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Austen (Jane). The Novels of Jane Austen, Hampshire Edition, 6 volumes, London: R. Brimley Johnson, 1902, decorative vignette to title of each volume, pictorial map endpapers, top edge gilt, original blind- and gilt-decorated limp brown calf, spines a little faded, first volume (Northanger Abbey) with some wear to joints, contained in original publishers cloth slipcase, 8voQTY: (6)

Football Netherlands collection includes 7 signed colour photos includes great names such as Bryan Roy, Wesley Hoedt, Winston Bogarde, Daley Blind, Justin Kluivert, Donny Van De Beek and Sven Botman. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

AN OAK LONGCASE CLOCK by P Clare, Manchester, the eight day movement with anchor escapement striking on a bell, 12" square brass dial with Roman and Arabic numerals, the foliate chased centre with seconds dial, the mahogany banded case with caddy top and brass finials, blind fret frieze on turned columns, arched door flanked by quarter columns, canted base and bracket feet, 93 3/4" high (Est. plus 24% premium inc. VAT)

A 19thC mahogany side table, with a blind fret work single long drawer, raised on square legs, 73cm high, 78cm wide, 45cm deep.

Ray Goldsbrough. Three Times a Winner, depicting Ralph Schumacher winning his third Grand Prix 2001, signed limited edition print, with blind stamp, signed in pencil number 69/500, plate size 31cm x 60cm, with publisher Solomon and Whitehead certificate of authenticity.

A 19th century Chinese bronze censor having foo dog atop ornate pierced lid and blind fretwork to body and character marks to underside. 

A George III mahogany card table,the fold-over top with a carved edge, enclosing an interior with original baize lining, over a plain frieze with carved apron and blind fret-cut supports,92.5cm wide91cm deep open46cm deep closed71cm highCondition ReportThe table is in good condition overall. Light traces of wear to corners, supports and baize lining. No noticeable restoration work. Very slight wobble to joints. Overall in really good aesthetic and structural condition and ready for placement.

A Victorian mahogany hall seat or bench,19th century, the raised and pierced back with a shield and painted coat of arms within a central roundel, over a solid seat, a moulded apron with blind carving, and tapering hexagonal supports on peg feet,153cm wide43.5cm deep99cm highCondition ReportTwo minor splits to pierced back. Re-polished. Minor signs of wear and use.

A Chinese red-lacquered marriage cabinet,20th century, the pair of doors with metal mounts in the form of a butterfly, enclosing a fitted interior with shelves and drawers, over a base with two further drawers, raised on rounded rectangular legs united by stretchers, with a blind fretwork carved apron,137cm wide57cm deep178cm highCondition ReportSome small losses and signs of wear to lacquer. Inevitable knocks and marks to supports. Some splits, particularly to one side. Joints stable and sits still. With an intentional distressed look. Overall in a good cosmetic condition.

A Regency flame crossbanded mahogany sofa table, rounded rectangular top with fall leaves above a pair of cockbeaded frieze drawers, blind to verso, octagonal column, hipped sabre legs, brass paw capped casters, 70.5cm high, 94cm opening to 143cm wide, 88cm deep, c.1820

A substantial Gothic Revival oak throne-form chair, rectangular back, plank seat, carved and applied throughout with architectural blind tracery, skirted base, 197.5cm high, 101cm wide, the seat 64cm wide and 63cm deep, c.1900

A 19th century historicist revival oak teapoy, hinged top applied with Gothic Revival blind tracery and enclosing covered compartments and circular provisions, spirally turned column, canted rectangular base carved with stylised leaves, brass casters, 75cm high, 56cm wide, 36cm deep

A George IV mahogany Pembroke table, rounded rectangular top with fall leaves above a single frieze drawer, blind to verso, turned legs, brass casters, 74.5cm high, 57cm opening to 108.5cm wide, 89cm deep, c.1825

A 19th century Dutch mahogany dressing chest, tripartite hinged top, the centre enclosing a rectangular mirror and circular washbowl aperture, above one blind and two long drawers, flanked by fluted canted angles, tapered square legs, 80.5cm high, 91cm wide, 52.5cm deep

A George III oak longcase clock, 30cm square brass dial inscribed Robert Pell, Malling, Roman and subsidiary Arabic numerals, subsidiary seconds dial, date aperture, leafy scroll spandrels cast with putti raising aloft crowns, bright-cut border, eight day movement striking on a bell, the case quite plain with blind fretwork frieze, 199cm high, c.1790

