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MODERN ITALIAN CONSOLE TABLE,80cm high, 106cm wide, 35cm deep, along with an occasional table, 68cm high, 64cm wide, 40cm deep and a matching mirror (3)

Holz, geschnitzt, gefasst und versilbert. Bombierte Profilzarge mit großen, blütengefüllten Reserven auf konischen, kannelierten Balusterbeinen. In der Mitte großes, erhaben reliefiertes Portraitmedaillon, umgeben von üppigen Festons. An der Zarge undeutl. handschriftliches Etikett sowie rückseitig Inventar-Vermerk: HL XXVII. Gering überstehende Deckplatte aus roséfarben und grau gemasertem Marmor. H. 81,5 cm. 68 cm x 44 cm.A Swedish carved and silvered wood Louis XVI console table.Schweden. Um 1780.

Holz, geschnitzt, gefasst und vergoldet. Über schmalem Profilsockel durchbrochen gearbeitete Seitenwangen aus üppigen Volutenmotiven sowie verspiegelte Rückwand mit Gitterdekor als Träger für profilierte, gekehlte Zarge sowie rechteckige Deckplatte aus anthrazitfarbenem Marmor. Rest.; H. 86 cm. 90 cm x 45 cm.A magnificent German gilt wood console table. Restored.Württemberg. Um 1830.

Nussbaum, auf Eichenholz furniert sowie reiche, teilw. grün gefärbte Einlagen aus unterschiedlichen Hölzern. Gerader Zargenkasten auf leicht geschweiften Beinen. In der gegliederten Front zwei schmale, ausgebogte Schubladen. Weit überstehende, sich an den Ecken stark verjüngende Deckplatte. Schauseitig flächendeckende Marketerie aus Vasenmotiv, Füllhörnern und Blattvoluten sowie üppigen Blütenzweigen und Schmetterlingen. H. 72,5 cm. 76 cm x 44 cm.A Dutch walnut veneered Baroque console table with rich marquetry.Niederlande. 2. Hälfte 18. Jh.

Metall, vernickelt und farbloses Glas. Gestell aus schmalen, gekanteten Streben und Stegen, pyramidal ineinander gestellt, als Träger für entsprechende Zarge und rechteckige Deckplatte. H. 80,5 cm. 119 cm x 39 cmA nickel plated and glass console table.Frankreich. Um 2000.

aus dem Inventar des Herzoglichen Schlosses BraunschweigMahagoni, furniert sowie Profile und Applikationen aus Messing. Sich konisch verjüngende Vierkantbeine und kassettierte Rückwand mit großem, stilisiertem Sonnenmotiv als Träger für schmale, schauseitig bombierte Zarge und entsprechende, gering überstehende Deckplatte. Unterhalb Stempel "S.I. 1059", Brandstempel "H.R.Schl." sowie rücks. "H.S.B. 3162"; H. 93 cm. 88 cm x 48 cm.Zwischen 1885 und 1895 wurden Möbel und Ausstattungsgegenstände erstmals inventarisiert und mit einem Brandstempel "H. R. Schl." für "Herzogliches Residenz Schloss" versehen. Zwischen 1911 und 1917 erfolgte eine zweite Inventarisierung mit "H.S.B." und einer laufenden Nummer.A Russian mahogany veneered Empire console table with profiles of brass.Russland. Um 1800.

Mahagoni, furniert. Über schmalem Profilsockel flache Rückwand sowie geschwungene Seitenwangen aus erhaben reliefierten Voluten als Träger für gewulstete Zarge und rechteckige Deckplatte. Hochrechteckige Spiegelrahmung, flankiert von eingestellten Halbsäulen mit breitem Giebel und geschwungenem oberen Abschluss. Zweigeteiltes Spiegelglas sowie Applikationen aus Bronze. Konsolen-H. 86 cm. 73 cm x 36 cm. Spiegel 159 cm x 82 cm.A North German mahogany veneered Biedermeier mirror and console table.Norddeutsch. 1. Hälfte 19. Jh.

Metall, vernickelt und farbloses Glas. Gestell aus schmalen, gekanteten Streben und Stegen, pyramidal ineinander gestellt, als Träger für entsprechende Zarge und rechteckige Deckplatte. H. 80,5 cm. 119 cm x 39 cmA French nickel plated and glass console table.Frankreich. Um 2000.

A modern glass console table.

