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A reconstituted stone pillar; together with a cast iron table base and two brackets.Collection of this lot is strictly by appointment on Saturday 13th March between 9-2pm with payment in advance please. 

A Regency mahogany ebony banded supper table, with hinged drop leaves, end drawer, on a ring and baluster turned pillar and quadripartite base, 91cm wide x 71cm high.

A George III style mahogany twin pillar dining table, on outswept supports, 306cm wide x 78cm high. Condition Report Old marks and scratches to top. Split to front right corner to one table

A Dutch mahogany and walnut combined centre table and dressing table, circa 1840, the serpentine outline tilt-top enclosing a mirror and compartment, on a lobed lotus carved and turned pillar, quadripartite base and castors, 100cm wide x 73cm high.

A George III mahogany ebony strung supper table, with hinged drop leaves and end drawer, ring turned pillar and quadripartite base, 91.5cm wide x 75cm high. Condition Report Top split, leaves and top different colour, has been repolished, otherwise good.

A BES pillar drill with stand, working. ****Condition report**** 4 KW Power.Standard 3 pin.Height 101cm without base, 171cm with base

A Hanseatic 300w pillar drill in working order.

Ayobola Kekere-Ekun Hide but Never Seek (Sketch), 2021 Pen on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ayobola Kekere-Ekun (b. 1993) is a contemporary visual artist. She was born in Lagos, Nigeria. Her B.A. and M.A. in Visual arts were received from the Department of Creative Arts, University of Lagos; where she majored in Graphic Design. She is currently pursuing a PhD in Art and Design at the University of Johannesburg, South Africa. Ayobola is also a Lecturer at the Department of Creative Arts, University of Lagos.   Ayobola's work often explores subjects connected to gender, mythology, power and the human condition in a multi-layered way; creating work through a labour-intensive process. Her work is heavily informed by personal experiences and observations. She is particularly interested in exploring the subtle interplay of time, space, gender, power and social structures in contemporary society.   Ayobola works predominantly with a technique known as quilling, in which strips of paper are individually shaped to create forms. She tends to quill with a variety of materials that respond well to the technique; including ribbon and strips of canvas. She constantly experiments with new ways of exploring materials and their capabilities. Ayobola views the intricacy of her work as a visual metaphor of the complexity of the subject matter she engages with.   Education   2014 - B.A. Visual Arts from the University of Lagos 2017- M.A. Visual Arts from the University of Lagos 2021 - PhD Art and Design (in view) from the University of JohannesburgExhibitions   Exhibitions/Awards   December 2020, Untitled Art Fair - Miami October 2020, High Stakes (solo) - Guns and Rain, Johannesburg January 2020, Young Contemporaries Alumni - National Museum, Lagos October 2019, Making Matter: Materiality and Technology in Nigerian Art - Yemisi Shyllon Museum of Art, Lagos July 2019, Suffrage - Guns and Rain, Johannesburg May 2019, Imagine the Opposite - No End Contemporary, Johannesburg April 2019, Resilient Lines (solo) - Rele Gallery, Lagos October 2018, Cu-ulture and Tradition: Same Experience, Different Local - Koppel Project Hive, London May 2017, Idanimo - Terrakulture Gallery, Lagos May 2017, In Honour of Professor Bolanle Awe - Museum of the Institute of Africa Studies University of Ibadan, Ibadan February 2017, Her Story - Rele Gallery, Lagos November 2016, Dysmorphia & Other Thoughts - Ake Arts and Book Festival, Abeokuta January 2016, Young Contemporaries - Rele Gallery, Lagos     Awards 2018 - The Future Awards 2018 Prize for Creativity 2018 - The Dean Collection 20 St(art)ups Grants 2016 - Rele Art Foundation "Young Contemporaries" Grant 2014 - University of Lagos, Convocation Prize 2012 - United States Consulate General 'Women's History Month' Art ContestGuns and Rain, South Africa   About the postcard artworks   The core of my artistic practice rests on three foundational pillars. The first is an attraction to lines. I have always had a genuine fascination with lines. I think it's interesting how the primary component of all complex forms can be ambiguously loaded with meaning. A line can connect and separate, enclose and exclude, direct and misdirect, all at the same time. To a large extent, my work is a three-dimensional manifestation of lines. I amplify their complexity by enabling them to catch pockets of light and cast subtle shadows. This becomes an avenue to tease out smaller stories within wider narratives visually. The second pillar is the seeming neutrality of paper. I view paper as a conceptual Trojan horse. It's a basic, unassuming material that exists in the backgrounds of our lives; bland, reliable, and ordinary. By making paper the visual centrepiece of my art, I encourage my audience to reconsider the material's value and potential. This re-examination also underscores a running theme in my practice, which is that things are rarely what they appear to be.   The use of fabrics in Yorùbá, Nigerian society is my third pillar. Across my practice, I use fabrics as a reference to the practice of Aṣọ ẹbi in Nigerian society. Aṣọ ẹbi, which translates to "family cloth" refers to the selection of a fabric that serves as a "uniform" worn by families and friends alike during communal ceremonies such as weddings, birthdays and funerals. It is intended to be a show of love, support and camaraderie. The practice has, however, been corrupted in contemporary times, becoming a common source of disputes when prices are excessively inflated to turn a profit and community members are unable or unwilling to acquire the fabric. My use of fabrics references how the positive can quickly mutate to take on negative connotations. It is also a visual representation of societal pressure and expectations.   I enjoy exploring themes related to gender, memory, mythology and identity. My work involves placing strips of paper on their edges to create forms. It is a rather labour-intensive process as each strip must be manually measured, manipulated and secured. I approach paper as a means of painting without pigments. The visual complexity of my art becomes a visual metaphor for the difficulty of the themes I tackle. My art is often visually playful and engaging, characterised by intricacy and bright colours. I think of the visual accessibility of my work as a "trap" of sorts. It lures an audience into engaging before revealing the darker subject matter the work deals with; a constant reminder of the fallacy of face value." Condition Report:   Condition Report Disclaimer