A late Victorian mahogany twin pedestal Dickens desk, shaped superstructure with hinged covered compartment enclosing maple stationery divisions flanked by small drawers, the hinged sloping writing surface enclosing small drawers and pigeonholes, above two frieze drawers, centred by a further, blind, two further drawers to each pedestal, fluted tapered cylindrical legs, casters, 108.5cm high, 152cm wide, 87.5cm deep, c.1900

A George III pair cased silver watch, London 1796, 4.8cm enamel dial Roman chapter, gilt hands, verge movement with engraved back-cock signed R. Brookhouse/Easingwold/55319 conforming outer case with engraved blind escutcheon numbered 55317 (1)** Robert Brookhouse, a younger son of Joseph Brookhouse of Derby (who invented a patent lever movement and, as Brookhouse and Tunnicliffe, made a number of epicyclic skeleton clocks to William Strutt’s design), was born in Derby 1825, was apprenticed to his father 1839-1846 thereafter marrying Emma and settling at Easingwold (Yorks.) where he set up as a watchmaker and jeweller, dying without issue in 1899.

A Victorian walnut and marquetry Davenport desk, hinged superstructure enclosing stationery divisions, hinged sloping top enclosing two small drawers, drawers to side, blind to verso, ceramic casters, 83cm high, 54cm wide, 55cm deep, c.1880

An unusual early Victorian mahogany chest, hinged top above two blind and two long cockbeaded drawers, turned legs, 111cm high, 96cm wide, 49cm deep, c.1840

A Post-Regency George IV mahogany Pembroke work table, crossbanded rounded rectangular top with fall leaves above three frieze drawers, blind to verso, turned legs, brass casters, 70cm high, 39cm opening to 78.5cm wide, 50.5cm deep, c.1825

A George III oak housekeeper’s cupboard, outswept cornice above a deep frieze and a pair of raised and fielded panel doors, above four blind drawers, the projecting base with an arrangement of five drawers, bone escutcheons, bracket feet, 163cm high, 140cm wide, 54cm deep, c.1770

A Louis XVI Revival gilt metal mounted bureau plat, rectangular top with inset tooled and gilt writing surface above a central drawer applied with a frieze of playful putti, the verso conforming but blind, each flanked by a cast and applied ribbon-tied floral swag, tapered square legs, laurel cast feet, 72cm high, 114.5cm wide, 64.5cm deep

A George III vernacular fruitwood lowboy, oversailing top above two frieze drawers centred by a blind drawer, tapered square legs, 72cm high, 76cm wide, 39cm deep, c.1770

A Victorian walnut Davenport desk, brass three-quarter gallery, hinged sloping top with inset tooled and gilt writing surface enclosing small drawers, the side with stationery drawer and four drawers, blind to verso, scroll supports, bun feet, casters, 77cm high, 53.5cm wide, 52cm deep. c.1860

A George IV mahogany Pembroke occasional table, rounded rectangular top with fall leaves above a fall front door, blind to verso, turned legs, brass casters, 75cm high, 61cm deep, c.1825

A George III mahogany secretaire chest on stand, in the manner of William Vile, later retailed by Muirhead Moffat & Co, Glasgow, stamped, rectangular top with moulded edge above a blind fretwork capital and two long drawers, the upper with fall front enclosing a the well fitted interior finely carved, small door, small drawers and pigeonholes, brass swing handles, batwing escutcheons, carry handles to sides, shaped apron, cabriole legs carved to the knees with acanthus and a stylised bell husk, ball and claw feet, 96cm high, 121cm wide, 65.5cm deep, c.1775

A 19th century mahogany tea table, in the Chinese Chippendale taste, hinged top with foliate carved edge, internally chamfered square legs carved with blind fretwork, 73.5cm high, 86cm wide, 42.5cm deep

A late 19th century Gothic Revival throne-form chair, the back centred by a shield-shaped armorial, carved throughout with tracery and blind tracery, zoomorphic mask hand rests, 136.5cm high, 68cm wide, the seat 53cm wide and 44cm deep

A Regency gilt metal mounted mahogany Pembroke table, rosewood banded canted rectangular top with fall leaves, drawer to frieze, blind to verso, turned column, hipped sabre legs, brass paw capped casters, 72cm high, 83.5cm deep, c.1820

