, and is often seen in Corinthian and Composite order columns and used as a decorative element in English, European and Australian furniture, particularly on the curve of a leg, and as decoration for a corbel.
  • Pedestal - The columns that support many dining tables and most small occasional tables. They are usually turned, though octagonal-shaped pedestals were fashionable during the 1830s and 1840s.
  • Signed or Stamped - A signed piece of furniture may mean that the maker has signed (and hopefully dated) the piece in the same way that we sign a cheque, but more likely, that it bears evidence of the name of the maker, wholesaler or retailer as a paper label, metal plaque, impressed into the timber or in later pieces after about 1880, stamped onto the timber with an ink stamp.

    The 'signature' or stamp will always be in an unobtrusive position: under the top of a table, on the underside of the rails of a chair, inside a drawer or on the back.

    The fact that a piece is 'signed' considerably enhances its value. Signed Australian furniture is extremely rare, and for imported furniture, it is a mark of quality of the item, as only the items by the top makers or retailers were 'signed'
  • Gadrooning - A series of lobes usually as a border. In furniture gadrooning is found as carved decoration around the edges of table tops in the Chippendale and Jacobean style furniture. Gadrooning is also found as decoration on the rims of silver and ceramics.
  • Provenance - A term used to describe the provable history of an antique or work of art, and thus an additional aid to verifying its authenticity. Provenance can have an inflating effect on the price of an item, particularly if the provenance relates to the early settlement of Australia, a famous person, or royalty. Less significant are previous sales of the item through an auction house or dealer.
  • Runners - runnders.Runners or slides are wood on each side of the bottom of a drawer, being the surfaces which take the weight of the drawer and provide for its movement in and out. The runners of a drawer are usually the first areas of a drawer to display wear, due to the friction between the two surfaces. In modern cabinet making the wooden runners on the bottom of the drawer have been replaced by metal tracks, usually fixed to the side of the drawer and the side of the cabinet.

    The timber bearers on the underside of an extension table that move horizontally against each other, thus moving the table in and out are also called runners. The number of bearers in a table will determine how far the table will extend.
  • Mouldings - Decorative strips, deriving from architectural features, that may be either applied separately to a piece of furniture or worked directly on to the carcase. Mouldings are found on cornices or pediments, around the edges of panels and drawer fronts, and around both the tops and bottoms of chests, bookcases and other cabinet furniture. Until the late 19th century mouldings were worked by hand, using a shaped moulding plane. Latterly, they have been shaped by machine.
  • Frieze - An architectural term denoting the flat, shaped or convex horizontal surface of furniture, between the architrave and the cornice, usually found on a cabinet or bookcase, or on desks and tables where it may include drawers, the area between the top and the legs. In ceramics, the term refers to the banding, of usually a repeating pattern, on the rims of plates and vases.
  • Backboard - Backboard, as the name indicates, a backboard is a panel that is attached to the back of a piece of furniture, such as a bookcase, cabinet or desk. The backboard serves to support the structure of the piece and can also provide a surface for attaching other features, such as shelves or drawers. In some cases, the backboard may also be visible from the front or sides of the piece, in which case it may be decorated or finished in a specific way to enhance the overall appearance of the piece. For vintage and antique items of furniture, backboards are typically made of wood.

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