Ayobola Kekere-Ekun The Crown XIII (Sketch), 2021 Pen on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ayobola Kekere-Ekun (b. 1993) is a contemporary visual artist. She was born in Lagos, Nigeria. Her B.A. and M.A. in Visual arts were received from the Department of Creative Arts, University of Lagos; where she majored in Graphic Design. She is currently pursuing a PhD in Art and Design at the University of Johannesburg, South Africa. Ayobola is also a Lecturer at the Department of Creative Arts, University of Lagos.   Ayobola's work often explores subjects connected to gender, mythology, power and the human condition in a multi-layered way; creating work through a labour-intensive process. Her work is heavily informed by personal experiences and observations. She is particularly interested in exploring the subtle interplay of time, space, gender, power and social structures in contemporary society.   Ayobola works predominantly with a technique known as quilling, in which strips of paper are individually shaped to create forms. She tends to quill with a variety of materials that respond well to the technique; including ribbon and strips of canvas. She constantly experiments with new ways of exploring materials and their capabilities. Ayobola views the intricacy of her work as a visual metaphor of the complexity of the subject matter she engages with.   Education   2014 - B.A. Visual Arts from the University of Lagos 2017- M.A. Visual Arts from the University of Lagos 2021 - PhD Art and Design (in view) from the University of JohannesburgExhibitions   Exhibitions/Awards   December 2020, Untitled Art Fair - Miami October 2020, High Stakes (solo) - Guns and Rain, Johannesburg January 2020, Young Contemporaries Alumni - National Museum, Lagos October 2019, Making Matter: Materiality and Technology in Nigerian Art - Yemisi Shyllon Museum of Art, Lagos July 2019, Suffrage - Guns and Rain, Johannesburg May 2019, Imagine the Opposite - No End Contemporary, Johannesburg April 2019, Resilient Lines (solo) - Rele Gallery, Lagos October 2018, Cu-ulture and Tradition: Same Experience, Different Local - Koppel Project Hive, London May 2017, Idanimo - Terrakulture Gallery, Lagos May 2017, In Honour of Professor Bolanle Awe - Museum of the Institute of Africa Studies University of Ibadan, Ibadan February 2017, Her Story - Rele Gallery, Lagos November 2016, Dysmorphia & Other Thoughts - Ake Arts and Book Festival, Abeokuta January 2016, Young Contemporaries - Rele Gallery, Lagos     Awards 2018 - The Future Awards 2018 Prize for Creativity 2018 - The Dean Collection 20 St(art)ups Grants 2016 - Rele Art Foundation "Young Contemporaries" Grant 2014 - University of Lagos, Convocation Prize 2012 - United States Consulate General 'Women's History Month' Art ContestGuns and Rain, South Africa   About the postcard artworks   The core of my artistic practice rests on three foundational pillars. The first is an attraction to lines. I have always had a genuine fascination with lines. I think it's interesting how the primary component of all complex forms can be ambiguously loaded with meaning. A line can connect and separate, enclose and exclude, direct and misdirect, all at the same time. To a large extent, my work is a three-dimensional manifestation of lines. I amplify their complexity by enabling them to catch pockets of light and cast subtle shadows. This becomes an avenue to tease out smaller stories within wider narratives visually. The second pillar is the seeming neutrality of paper. I view paper as a conceptual Trojan horse. It's a basic, unassuming material that exists in the backgrounds of our lives; bland, reliable, and ordinary. By making paper the visual centrepiece of my art, I encourage my audience to reconsider the material's value and potential. This re-examination also underscores a running theme in my practice, which is that things are rarely what they appear to be.