A Victorian silver open faced watch, London 1859, 4.3cm enamel dial, Roman chapter, subsidiary seconds dial, blued steel hands, case with engraved blind escutcheon dial marked J W Benson/London, lever movement signed The Ludgate Watch/J. W., Benson /Pat-ent No. 9658/Best London Make/By Warrant to H M the Queen Ludgate Hill, London/No. 75069 (1)**John William Benson (1826-1878) founded his well-known company with his brother in 1847 and worked independently from 1855, the firm continuing as J W Benson Ltd. from 1891 to 1973.

A Chippendale Revival mahogany low library bookcase, rectangular top with pierced three-quarter gallery above a blind fretwork frieze, a niche, a pair of glazed doors enclosing two shelves and further open shelves, divided and flanked by twin-columnar pilasters, turned forefeet, 127cm high, 145cm wide, 37cm deep, c.1910

A George III mahogany crossbanded oak Lancashire chest, hinged top above four blind and three short drawers, shaped apron, bracket-mounted feet, 87cm high, 149cm wide, 53.5cm deep, c.1800

A George IV mahogany Pembroke table, of unusually long proportions, rounded rectangular top with fall leaves above a single frieze drawer, blind to verso, turned column, cabriole legs, brass capped casters, 75cm high, 51cm opening to 91cm wide, 122cm deep, c.1825