A GEORGE II CARVED MAHOGANY CONSOLE TABLE CIRCA 1750 With Verde Antico marble top 78.5cm high, 137cm wide, 61cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits. Marble top is late associated. It has the expected minor chips and 'nibbles' to edges and some scratches. The underside of the marble has two metal bars inset. These appear to be for support as there is no repaired crack visible to the top. Some shrinkage cracks to the joins between the legs and 'ears'. Old vacant screw holes to the underside from where a previous top was fixed. Table is structurally solid. Later pads of timber applied to the undersides of the claw on ball feet. Some evidence of old worm to underside. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A CARVED AND SCUMBLED WOOD SIDE OR CONSOLE TABLEIN GEORGE III STYLE, 19TH CENTURYWith scagliola top 94cm high, 157.5cm wide, 79cm deep

A Victorian mahogany console table, the associated architectural back centred by a carved shield, serpentine marble top above a plain frieze with single short central drawer, the substantial carved front legs with fluting, leaf and scrollwork design and paw feet, 122 x 45 x 113cms high.

A pair of modern Rococo style white and gilt painted carved wooden console tables with shaped white marble tops, height 61cm, width 55cm, depth 40cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A French design wrought iron console table with decorative ironwork, the folding frame with deliberately distressed finish and with glass mounted top. 146cm x 89cm x 44cm

A arts and crafts style oak console table with single fitted drawer. 93cm x 76cm x 32cm

A vintage teak fold over console table converting to dining table with height adjustable mechanism raised on teak and metal base. H.56 W.102 D.51cm. D.102cm extended. (Table doesn't stay in its highest position and needs attention).

A continental Empire style flame mahogany console table with a marble top on cabriole legs with gilt metal paw feet.

Sega Mega Drive 16 Bit Console, with a selection of games, a Sega Mega Drive 32x and 3X Game Boy Games - Contents remain unchecked for completeness  (qty)

A GILTWOOD AND MARBLE CONSOLE TABLEIN THE MANNER OF WILLIAM KENT, 20TH CENTURY93cm high, 137cm wide, 51cm deepCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old chips and splits. The marble top with scratches and chips to edges. There are some old repaired chips with filler used to help disguise. The gilt surface with various chips, wear, flaking and losses. Carved elements with splits, losses and old glued repairs - see images for details. Later supporting corner blocks to backs of frieze. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A CARVED PINE EAGLE CONSOLE TABLE18TH CENTURYMounted with a variegated fior di pesco marble top92cm high, 105cm wide, 46cm deepThe use of an eagle as a support for a table was popularised in England by William Kent (1685/6 - 1748), the remarkable designer of furniture, objects and architecture. Kent's designs drew on his decade in Italy from 1709-1719, spent often in the studio of painter Giuseppe Bartolomeo Chiari. Kent's design for an eagle table support is likely to be derived from designs by Giovanni Giardini, published by Disegni Diversi (1714), this includes in particular an elaborate table which featured an eagle with spread wings in the centre. The earliest recorded tables of this type were made for the Duke of Beaufort, between 1728 and 1733 by the carver John Phillips who was paid £444 9s 6d for work at Badminton House, Gloucestershire. Condition Report: There are marks, scratches, knocks, chips and abrasions consistent with age and use.The marble top has a semi-matt appearance with some surface scratches and chips including to the lower edge. It is probably a later replacement. The marble is 2.5cm thick.The table base is of sectional construction and some of the joints are visible; there are repairs to the wings along the grain of the timber.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

AN ITALIAN CARVED GILTWOOD CONSOLE TABLE POSSIBLY PIEDMONT, MID 18TH CENTURY With Portasanta marble top 79cm high, 99cm wide, 57cm deep Condition Report: There are scuffs, scratches, cracks and knocks consistent with age and use.There are losses, restorations and observations including:Later blocks to the underside, the back rail possibly later.Cracks to the frieze, joint areas and elsewhere, chips including to the terminals of leaf scrolls; there is some evidence of worm; some repairs.The marble top with some chips including to the edges and some corners; some scratching; some use of filler.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

Y A PAIR OF ROSEWOOD AND PARCEL GILT CONSOLE TABLESIN REGENCY STYLE, 19TH CENTURY ELEMENTS AND LATER82cm high, 78cm wide, 42cm deep

Taxidermy: A Gharial Crocodile Head Mount Console (Gavialis gangeticus), circa late 19th/early 20th century, a mounted juvenile head as a small console table, with shaped hardwood shelf top, 28cm long, 19cm wide, 10cm deep approx, actual head mount size - length 26cm, max width of head 7cm, depth 4cm.

A very pretty 19th century cross banded mahogany and burr walnut veneered console table, W. 61cm, H. 74cm.