A Regency style mahogany twin pillar pedestal extending dining table, complete with an extra leaf, vase turned columns having reeded quadruple splay leg bases, with brass top caps and castors

A George III style twin pillar dining table and eight dining chairs, including two carvers, 77 x 99 x 243cm

A GEORGE III MAHOGANY EIGHT DAY LONGCASE CLOCK BY 'BADDELEY OF ALBRIGHTON', the gilt and silvered dial with 'strike and silent 'dial, subsidiary seconds dial and date aperture, bearing makers name, the five pillar movement striking on a bell, the case and hood in the Chinese Chippendale style with a pagoda top and bombe sides, twin weight and pendulum, H 230 cmNB: John Baddeley is a well noted Shropshire clock maker, circa 1770, he is well documented in 'Shropshire Clock and watchmakers ' by Douglas J Elliott and also G. H Baille 'Watchmakers and Clockmakers of the worldCondition Report:

A 41-string pedal harp, by Pilgrim Harps, height 5'Good overall condition with no splits to the sound board or body. The brass mounts are all complete with just some light surface scratches. All pedals are in working order just worn through use. The neck/harmonic curve is straight and not warped. There are 4 small screws running up the inside of the pillar. It comes complete with bag. Serial number to the base DA.318.S.AW. 

A bronze mantle clock in shape of a pillar decorated with flowers, and a Sèvres plaquette, sided by a pair of candelabra mounted with porcelain. 19th century. Clock heigt: 39 cm 42

A late Victorian mahogany kneehole desk, leather inset top, central frieze drawer flanked by four graduated pillar drawers, four cupboard doors verso, 79cm high, 152cm wide, 72.5cm deep, c.1880

A mahogany dining room suite, comprising extending dining table on two pillar splayed legs with paw terminals, 76cm high, the top 242cm x 90cm, eight dining chairs, each with a pierced splat and a drop in seat on square tapering legs, two with arms, and a serpentine fronted sideboard, on square tapering legs, the table, 76cm high, 180cm wide without leaf, 89cm deep, the sideboard 84cm high, 169cm wide, 52cm deep.