AFTER LS LOWRY, LITHOGRAPH, 'GOING TO WORK', 1959, BLIND STAMP, 594/850, FRAMED AND GLAZED, APPROX 43 x 58cm

LOWRY PRINT, 'YACHTS', 1959, HD LIMITED EDITION BLIND STAMP, FRAMED AND GLAZED, 465/850

Josef Scharl 1896 München - 1954 New York Zwei Herren im Frack. 1927. Öl auf Leinwand. Firmenich/Lukas 93. Rechts oben signiert und datiert. 75 x 60 cm (29,5 x 23,6 in). [JS]. • Scharls sezierende Gesellschaftsbilder der Goldenen Zwanziger gehören zu den absoluten Höhepunkten seines Schaffens. • Mehrfigurige Arbeiten aus dieser Schaffenszeit sind selten und gelten auf dem internationalen Auktionsmarkt als die gefragtesten Werke des Künstlers. • Gemälde aus dem Frühwerk befinden sich in zahlreichen bedeutenden Sammlungen, wie u. a. der Nationalgalerie Berlin, dem Städel Museum, Frankfurt a. Main, und dem Lenbachhaus München. • Zuletzt waren Arbeiten Scharls in der Ausstellung 'Kunst und Leben 1918 bis 1955' (15.10.2022-16.4.2023) im Lenbachhaus München u. a. neben Werken von George Grosz, Karl Hubbuch, Karl Hofer und Christian Schad zu sehen. PROVENIENZ: Familie des Künstlers. Galerie Nierendorf, Berlin (um 1971 von Vorgenannter in Kommission genommen, verso mit der Inventar-Nr.). Privatsammlung (um 1999). Galerie Levy, Hamburg. Privatsammlung Norddeutschland (vom Vorgenannten erworben). AUSSTELLUNG: Josef Scharl, Pavillon im Alten Botanischen Garten, München, 3.-25.1.1953. Josef Scharl zum 75. Gedächtnisausstellung, 1.11.1971-12.1.1972, Kat.-Nr. 9 (m. Abb. S. 8). Scharl ist ein Menschenmaler, dessen besondere malerische Qualität sich zum einen in seinen starken Charakterporträts entlädt, die einfache Arbeiter und Soldaten in ihrer vom Leben oder vom Tod geschundenen Körperlichkeit mit ungeschönter Direktheit zeigen. Zum anderen aber zeigt sich diese malerische Meisterschaft in seinen wunderbaren mehrfigurigen Gesellschaftsgemälden der Goldenen Zwanziger. Diese Abendgesellschaften, die häufig wohlhabende Männer im Frack zeigen, wirken wie ein glanzvoller, fast dekadenter Gegenpol zu den geschundenen Physiognomien, die uns in seinen Arbeitergemälden gegenübertreten. Im typischen Stil der 1920er Jahre hat Scharl in 'Zwei Herren im Frack' zwei männliche Charaktere der Weimarer Republik in seinem typischen bewegten, von van Gogh inspirierten Pinselstrich auf die Leinwand gesetzt. Scharls sezierende Gesellschaftsbilder dieser Jahre wie das vorliegende Gemälde 'Zwei Herren im Frack' oder 'Blinder Bettler im Café' (1927, Kunsthalle Emden), 'Drei Korporierte (Larven)' (1925, Lenbachhaus München) gehören zu dem Besten, was Scharls malerisches Werk zu bieten hat. Einzigartig ist Scharls klar-bewegter Stil dieser Jahre, der Elemente des Expressionismus und der Neuen Sachlichkeit zusammenführt. Und so überrascht es nicht weiter, dass das vier Herren im Frack zeigende Gemälde 'Konferenz/Die Gruppe' (1927) und die Gesellschaftsstudie 'Der Abend' (1925) auf dem internationalen Auktionsmarkt als die beiden aktuellen Höchstzuschläge des Künstlers verzeichnet sind. In den 1920er Jahren ist Scharl auf dem Höhepunkt seines Schaffens, er schließt sich der Künstlervereinigung 'Neue Münchner Sezession' und den 'Juryfreien' an und beteiligt sich erfolgreich an deren Ausstellungen. Mit der beginnenden nationalsozialistischen Kulturpolitik kommt es in den 1930er Jahren bereits zu einer entscheidenden Wende: Verkäufe und Ausstellungsbeteiligungen nehmen ab, die finanzielle Lage Scharls spitzt sich zu und ihm wird ein Malverbot auferlegt. Trotzdem ermöglicht ihm Karl Nierendorf 1935 noch eine Einzelausstellung. Eine Einladung des Museums of Modern Art in New York, gemeinsam mit Beckmann, Scholz, Heckel und Hofer an einer internationalen Ausstellung teilzunehmen, bestärkt Scharls Auswanderungspläne und er emigriert schließlich 1939 nach Amerika. [JS] Aufrufzeit: 10.06.2023 - ca. 15.27 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONJosef Scharl 1896 München - 1954 New York Zwei Herren im Frack. 1927. Oil on canvas. Firmenich/Lukas 93. Signed and dated in upper right. 75 x 60 cm (29.5 x 23.6 in). [JS]. • Scharl's pictures, in which he anatomized society in the Roaring Twenties, are the cream of the crop of his creation. • Multi-figure works from this creative period are very rare and count among his most sought-after ones on the international auction market. • Paintings from his early creative period are in many important collections like the Nationalgalerie, Berlin, the Städel Museum, Frankfurt a.M. and the Lenbachhaus in Munich. • Recently, Scharl's works were shown alongside works by Georg Grosz, Karl Hubbuch, Karl Hofer und Christian Schad, in the exhibition 'Kunst und Leben 1918 bis 1955' (October 15, 2022 - April 16, 2023) at the Lenbachhaus in Munich. PROVENANCE: Galerie Nierendorf, Berlin. Private collection (around 1999). Galerie Levy, Hamburg. Private collection Northern Germany (acquired from the above). EXHIBITION: Josef Scharl, Pavillion im Alten Botanischen Garten, Munich, January 3 - 25, 1953. Josef Scharl. Gedächtnisausstelling, Galerie Nierendorf, Berlin, April 20 - June 16, 1964. Josef Scharl. 3. Gedächtnisausstellung, November 1, 1971 - January 12, 1972, cat. no.9 (with illu. p. 8). Scharl is a painter of people whose special painterly quality becomes particularly obvious in his strong character portraits, which show simple workers and soldiers in a physicality battered by life or death and with unembellished immediacy. On the other hand, however, his painterly mastery also becomes evident in his wonderful multi-figure society paintings of the Golden Twenties. These evening parties, which often show wealthy men in tails, act like a glamorous, almost decadent antithesis to the battered physiognomies that confront us in his worker paintings. In the typical style of the 1920s, Scharl has rendered the two male characters from the Weimar Republic on the canvas in 'Zwei Herren im Frack' (Two Gentlemen in Tails) with a typical brushstroke inspired by Van Gogh. Scharl's dissecting society pictures of these years, such as the present painting or ''Blinder Bettler im Café' (Blind Beggar in the Café, 1927, Kunsthalle Emden), 'Drei Korporierte (Larven) (Three Corporates (Grubs), 1925, Lenbachhaus Munich) are among the best that Scharl's painterly work has to offer. Scharl's clearly dynamic style of these years is unique, combining elements of Expressionism and New Objectivity. And so it is not surprising that the painting 'Konferenz/Die Gruppe' (Conference/The Group, 1927) with four gentlemen in tails, and the work 'Der Abend” (The Evening, 1925) are currently listed as the artist's two most expensive works on the international auction market. In the 1920s, Scharl was at the peak of his creativity, he joined the artists' association 'Neue Münchner Sezession' and the 'Juryfreie' and successfully took part in their exhibitions. With the beginning of the National Socialist’s cultural policy, he witnesses drastic changes in the 1930s: sales and exhibition participation decreased, Scharl's financial situation worsened and he was banned from painting. Nevertheless, in 1935, Karl Nierendorf helped him to a solo exhibition. An invitation to take part in an international exhibition together with Beckmann, Scholz, Heckel and Hofer, from the Museum of Modern Art in New York, encouraged Scharl to emigrate to America in 1939. [JS] Called up: June 10, 2023 - ca. 15.27 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