An Oka slate painted 'Kyoto' narrow console table of two tiers on square supports bearing label "Oka 000064" 115 cm wide x 29 cm deep x 80.2 cm high together with an Oka cream painted two drawer side table on square tapered supports bearing label "Oka 00167" 100 cm wide x 49 cm deep x 76.2 cm high

AN 18TH CENTURY FRENCH CARVED GILT WOOD HANGING CONSOLE TABLE with serpentine shaped marble top above a mask head leaf moulded bracket raised on scrolled support52cm wide 28cm deep 49cm highThe marble top is in good condition with no chips cracks or restoration, with some light surface scratches to the top. There are approx 20 old worm holes to the reverse of the scrolled bracket. One of the corner molds is missing the bottom tip on the right side. The gilding is original. There is a fine crack to the front to the left of the mask but isn't running through the frame. Generally, the piece is in good original condition.

A George III mahogany D-end console table, circa 1800, raised on tapering supports. 76cm H x 120cm W x 59cm D 

Pair of decorative plinth console display tables, each with hardstone tops, gilt brass decoration columns supports with gilt terminals, mirror backs painted in a gilt and grey palette. 97cm x 66cm x 49cm.

An important George II giltwood side table with a specimen top comprised of assorted hardstones, marbles and minerals including Blue JohnThe table 1735-1740, the top 18th centuryThe geometrically veneered top inset with assorted specimens, comprising a triple tablet centred by an octagon, flanked by square and rectangular blocking, encompassed by an octagonal pattern border, within a conforming square and rectangular block surround, above an egg-and-dart moulded top edge, over a Vitruvian scroll frieze with acanthus spray angles, the drapery swagged apron below centred by a classical female mask against a draped surround, on four volute scroll eared cabriole legs each headed by a clasped carved lion mask above an acanthus spray and bellflower pendant, terminating in lion paw feet with hairy hocks, some losses to the border of the specimen top, the gilding has been applied to a mahogany base, 131cm wide x 67cm deep x 82cm high, (51 1/2in wide x 26in deep x 32in high)Footnotes:ProvenanceRipley Castle, located near Harrogate in North Yorkshire.The boldly carved Vitruvian scroll frieze bracketed by acanthus leaf ornament features on a side table of earlier date. It was designed by the architect William Kent for Ditchley Park in circa 1726 and was carved by James Richards. It features in S. Weber, William Kent Designing Georgian Britain, New Haven, 2013, fig. 18.31, p. 491. A related giltwood and gilt gesso side table, which is attributed to Benjamin Goodison (c.1700-1767), forms part of the Royal Collection and is illustrated in The First Georgians, Art and Monarchy, 1714-1760, ed. by D. Shawe-Taylor, 2014, London, fig. 109, pp.'s 202-203. Dating to circa 1730, this impressive Royal table incorporates closely comparable elements such as the Vitruvian scroll frieze with acanthus angles, the central classical female mask on a draped background and the distinctive drapery swags to the apron. This table along with a similar gilt variant companion of the same date, the latter also attributed to Goodison, are noticeable in an 1816 watercolour by Charles Wild which depicts The Queen's Drawing Room at Windsor Castle, Ibid, fig. 45, p. 202. Both, despite their elaborate gilt gesso tops, are shown in this watercolour with two ship models from George III's collection positioned on top of them. Although evidently, they were transferred from this location to the Queen's Audience Chamber shortly afterwards and probably as soon as during the reign of George IV in the 1820s. During the early 20th century, the celebrated English furniture collector, Percival D. Griffiths, assembled under the auspices of the furniture historian, Robert Wemyss Symonds, a collection which at the time was considered the finest in the country. Griffiths developed a penchant for certain elements associated with the Neo-Palladian style (often categorised as 'lion mask furniture'), typified by those aspects exhibited on the offered lot. Indeed, key items in his collection paralleling this style are illustrated in R.W. Symonds' seminal work, English Furniture from Charles II to George II, 1929, London, fig.'s 69-72 and 177-180. The Griffiths Collection was sold at Christie's in 1939 after Griffiths died while hunting with the Whaddon Chase on 11th December 1937.Furthermore, another table, a mahogany console with a marble slab top dating to circa 1735, has a number of shared characteristics with the present example and this appears in English Furniture from Charles II to George II, 1980, Woodbridge, fig.'s 147 & 177, pp.'s 159 and 180. Both have very similar egg-and-dart moulded top edges, Vitruvian scroll friezes and perhaps most notably each one is on cabriole legs carved with lion masks and acanthus leaves which terminate in hairy hocks and lion paw feet. In fact, this particular mahogany table, which previously formed part of the renowned Griffiths collection, sold Christie's, New York, 17 October 2008, Important English Furniture, lot 20.It is also interesting to note that a mahogany drop-leaf table, that is likewise dated circa 1735, has lion masks carved to its legs and comparable lion paw feet which are certainly more akin in their appearance and execution to those featuring on the offered model than on the previous table. This related drop-leaf features in Ibid, fig.'s 71 & 127, pp.'s 96 and 141.A pair of tables in the collection at Temple Newsam [LEEAGFU.1954.009] - the design of which has been attributed to Henry Flitcroft (1697-1769), who was commissioned to conceive the interiors of Ditchley Park - were completed during the period 1736-1741. A table probably designed by Flitcroft and attributed to Matthias Lock (1710-1765), combining related Vitruvian scroll and swag ornament sold Christie's, New York, The Ann and Gordon Getty Collection, 22 October 2022, lot 331. Flitcroft, a former assistant to Kent, was likewise a protégé of Richard Boyle, 3rd Earl of Burlington (1694-1753). The latter became a leading exponent of the Neo-Palladian style following his final Grand Tour of Italy in 1719 when he rebuilt Burlington House as a homage to the architectural designs in Andrea Palladio's I Quattro Libri dell'Architettura, first published in 1570. Moreover, two designs for pier or side tables, completed by William Jones for his 1739 publication, 'The Gentleman or Builder's Companion', pl.'s 27 and 28, possess some attributes which are analogous to those of the present model. Between the two designs these attributes include: a Vitruvian scroll frieze, central classical female mask, swagged apron, cabriole-like legs and similar feet. Both drawings feature in Pictorial Dictionary of British 18th Century Furniture Design, 2000, Woodbridge, pl.'s 27 & 28, p. 263. A further giltwood table, evidently conforming in numerous details and definitely close in spirit to such William Jones designs, is illustrated in A. Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009, pl. 5:30, p. 215. This version is dated by the author to the period 1735-1750 and clearly combines Neo-Palladian motifs such as the classical mask, prominent shell and Vitruvian scrolling with early 'indications' of the then burgeoning Rococo style. However, arguably the above table is perhaps nearer to circa 1735, since it seems to fuse the late Baroque style with Neo-Palladianism, so effectively such an integration suggests a slightly earlier date of execution in comparison to the former. The Specimen Tabletop and 'Blew John'The marvellous 18th century specimen top surmounting the offered lot appears to be comprised of an assortment of hardstone, marble and mineral types which are seemingly predominantly, or possibly exclusively, of indigenous origins. Although most of these segments are difficult to currently identify with any real degree of certainty, it is nonetheless probable that a minimum of two varieties of Blue John are included therein, and they are most likely to be 'Old Tor Vein' and 'Treak Cliff Blue Vein'. However, there is perhaps an argument to suggest that there are signs of 'Odin Vein' as well. Blue John is a variety of the common mineral fluorspar, which is composed of calcium fluoride (CaF2). Fluorspar can be in any colour, but it is known as Blue John when it is bluish purple with a white banding, thought to be caused by inclusions or impurities. The name Blue John was not recorded until 1766, when Lady Mazarine, one of th... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