An unusual Victorian mahogany seat or chair, upholstered in cream patterned fabric, on turned legs with castors, constructed to fit around a pillar or alcove, 76cm high,114cm wide, 66cm deep.

A CONTINENTAL MAHOGANY WORK TABLE, C1850, THE BUTTERFLY VENEERED TOP WITH SERPENTINE FRONT, INCURVED SIDES REVEALING AN INTERIOR OF LIDDED COMPARTMENTS, THE TOP SUPPORTED ON A BRASS RATCHET, FABRIC COVERED WELL, FOUR SCROLLING SUPPORTS WITH INCURVED RECTANGULAR UNDERTIER SUPPORTED ON A FLUTED BALUSTER PILLAR, TURNED CARVED SOCLE AND TRI-FORM BASE, 74CM H X 49CM W Condition report Veneer to top with tears, rips and some filler. Top with some warping, some warping to lidded wells to the interior, minor cracks, some veneer loss to base around edges, minor damp staining, other faults and wear consistent with age

A VICTORIAN MAHOGANY TABLE, C1840, THE DROP LEAF TOP ON OCTAGONAL PILLAR AND QUADRUPLE REEDED LEGS WITH BRASS CAPPED CASTORS, 71CM H; 96 X 106CM Condition report Small veneer losses to frieze beneath drawer

A LEEDS FIRECLAY CO GARDEN VASE, C1912-20, OF LEFCO WARE IN MUSHROOM EGGSHELL GLAZE, THE SHALLOW BOWL MOULDED WITH ENTRELAC, ON INTEGRAL FLUTED PILLAR AND SQUARE FOOT, 80CM H AND A REPRODUCTION EXAMPLE OF LATER DATE (2) Condition report Please refer to images for condition

A GEORGE IV ROSEWOOD SOFA TABLE, C1830, THE TOP FITTED WITH TWO DRAWERS AND OPPOSING BLIND DRAWERS, ON PLAIN TAPERING PILLAR, INCURVED PLATFORM AND PROJECTING FEET, 73CM H; 76 X 149CM Condition report Leaves warped, veneers slightly damaged and repaired around platform

A VICTORIAN BURR WALNUT VENEERED OVAL LOO TABLE, C1870, THE WELL FIGURED QUARTERED TOP INLAID WITH A BORDER OF RIBBON, PARQUETRY AND ARABESQUE INLAY IN BOXWOOD AND COLOURED WOODS, ORNATE FOUR PILLAR 'BELL' TURNED COLUMNS WITH CONFORMING BELL AND SPIRE FINIAL TO THE CYLINDRICAL BASE, FOUR FLUTED SCROLL CAST MOULDED LEGS TERMINATING IN CARVED BLOCK FEET, FITTED CERAMIC CASTORS, 76CM H; 150 X 112CM Condition report Top with numerous small patches, old scratches and bruising and some other marks, fading to edge. Generally good very minor old polished in worm, other wear commensurate with age

AN EARLY VICTORIAN ROSEWOOD CHIFFONIER, C1840, THE PANELLED SHAPED UPSTAND WITH SHELF AND HEXAGONAL TAPERED PILLARS, THE BASE FITTED FRIEZE DRAWER WITH TURNED SPLIT PILLAR, PAIR OF PANELLED ARCHED DOORS ON SKIRTED PLINTH, 140CM H X 98CM W Condition report Cracks to sides, losses to base, other wear, abrasions and scratches

A VICTORIAN AMERICAN WHITE OAK AND BURR OAK TRIPOD TABLE IN THE MANNER OF GILLOWS, C1840, THE BURR OAK VENEERED TOP WITH LATER BRASS TABLET INSCRIBED TABLE MADE FROM THE WOOD OF THE U.S FRIGATE CHESAPEKE [SIC], ON TURNED AND CARVED PILLAR, THE LEGS WITH C SCROLLS TERMINATING IN  A CABOCHON AND ACANTHUS VOLUTE, 73CM H, 51CM DIAMThe principal timbers of which the US Chesapeake was constructed were longleaf pine, evergreen or live oak and black locust Condition report The tips of several of the straight gadroons around the top chipped but in otherwise excellent condition