L S LOWRY (1887-1976) British (AR), The Meeting Place, print, signed in pencil to margin and with blind stamp, framed and glazed. 72 x 47.5 cm.

Cecil Aldin - Fine Art Trade Guild lithograph signed in pencil to the margin, and with blind stamp, 40x33cm; after Hogarth - The Enraged Musician, monochrome engraving, 36x41cm; and a General Prospect of the Royal Palace of Audlyene, colour engraving (3)

DEADPOOL #1 & 2 (2 in Lot) - (1997 - MARVEL) - Deadpool's first ongoing title series including the first appearances of Blind Al & Cannon Fodder - Flat/Unfolded

A Cyma crown wound Pocket Watch for the blind (running at the time of cataloguing).

Arthur Winston Dale Megoran (1913-1971) "Shelducks in the Evening" coloured etching and titled in pencil, with blind stamp for "Artist's Proof Warwick Galleries", 27.5cm x 36cm, and similar "Razorbills", both mounted in glazed oak frames (2)

A Mahogany Cabinet with twin doors, chamfered sides,with blind fret decoration, central drawer, two small drawers, on carved cabriole legs, scroll feet 76 wide.

After Landseer, 'There is Life in The Old Dog Yet', engraving published by Henry Graves, pencil signed and DGK blind backstamp to border, 34 x 45cm.

George Cunningham 'Journey's End' limited edition colour print of 500, blind backstamp, 31.5 x 44.5cm, two Margaret Clarkson colour prints. (3).

Terence Cuneo, Caerphilly and Vole-Tail Central Railway, limited edition colour print of 850, pencil signed, blind backstamp, 47.5 x 74.5cm. A larger print (2).

George Cunningham 'Ecclesall Church', limited edition colour print of 850, blind back stamp, 32.5 x 45.5cm. John Freeman 'the Smith' limited edition colour print of 500, pencil signed. (2).

Ovid, Ovids Metamorphosis Englished by Geo. Sandys, R. Tomlins at the Sun and Bible, 1656, blind-stamped calf.

A Modern Mahogany Hall Table, with blind fret frieze and glass top with pierced stretchers and on block feet, 142cm by 40cm by 72cmGood condition with minor scuffs

A Two man tent and a blind, 120 cm wide x 160 cm drop.

NO RESERVE Fleming (Ian) Thunderball, first edition, original boards, skeletal hand in blind to upper cover, spine lettered in gilt, dust-jacket, light browning to spine, minor chipping to spine tips and corners, an excellent example, 1961; and a first edition Octopussy, 8vo (2)

Fleming (Ian) Goldfinger, first edition, original boards with skull design in gilt and blind, spine lettered in gilt, dust-jacket, light surface soiling, otherwise an excellent copy without fraying to edges, 8vo, 1959.

Wodehouse (P.G.) The Great Sermon Handicap, first edition, half-title, light spots to fore-edge, original imitation morocco, blind-stamped and lettered in gilt, extremities rubbed, still a bright copy overall, [Mc Elvaine A49a], 12mo, [1933].⁂ A short story featuring Jeeves and Wooster. Originally published in The Strand Magazine in 1922 and then Cosmopolitan, it was collected within The Inimitable Jeeves in 1923. Separate publication, in a single volume, formed part of Hodder and Stoughton's 'Little Books of Laughter' series.