FLECHIER ESPRIT: (1632-1710) French Preacher and Author. Bishop of Nantes 1687-1710. One of the greatest orators of the XVIIº century. Fléchier entered the Academy on 12 January 1673, the same day as Jean Racine. Rare A.L.S., `Esprit Ev[eque] de Nismes´, two pages, 8vo, Montpellier, 22nd January 1700, in French. A cleanly written letter by Fléchier to a friar, stating in part `…les médecins ont conçu quelque espérance de votre guérison. Mais comme vous n'êtes pas sans fièvre, que votre poitrine souffre, et que vous êtes affaibli, dégoûté et presque découragé, je n'ose pas encore me consoler…´ (“…the doctors have some hope on your recovery. But as you are not without fever, your chest aches, and you are weak, disgusted and almost discouraged, I do not yet dare console myself...”) Fléchier advises his correspondent to have faith in God, and further states `… il faut un peu s'aider soi-même, ne pas se laisser accabler par le mal, quoi qu'on en soit abattu, user de remèdes quoique dégoûtants, dont Dieu veut peut-être se servir pour opérer votre guérison…´ (“you have to help yourself a little, not let yourself be overwhelmed by evil, no matter how dejected you are, use remedies, however disgusting, which God may want to use to reach your healing...”) Two water stains to the left border only partially affecting very few words, but not affecting the signature. Accompanied by an original printed engraving of the XIXº century. G