AN OAK OCCASIONAL TABLE, C MID 20TH C, THE ROUND TOP ON BALUSTER PILLAR AND CRUCIFORM FOOT, 51CM H, 44CM DIAM, THREE ASH SMOKER'S BOWS IN VICTORIAN STYLE  AND A PAIR OF SIMILAR, SMALLER CHILD'S SMOKER'S BOWS (6) Condition report Good condition

A  MAHOGANY  TWO TIER DUMB WAITER,19TH C, THE DISHED TRAYS WITH REEDED RIM, ON VASE KNOPPED PILLAR AND TRIPOD WITH POINTED  ADAPTED AND EXTENDED AS A STANDARD LAMP, 137CM H EXCLUDING FITMENT, LARGEST TRAY 64CM DIAM Condition report Altered; repolished

A HEXAGONAL VICTORIAN TERRACOTTA BIRD BATH AND PEDESTAL, C1900, THE HEXAGONAL BOWL GLAZED ON THE INTERIOR ON DETCHABLE PILLAR SPRIGGED WITH PENDANT FRUIT, STEPPED FOOT, 95CM H, BOWL 60CM Condition report No substantial damage; atmospheric dirt and pollutants

A GEORGE III MAHOGANY TRIPOD TABLE, LATE 18TH C, THE ROUND TOP ON VASE KNOPPED PILLAR, 69CM H, 61CM DIAM Condition report Minor shrinkage crack and a few old scratches on top. Split at top of pillar, brass latch replaced

Small two pillar mahogany desk, with inset leather top, 91 x 51 x 81cm

AN ENGLISH BRASS GOULD-TYPE POCKET MICROSCOPE, C1840, THE LID OF THE FITTED MAHOGANY CASE FORMING THE BASE WITH CENTRAL LACQUERED BRASS THREADED BUSH, CASE 11.5CM L Condition reportAn unsigned example with round pillar, lacking the stage but with several accessories

A PAIR OF SOUTH EAST ASIAN SILVER REPOUSSE CANDLESTICKS, C1900 AND LATER, WITH EBONISED WOOD PILLAR, THE FOOT CHASED WITH DRAGONS, LEAD WEIGHTED, 20CM H, UNMARKED Condition reportSlight wear, not significantly dented, not holed

A VICTORIAN BRASS OIL LAMP, LATE 19TH C, WITH FROSTED  GREEN GLASS PILLAR, THE OGEE FOUNT EMBOSSED WITH FLOWERS AND SCROLLS, ON OCTAGONAL FOOT WITH STRAPWORK, SHADED GREEN AND ETCHED GLASS SHADE, 94CM H EXCLUDING CHIMNEY Condition reportGood condition with later replacement duplex burner

A JACOBEAN REVIVAL OAK CUPBOARD, C1920, THE RECTANGULAR TOP ABOVE A PAIR OF CUPBOARDS WITH APPLIED GEOMETRIC MOULDINGS, FLANKING SPLIT PILLAR AND DRAUGHT TURNING, TWO CONFORMING SHORT DRAWERS UNDER WITH MOULDED SQUARE LEGS JOINED BY A SHELF UNDERTIER AND FITTED FABRIC RAIL TO UNDERSIDE OF DRAWERS, 106CM H X 97CM W Condition report Top damp stained, ring marked, scratched and wear, worn. Front and sides with minor wear. Legs and undertier wear consistent with age

