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Click here to subscribeAn antique 19th Century Georgian Regency English mahogany chiffonier sideboard having raised back with a decorative applied brass floral panel over a single shelf below support by brass columns. Single drawer below having brass lion head handles flanked by brass flower head motifs. Double doors below having arched panel fronts opening to reveal a shelved interior. All being raised on a plinth base. Measures approx; 131cm x 87cm x 35cm.
An antique 19th Century Victorian oak and mahogany hall stand of upright form having an oval mirror panel with paint of coat hooks and set with Aesthetic tiles to the sides. The centre set with three good tubelined Mintons manner tiles with shelf and green glass panels bellow. All raised on twin drawer twin cupboard base, Measures approx; 184cm x 64cm x 35cm.
A gold-lacquer portable hanagamidai (cosmetic cabinet)By member of the Kanshosai Toyo school, Edo period (1615-1868), early/mid-19th centuryOf rectangular form, one open shelf and three drawers decorated in gold hiramaki-e, e-nashiji and togidashi maki-e with all-over design of chidori (plovers or dotterels) flying over pine-clad rocks on spumy waves, the top in the form of a tray decorated with a flock of chidori flying among clouds, with gilt fittings in the form of a pair of chidori for the drawer pulls, the interior of nashiji; signed Toyo with a kao. 21cm x 25cm x 18cm (8¼in x 9 7/8in x 7 1/16in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A PAIR OF RARE HUANGHUALI, BURLWOOD AND FRUITWOOD ROUND-CORNER CABINETS, YUANJIAOGUI17th/18th centuryEach sloping-stile cabinet with a protruding round-cornered top supported on slightly-tapered corner posts, enclosing a well-figured pair of burlwood door leaves separated by a removable stile, the side panels composed of two-board floating panels, the interior fitted with two shelves, all above a plain narrow apron and spandrels on legs of square section, the reddish colour of the huanghuali frame contrasting with the variegated burlwood panels set with baitong fittings. 113cm (44 1/2in) high x 85cm (33 1/2in) wide x 50cm (19 6/8in) deep. (2).Footnotes:十七/十八世紀 黃花梨癭木圓角櫃成對Provenance: an important European private collection來源：歐洲重要私人收藏Notable for their elegant and tapering lines and the powerful swirls and hues of the wood, the present cabinets are among the most successful forms of classical Chinese furniture. The very subtle taper in their design lends a sense of stability and balance to the form while retaining a very graceful and pleasing profile, and the gently tapering sides convey the illusion of height and lightness.Round-corner cabinets are one of the four types of cabinets with shelves created by Chinese furniture makers, along with open-shelf stands jiage, cabinets with open shelves liangegui and square-corner cabinets fangjiaogui. See Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1, pp.82 and 85.According to Sarah Handler, the form of tapering cabinets originated from large chests with panelled doors which, by the Song period, were kept on large tables and used to store silk cloths. See an example of these large chests depicted in a handscroll painting, attributed to the Southern Song dynasty (1127-1279), illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.244, pl.15.5. In later times, medium-sized cabinets such as the present examples were often kept in scholars' studios and used to store books, scrolls or writing instruments. A hanging scroll from the set of 'Eighteen Scholars of the Tang Dynasty', dating to the Ming dynasty and in the National Palace Museum, Taipei, depicts a scholar beside a small cabinet about to select a work from the books and scrolls stacked on the shelves; see L.Lin, Catalogue to the Special Exhibition of Furniture in Paintings, Taipei, 1996, pl.9.Compare with a similar huanghuali, burlwood and nanmu round-corner cabinet, late 16th-early 18th century, in the Haven Collection, University Museum, Hong Kong, illustrated by Chu Pak Lau, Classical Chinese Huanghuali Furniture, Hong Kong, 2016, p.227, no.54. See also a related pair of similar huanghuali and burlwood cabinets, 17th century, illustrated by R.H.Ellsworth, Chinese Furniture, New York, 1970, pl.122. A very similar but slightly smaller huanghuali and burlwood round-corner cabinet, 18th century, was sold at Christie's Hong Kong, 6 October 2015, lot 263.