SADE MARQUIS DE: (1740-1814) French Writer, Nobleman and Revolutionary Politician. Best-known for his erotic works and sexual fantasies with violence and lack of morality. Author of The 120 Days of Sodom. Sade spent thirty-two years of his life imprisoned and most of his works were written while incarcerated. The word sadism was coined from his name. Rare A.L.S., `Sade´, three pages, 4to, Charenton, 23rd December 1806, to his stage manager M. Ripert, in French. Sade first refers to his correspondent´s son, a military officer in Napoleon´s troops, and states `Je vous assure mon cher et ancien ami que la nouvelle que vous me donnez de votre fils, me fait infiniment de peine, je ne sais quel funeste pressentiment m'avait présagé le malheur qui lui est arrivé mais en l'embrassant (et M. Quesnel s'en aperçut), je sentis un mouvement involontaire d'une tristesse plus forte que moi, mais heureusement qu'il s'en tirera bien, et vous devez avoir déjà des nouvelles de sa convalescence… Au reste consolons nous de cet accident par l'idée certaine qu'il va bien sûrement monter en grade ; il aura sûrement un régiment et d'autres  faveurs; car vous savez comme moi qu'il sert un bon maitre et que jamais l'Empereur n´a laissé dans l'oubli des officiers bléssés à son service…´ (“Translation: “I assure you my dear and old friend that the news you give me of your son pains me infinitely, I don't know what fatal presentiment had presaged to me the misfortune that befell him, but in embracing him (and M. Quesnel noticed it), I felt an involuntary sadness movement, stronger than me, but fortunately he will be fine, and you must already have news of his convalescence… Besides, let us console ourselves for this accident by the certain thought that he will surely rise in rank; he will surely have a regiment and other favours; because you know like me that he serves a good master and that the Emperor has never left in oblivion officers injured under his service...”) Sade further changes the topic and mentions his own affairs, stating `Un mot de mes affaires… je vous suis obligé de ce que vous avez decouvert pour me procurer quelques fonds dont je me trouve avoir absolument besoin dans ce moment-ci… et voici comme cela pourrait etre arrangé, l´affaire se fairait ce quon appelle par anticipation; le nouveau fermier en signant l'acte me payerait une année d'avance dont il se rembourserait a la fin de son bail, et ce remboursement fait par le fermier qui prendrait alors, c'est a dire a la fin du bail de celui que vous me proposez payerait cette année; personne par ce moyen ne se trouverait gené. Combinez bien, minutez bien ce que je vous propose et si l'on y consent, et que vous trouviez ce plan b bon pour moi. Envoyez moi de suite un modèle de procuration je vous le renverrai signé…´ (Translation: “A word about my affairs...I am obliged to you for what you have discovered in order to get me some funds which I find myself absolutely in need of at this moment...and here is how it could be arranged, the matter would be what is called “by anticipation”; the new farmer by signing the deed would pay me a year in advance which he would be reimbursed for at the end of his lease, and this reimbursement made by the farmer who would then take the contract, that is to say at the end of the lease of the one whom you propose; no one by this means would be embarrassed. Plan well what I propose to you and if we agree to it, and that you find this plan b good for me. Send me immediately a power of attorney that I will send it back to you signed…”) Before concluding, Sade insists on his need of money, saying `A l'égard du château j'espère que vous ne le louerai qu'à quelqu'un de sûr, et qui n'y laisse rien dégrader cette clause est très importante… je vous remercie de ce que vous me dites a l'occasion du bois de Saumane, mais étendez vous dans votre reponse et dites moi de quelle manière je vais en retirer de l'argent…´ (Translation: “With regard to the castle I hope that you will only rent it to someone reliable, and who does not let anything deteriorate, this clause is very important… I thank you for what you tell me regarding the Saumane wood, but extend your answer and tell me how I will get money from it…”) A lengthy letter of good content. With address leaf. Postmarked. One small hole to first sheet and few small ones to the second, only partially affecting one word, and not affecting the signature. Very small area of paper loss to the edge of the second sheet as a result of the letter opening. G Sade refers to Napoleon I when mentioning the behaviour of the Emperor when relating to injured soldiers of his troops. 

A Mid 20th Century Cream and Gilt Serpentine Front Console Table, 107cm wide

A 19th century heavily carved oak console table fitted with a drawer.

A mahogany and walnut low console table with mirrored back.

A mahogany and walnut low console table with mirrored back.