Hare (Augustus John Cuthbert, 1834-1903). English Travel Writer and Biographer. A lengthy autograph manuscript containing notes for Walks in Rome [first published 1871], written in brown ink in a neat and legible right-sloping small hand, a total of approximately 206 pp. plus some blanks of lined blue paper, interleaved with printed pages extracted from a complete copy of John Murray's Handbook for Travellers in Central Italy Part II: Rome and its Environs (4th edition, 1856), with approximately 50 of these leaves marked or annotated by Hare including the title-page bearing his signature 'Augustus J.C. Hare', additionally signed in light pencil to front fly-leaf 'Augustus Hare, Holmhurst, Hastings', 20th-century blue buckram with bookplate of Major J.R. Abbey to front pastedown and Abbey's code (J.A. 7000 / 10.12.1959' to rear endpaper, gilt-titled on spine, a little rubbed, 8vo (23 x 15 cm), together with a group of four autograph letters signed 'St. Leonards on Sea and Christchurch, 1886/1902, to various recipients, Hare mentioning in one how glad he is that his recipient is interested in '... my 'story' [probably his autobiography] which will never - I fear - reach another edition' [14 November 1900], and in another letter that '... The 'Stone of the Scauging' is preserved in a beautiful chapel called the "Orto del Paratiso" in S. Prassede (close to the S. Maria Maggiore) at Rome... The 'stone' - really a little pillar of blood-jasper - is said to have been given to Giovanni Collona... by the Saracens, when a vision of angels appeared to rescue him from captivity in their hands', the remaining two letters informing the recipients of Hare's whereabouts and general availability, a total of 7 pp., 8voQty: (1)NOTESProvenance: From the Library of Major John Rowland Abbey (1894-1969). Augustus Hare's Walks in Rome is one of the writer's most important publications and these are the preparatory notes for that work. In his extensive research Hare incorporated many quotes from numerous sources and this manuscript effectively represents Hare's holograph research for those quotes which are to be found in the published version. Individuals quoted by him include Mendelssohn, Stendhal, Shelley, Byron, Cardinal Wiseman, John Addington Symonds, Kuglar, Ampere and Mrs Jamieson.

A Regency mahogany breakfast table, the rectangular top to seat four, raised on a turned pillar and quadruped base

A Georgian mahogany snap top occasional table of circular form, the one piece top 73 cm in diameter raised on a turned vase shaped pillar and swept tripod, together with a 19th century copper bed warming pan with turned ebonised handle and a polished brass fender with pierced repeating fretwork and stud detail, 120 cm long, and a Chippendale style wall mirror with fret work frame (4)

A Georgian style snap top occasional table of circular form raised on a turned vase shaped pillar and swept tripod, 70 cm diameter approx

Good quality Georgian mahogany snap top table, the dense mahogany single piece 75 cm in diameter, raised on a birdcage and vase shaped pillar upon three shaped supports

Victorian mahogany shaving stand, the circular mirror set on an adjustable column above a circular platform raised on a vase shaped pillar and tripod

An unusual mid Victorian mahogany writing table of rectangular form with three quarter gallery raised on a central vase shaped pillar and a quadruped base set within an arrangement of five real and four dummy drawers, 110 cm wide

A Georgian oak snap top table the circular top 80 cm in diameter, raised on a turned pillar and shaped tripod base

A Regency rosewood gilt metal mounted breakfast table, the circular tilt-top on a ring turned pillar and tripod base with castors, 105cm diameter x 71cm high. Condition Report Top with old marks and scratches will need repolish, no splits or bend to the top, very flat, leg loose, will need repolish, see images on web.

A reproduction Regency style mahogany triple pillar dining table, with 'D' shape ends and extra leaves, the reeded pillars with quadripartite bases and brass caps, with top protector, 610cm long x 153cm wide x 76cm high.

A brass model of a four pillar table engine, 20th century, the single vertical cylinder with valve chest, the crankshaft is supported in main bearings and carries a spoked brass flywheel, four turned entablature columns are fitted to flat brass baseplates, all mounted on a rosewood plinth. The engine is un-painted and finished with patinated brightwork, 14in (35.5cm) high. Condition Report In good condition, with general wear, would benefit from a clean.