BAINES (THOMAS)The Victoria Falls Zambesi River Sketched on the Spot (During the Journey of J. Chapman & T. Baines), FIRST EDITION, hand-coloured lithographed pictorial title and 10 hand-coloured lithographed plates by by T.Picken, R.M.Bryson, F.Jones and E.Walker after Baines, tissue guards, light spotting to title otherwise very clean throughout, opening few leaves working loose, publisher's cobalt blue blind-stamped cloth, lettered in gilt on upper cover, g.e., age-soiling to spine and margins of upper cover [Mendelssohn (1979) I, p.113], folio (570 x 360mm.), Day & Son, 4 October 1865Footnotes:A FINE COPY OF THE HAND-COLOURED ISSUE OF BAINES MOST IMPORTANT PUBLISHED WORK ON THE VICTORIA FALLS.In 1858, at the recommendation of the Royal Geographical Society, Baines (1820-1875) was appointed artist and storekeeper to David Livingstone's Zambesi expedition. In 1861 he had joined James Chapman on an expedition from the south-west coast of Africa to the Victoria Falls, during which he made many sketches and paintings.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

FOLIO SOCIETY HISTORICAL INTEREST BOOKScomprising Bestiary with an introduction by Richard Barber, The Folio Book Of Days with an introduction by Roger Hudson, Culloden and Glencoe by John Prebble, Cities And Civilisations by Christopher Hibbert, London Portrait Of A City compiled by Roger Hudson, The Jubilee Years 1887-1897 compiled by Roger Hudson, The Origins Of The Second World War by A.J.P.Taylor, The Pre-Raphaelires And Their World by William Michael Rossetti, Elizabeth I b y Maria Perry, William The Conqueror by David C.Douglas and The Blind Watchmaker by Richard Dawkins, all with slip cases (12)

A 19th century Victorian  mahogany and marble console hall table. The table having a pierced back gallery back with serpentine shaped white marble top. All raised on scrolled leg base with pierced and lattice worked sides. The plain frieze with single blind fronted drawer. Measures approx. 108cm x 108cm x 42cm.

Elizabeth II (1952-2022), Decimal issues, Trial Two Pounds, 1994, in nickel-brass, by R. Maklouf, coronetted bust right as the regular issue, but royal mint trial stamped in front, rev. man-of-war to left, royal mint trial stamped at left, 1994 at right, edge straight-grained and reading sic vos non vobis +, 28mm, 12.18g. Extremely fine and extremely rare £300-£400 --- Provenance: Eric Charles Walford, MBE (1938-98), of Merton, Surrey, and by descent; DNW Auction 54, 19 June 2002, lot 299 Eric Walford sat on the board of the Royal National Institute for the Blind. This coin, together with the pieces in the following two lots, was given to him by the Royal Mint for appraisal in 1994.

AFTER WILLIAM RUSSELL FLINT "Florentine Masquerade", study of a young woman in circa 20s style outfit in a park, limited edition colour print No'd. 444/750, bears blind studio stamp, 71 cm x 52 cm, together with AFTER ANDREW C GOW "Farewell to Nelson - Portsmouth September 14th 1805", chromolithograph print, 64.5 cm x 40 , together with a similar print depicting "Soldiers on horseback at a ship building yard", 59 cm x 45 cm and three further floral prints (6)

A Victorian upholstered rectangular footstool on mahogany cabriole legs to scroll feet, an Edwardian mahogany and blind fretwork carved piano stool with box seat and two further upholstered footstools on turned legs

A pair of modern clear glass baluster table lamps with dimple style decoration together with circular shades, height excluding shade but including fitting 46 cm together with a pair of brass standard lamps of plain square form raised on square stepped bases 130 cm including fitting with green and cream Pooky style shades and a coopered wooden bowl on legs 36 cm high x 53 cm diameter and a blind

A Victorian burr walnut veneered rectangular fold over tea table, the top with moulded edge over a plain shaped frieze on Gothic Revival style fluted and blind fretwork carved cup and cover end supports on scrollwork decorated cabriole legs to scroll feet and castors 99 cm wide x 49 cm deep x 73 cm high