A 19th century giltwood D-shaped marble topped console table, width 78 cm, heigth 84 cm.

Two antique mahogany low console tables, one with mirrored back. (AF)

Mahogany and satinwood inlaid demi-lune console table and pair Victorian cabriole leg parlour chairs (3).

Art Deco style console table with four drawers to centre, approx 120cm x 40cm x 90cm tall

A reclaimed teak console or side table, with a rectangular top raised on strut supports, 85cm high, the top 140cm x 40cm, and another similar, the top 40cm x 120cm. Note: VAT is payable on the hammer price of this lot at 20%.

A Ninendo Wii console with accessories

MEDIA CONSOLE, 270cm x 62cm x 49cm, contemporary with three drawers.

CONSOLE TABLE, 79cm H x 152cm W x 25.5cm D, mirrored glass top, gilt metal frame with stretcher to base, contemporary.

MUFTI CONSOLE TABLE, walnut veneered twin pedestal design, single drawer, steel rims to edges, plus a single cupboard section, below, 77cm H x 120cm W x 50cm D, matching lot.

Console en altuglas75,5 x 120 x 25 cm

Petite console moderne en bois

Willy Daro mid-century gold-plated bronze consoleWilly Daro mid-century vergulde bronzen console71 x 128 x 38 cm

Charles X console in mahogany veneer with white marble top and drawer with lockCharles X console in mahonie fineer met wit marmeren blad en lade met slot89 x 102 x 44.5 cm

Mahogany folding console, English style George IIMahoniehouten uitklapbare speeltafel, Engels stijl George II70 x 82 x 40/80 cm

French 19th century French richly carved wooden console in rococo style with white marble top and with mirrorFranse 19e-eeuwse Franse rijkelijk gesneden houten console in rococo-stijl met witmarmeren blad en met spiegel87 x 108 x 51 cm

Italianate Giltwood and Pink Painted Console Table of serpentine outline raised on cabriole legs, 90cm wide x 30cm deep x 80cm high

2001 Aston Martin DB7 Vantage Volante Transmission: automaticMileage:48000In 1999, the more powerful DB7, V12 Vantage was introduced at the Geneva Motor Show. Its 5.9 litre, 48-valve, V12 engine produced 420bhp and 400lb/ft of torque. Aston Martin claimed it had a top speed of 165mph and would accelerate from 0€“60mph in 4.9 seconds. The chassis was extensively redesigned and improved to cope with an almost 33% increase in power. Bigger Brembo brakes, new front wishbones and a now double-wishbone set-up at the back were more than enough to handle a V12 that was soon to appear in the Vanquish. Ian Callum was in charge of styling revisions and the inherent beauty of the original DB7 was made more masculine with revised flanks, new sills, a new rear bumper and a wider front grille. The latter was a necessity, to allow more cooling air to the much more powerful engine. Inside, a red starter button was incorporated into the centre console, close to a new analogue clock that replaced the previous model's digital one. The new sports seats were more comfortable, gave better support when driving as hard as the latest car was capable and also allowed greater interior space.Originally registered on 5th November 2001, this DB7 Vantage is finished in Stronsay Silver with contrasting Pacific Blue and pale grey hide interior with navy blue Wilton carpet throughout. This is a well maintained example with 13 stamps in the service book. The car presents exceedingly well and has clearly been very well cared for throughout its 21 years on British roads. We are advised the car drives with no known faults. This a great specification vehicle with Touchtronic transmission, electric Mohair hood, electric heated seats and an a fully adjustable steering column. Supplied with a V5 registration document, the original service books and a current MoT test certificate valid until 23rd May 2023.This delightful example has the desirable combination of V12 power and soundtrack coupled with sumptuous luxury and effortless acceleration.