An early 19th century rosewood chiffonier fitted two-tier superstructure, width 79cm depth 36cm height 142cmCONDITION: Overall in very good order, with just one piece of moulding missing from above the left hand pillar, colour a sun bleached throughout.

A yew reproduction extending twin pillar dining table; and a set of eight similar dining chairs, (six standards two elbows)

A Geo IV mahogany, pillar Pembroke table with  single frieze drawer. Raised on four reeded sabre supports. 90cm wide

DEREK SLATER OF CRAYKE A FISHMAN OAK DINING SUITE, comprising a 5ft refectory style dining table, the rectangular top raised on shaped pillar ends, joined by a long stretcher, terminating in sledge feet, adzed to all visible areas, with recessed carved fish signature; and FOUR LATTICE-BACK DINING CHAIRS, each with faceted fore legs and H-form stretchers, recessed carved fish signature. (5) Table 74cm high, 160.5cm wide, 79cm wideThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The table top in good condition with nice golden colour. The table base with some surface marks and water marks. The table structurally sound. The chairs slightly faded and with some minor water marks but structurally sound. 

Clarke Metalworker floor standing pillar drill, !½"/13m capacity, 240 volts.

Bench-mounted pillar drill, 3/8".

Draper bench pillar drill.

QTY VARIOUS METAL WARES INCLUDING WATER CAN SMALL KETTLE, BRASS PILLAR BOX MONEY BOX, CANDLE STICKS ETC

William Rust Hull, Early 19th C inlaid mahogany drum head long case clock, circular signed silvered dial with subsidiary seconds D37.5cm, four pillar 8 day movement striking on a bell H207cm

An Edwardian inlaid mahogany bracket clock with brass pillar supports

A George III mahogany 8 day longcase clock The arched top dial signed 'Thos Napier Glasgow', having a matted centre, date aperture, subsidiary seconds dial, silvered chapter ring with Roman numerals, pierced gilt metal spandrels and a strike/silent dial above, the 8 day four pillar movement striking on a bell, pendulum and weights present, 206 cm high

The hood with an arched door flanked on each side by a reeded column, enclosing a 14" dial painted with rising moonphase in the arch, floral spandrels, subsidiary dial for seconds and date, signed 'Jn Parr, Liverpool', above a short trunk door, with an oval flame-figured panel below 4 Gothic arches, the 8-day movement with anchor escapement, striking on a bell, with door key, winder, two weights and pendulum, approximately 237cm highCondition report: Not working in vendor's home. Lacking 3 reeded sections on left pillar on trunk. Lacking return beads on base and back feet. Some damage around these areas. Minor scratches, dents and chips consistent with age and use. Lacking finials.

A good quality Chippendale style reproduction mahogany dressing table circa 1920s with swing mirror supported by four pillar columns terminating with classical urn finials, secret compartments to moulded gallery, gadrooned edge, slight concave front with five cedar lined drawers, cabriole legs with claw and ball feet, together with matching bedside cabinet, dressing table dimensions: width 131cm, depth 63cm & height 160cm.

An early 19th century mother of pearl inlaid rosewood wall clock, the 12" dial painted with Roman Numerals and signed Hilton & Son Halifax, brass four pillar A frame single fusee movement, with pendulum and key, gross diam. 38cm. Condition - repair to inlaid and hinge, dial re-painted to high standard, re polished, case looks a little rough to sides, key in lower door stuck in lock.

An oak cased wall clock, the 12" dial signed J Ellis Penrith, four pillar chain driven single fusee movement, total diam. 37cm, with pendulum and a key. Condition - good, no damage, dial re-painted to high standard, general wear throughout.

A 19th century bird's eye maple octagonal wall clock, the 12" dial painted with Roman Numerals and signed Bunyan & Gardiner Manchester, brass four pillar movement with single fusee, gross diam. 47cm. Condition - no pendulum, has winding key, later pegs, dial re-painted to high standard, minor cracks to veneer, general wear throughout.