1976 Maserati Bora (4.7 litre) Transmission: manualMileage:23441A rare car, only 42 right hand drive Maserati Boras were built, and just 289 fitted with the larger 4.7 litre engine, from a total production run of 571, and it was largely regarded as Maserati's first supercar. Unveiled in 1971, the Maserati Bora, named after the Adriatic wind, was undoubtedly one of the stars of the Geneva Motor Show. It was also Maserati's first mid-engined car with the glorious 90-degree 4.7-litre development of the Ghibli's V8 engine mounted behind the front seats, producing a healthy 310bhp at 6000rpm. The Bora transmitted its power to the road through a five-speed ZF transaxle gearbox, pushing this stunning Coupé to a top speed of 170mph.Equal to its impressive specification was its design, penned by the great Giorgetto Giugiaro, a man at the top of his game in 1971 and later named €˜Designer of the Century' in 1999, the Bora sought to bring sophistication to the mid-engined platform. Standing just 1138mm high, the Bora stole the show with its stylish, brushed stainless-steel roof and windscreen pillars, and a huge rear window, enveloping a stunning interior with sinuous bucket seats, and sumptuously leather clad dash, door trim, centre console and rear bulkhead. But it was also conceived as a grand tourer, with a decent-sized luggage compartment in the front and a carpeted engine cover in the rear. Maserati also fitted an adjustable pedal box, hydraulically operated brakes and pop-up headlamps, which were just some of the myriad innovations that showed the influence that new owner Citroen was to bring to bear.Customers included Karim Aga Khan and Italian movie producer Carlo Ponti, husband of Sophia Loren, and the Bora quickly proved itself to be a compelling alternative to a Ferrari, Porsche, or Lamborghini, and there is not a finer example on the market today.A €˜no expense spared restoration' and owned by the same family for 50 years, this exceptional Maserati Bora 4.7 litre was clearly a very treasured member of the family, for it has had over £150,000 lavished on it as part of a three-year restoration programme.The history file is remarkable by the sheer volume of invoices for work done between 2015-2018 by the respected restorers Kent High Performance Cars, formerly known as The Ferrari Centre of Maidstone. What started as a restoration estimated at nearly £50,000 tripled to a final cost of £150,000 to ensure that every tiny detail was addressed. It would take pages to itemise the work and be easier to say what has not been done to this car, but it would be difficult to find an example in such superb condition had you walked into the Maserati showroom in Slough back in November 1975 when the car was brand new.With a full engine and mechanical rebuild; complete body restoration and repaint to its original colour (silver); complete trim in Connolly hides to Maserati Vaumol specification and fully detailed, the list goes on. This is surely one of the finest examples available in todays market and is gushingly attractive and has the performance to match. However, it is important to note that the engine, since its rebuild, has developed a misfire, causing it to backfire when running, which has not been properly investigated. Offered without reserve, this presents itself as a very attractive investment.We recommend interested parties should satisfy themselves as to the condition of the lot prior to sale.  

2010 Aston Martin DBS Volante Transmission: automaticMileage:22050The Aston Martin DBS was a grand tourer based on the DB9 and replaced the 2004 Vanquish S as the flagship model. The DBS name had been used once before on their 1967-72 grand tourer Coupé and the modern car was officially unveiled at the 2007 Pebble Beach Concours d'Elegance on 16 August 2007, followed by the more traditional 2007 Frankfurt Motor Show. The convertible version of the DBS, dubbed the DBS Volante, was unveiled at the 2009 Geneva Motor Show followed this time by the 2009 Concours d'Elegance. The DBS Volante included a motorised retractable fabric roof controlled by a button in the centre console which could fold into the compartment located behind the seats in just 14 seconds. Impressively the roof could also be opened or closed even at speeds up to 30mph. Other features included rear-mounted six-speed manual or optional six-speed €˜Touchtronic 2' automatic gearbox and a Bang & Olufsen BeoSound DBS in-car entertainment system with 13 speakers.The DBS was selected to be the service issue Aston Martin for the 2006 James Bond movie Quantum of Solace and starred in a record breaking action sequence towards the end of the film, as well as an exhilarating opening scene for Daniel Craig's second outing as Bond.This superb low mileage example is presented in probably the best colour combination of Storm Black with Obsidian Black leather interior and red stitching. The car comes with ceramic brakes all round, a Bang and Olufsen stereo system and a very good history with all servicing carried out since 2010 by authorised Aston Martin dealers and the last service was done in October 2022 €“ all invoices for the servicing and any work carried out can be seen in the history file. The vendor had the car completely Ceramic coated by Harwoods and it also comes with an Aston Martin indoor car cover which cost £370.  The DBS - especially with the roof down - looks and sounds fabulous and is sure to be a future classic with many describing it as the next Aston Martin for the serious collector or investor. This fine, low mileage example should pay generous dividends in years to come.

1970 Ford Mustang Mach 1 Transmission: automaticMileage:1969 was the benchmark year for Ford Mustang in its proliferation of performance names and engines. No fewer than six factory performance Mustang models were available. Additionally, seven variations of V8s were available in the 1969/1970 models, most of these also available in the new Mach 1. The Mach 1 started with a V8 powered €˜Sportsroof' body and added numerous visual and performance enhancing items. Standard on Mach 1's was a fierce but cosmetic hood scoop that had integrated turn-signal lights mounted in the back. A more functional option was the signature €˜shaker hood', an air scoop mounted directly to the top of the motor, used to collect fresh air and so named for its tendency to €˜shake' above the rumbling V8 below. The interior came complete with teak wood grain details, full sound deadening material and high-back sport bucket seats.This powerful genuine, 1970 code 05 Mustang Mach 1 351 Cleveland Auto was restored about 15 years ago with a total strip down and repaint in metallic blue over tan interior. The car had benefitted from an engine rebuild a few years earlier and features an Edelbrock alloy inlet. The list of enhancements includes an upgraded exhaust system, power disc brakes, chrome Mach 1 wheels and plenty of polished parts under the bonnet. The interior is in good condition with a sportsdeck folding rear seat, centre console and a wood rimmed steering wheel. When we fired the car up the noise was as impressive as the looks of this car and we are told she is a joy to drive. Offered to auction with a V5 registration document, this is an opportunity to own a classic piece of Americana.

An oriental copper chinoiserie lacquered console table

KLEINE TISCHVITRINE AUF WANDKONSOLE, Anf. 19. Jh., Weichholzkorpus mit Nussbaumfurnier. HxBxT Vitrine: 66/43,5/22 cm, H Konsole: 47 cm. Alters- und Gebrauchsspuren, Glas ergänzt. | SMALL TABLE SHOWCASE ON WALL CONSOLE, start 19th century, softwood body with walnut veneer. HxWxD showcase: 66/43.5/22 cm, H console: 47 cm. Signs of age and wear, glass replaced.

MUSEALER KABINETTSCHRANK IM RENAISSANCE-STIL Italien, 19.Jh., Nussbaum, ebonisiertes Holz, Schildpatt und gravierte Plaketten aus Bein, auf den Fronten der Schubladen Bilder mit Motiven der Eroberung Granadas durch die katholischen Könige von Spanien, Isabel und Fernando, zweiteiliger Aufbau, Unterbau ein 6-beiniger Konsoltisch auf Säulenfüßen, Aufsatz in streng geradem Aufbau, insgesamt 8 gerahmte Schubfronten, jeweils zwei Intarsienbilder an einem Schub, die Mitte betont durch eine über zwei Schubzonen hochziehende Mitteltür mit Ädikulaportaldekoration, das obere Gesims liegt über einer weiteren schmalen Schubzone mit Intarsienfrontbildern, der Zieraufsatz eine an drei Seiten umlaufende Galerie mit Vasen bekrönten Ecksockeln, dazwischen durchbrochen gearbeitete Vergitterung mit Blattwerk in Bronze vergoldet, die Mitte im Aufsatz hochrechteckig erhöht in Art einer weiteren Ädikulafront, Medaillon mit den Initialen F und P bekrönt von einer Grafenkrone, abgeschlossen durch einen Springgiebel und flankiert durch vergoldete Seitenwangen in Bronze, HxBxT: 232/ 174/53 cm. Rest.Provenienz: Kunstsammlung aus Süddeutschland.| MUSEUM CABINET IN RENAISSANCE STYLEItaly, 19th century, Walnut, ebonised wood, tortoiseshell and engraved plaques of bone, on the fronts of the drawers pictures with motifs of the conquest of Granada by the Catholic Kings of Spain, Isabel and Fernando, two-part construction, substructure a 6-legged console table on column feet, top in strictly straight construction, a total of 8 framed drawer fronts, each with two inlaid pictures on a drawer, the centre accentuated by a central door rising over two drawer zones with aedicule portal decoration, the upper cornice is above another narrow drawer zone with inlaid front pictures, the ornamental attachment, a gallery with corner plinths crowned with vases on three sides, in between openwork latticework with foliage in gilt bronze, the centre in the attachment raised rectangular in the manner of another aedicule front, medallion with the initials F and P crowned by a count's crown, finished by a spring gable and flanked by gilded side cheeks in bronze, HxWxD: 232/174/53 cm. Rest.Provenance: art collection from Southern Germany.

Wooden, gilded console of the 19th century.Wooden, gilded console of the 19th century, with a marble top, in the Rococo style. Convincingly implements the wave-like composition of the style and the decorative whimsicality of the floral decor.Condition: Good Style: Rococo Country: Western Europe Period: 19th centuryWarranty: Seller Warranty Material: Wood, Plaster, Gilding, Marble Product sizes: Height - 90cm width - 94cm Location: Gallery "Antiqon", Brivibas street 52, Riga, Latvia

An oak console table on splayed feet (H75cm W198cm D45cm)