圓角櫃上窄下寬，線條優雅，裝飾簡潔，且凸顯出木料與色澤的天然美感，乃古典中式家具之典範。此對圓角櫃各高三尺有餘，櫃帽噴出，作臼窩以納門軸，兩門之間立閂桿，安白銅銅活，櫃內分三層，黃花梨框架與癭木門板相得益彰，櫃體造型挺拔輕盈。圓角櫃是中式櫃架類家具四大門類之一；除圓角櫃外，另有架格、亮格櫃和方角櫃三種。見王世襄著，《明式家具研究》，香港，1990年，卷一，頁82與85。Sarah Handler認為，此種角度傾斜的櫃體之雛型為帶門大箱，宋時多置於案上，用以存放綢緞。現藏於黑龍江省博物館的南宋手捲《蠶織圖》中可見一例，見 S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁244，圖版15.5。隨後，如本例尺寸適中的櫃體多在書房陳設，以存放書籍手捲及文房用具；台北國立故宮博物院所藏明人畫《十八學士圖軸》中就有放滿書卷的小櫃之陳設。見林莉娜著，《畫中家具特展》，台北，國立故宮博物院，1996年，圖版9。香港大學博物館展出晏如居藏品之一件十六世紀晚期至十八世紀早期黃花梨癭木楠木圓角櫃，可資參考，見劉柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁227，編號54。另可比較一對十七世紀黃花梨癭木圓角櫃，收錄於安思遠著，《Chinese Furniture》，紐約，1970年，圖版122。一件十八世紀黃花梨嵌癭木圓角櫃，與本例相似惟尺寸稍小，2015年10月6日售... This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A RARE HUANGHUALI SQUARE-CORNER CABINET, FANGJIAOGUI17th/18th centuryOf rectangular form, the doors with single floating panels of standard miter, mortise and tenon construction enclosed within a frame, the top and sides similarly constructed, the interior with one shelf above a pair of drawers, all above a beaded front apron carved with intertwining scrolling designs, the side aprons similarly decorated, with metal hinges, shaped lockplate, pin and pulls. 123cm (48 1/2in) high x 77cm (30 2/8in) wide x 44cm (17 2/8in) deep.Footnotes:十七/十八世紀 黃花梨方角櫃Provenance: an important private European collection來源：歐洲重要私人收藏The present cabinet is notable for its restrained design, minimalist decoration, elegant proportion and extravagant use of beautifully-grained huanghuali. Constructed entirely from high-quality huanghuali wood, chosen for its rich golden-honey tones, the wide flat surface emphasises the natural beauty of the densely-grained wood.The simple austere lines of these cabinets created a sense of solidity and strength resulting from a slim profile combined with the strong horizontal lines of the top and bottom members. The circular door pivots form an elegant contrast to the square members. In addition, the cabinet has no superfluous ornamentation, except the beaded edge along the plain apron and spandrels towards the feet and the polished baitong mounts. This way, the eye is drawn to the beauty and subtlety of the natural wood which conveys a graceful and soft feel. The functional metal hinges, lock plate and pulls enhance the richness of the wood. These important decorative elements were carefully sized and spaced to complement the proportion of the cabinet. The lockplates are persimmon-shaped, while the pulls are shaped as double fish, subtly intimating auspicious wishes for abundance and wealth.During the Ming and Qing periods, furniture was probably selected from books of designs at the cabinetmaker's workshop and made to the proportions required. This would have allowed certain unique personal preferences in stylistic choices, such as the higher beaded oval feet in the present lot, which lend it its 'unusual distinction'. Subtle variations give individual character to different tapered cabinets.The fact that the panel forming the horizontal top of the present cabinet is also constructed from huanghuali makes it is unlikely that the cabinet had an associated hat chest (additional storage chests holding additional items of clothing). This cabinet was probably made for a scholar's studio, where it would have held painting and calligraphy, implements or treasured artifacts. The lavish use of huanghuali to construct all the inner members, such as shelves and drawer lines, demonstrates an exceptional level of craftsmanship and attention to details. For a detailed discussion about the use of cabinets in China, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.241-267.Square-corner cabinets with flush-panel doors but constructed without hat chests are rare. A similar cabinet without a hat chest is depicted in an 18th century handscroll depicting 'The Qianlong Emperor's Southern Inspection Tour', dated to 1770, in The Metropolitan Museum of Art, New York, acc.no.1988.350a-d. See also a line drawing of a similarly-shaped cabinet, 17th/18th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.2, 1990, Hong Kong, p.152, D24. A related huanghuali square-corner cabinet, 17th/18th century, was sold at Christie's New York, 22-23 March 2012, lot 1726.「一封書」式方角櫃，方方正正，櫃體光素，只在三面牙條上浮雕卷草紋。櫃門平鑲，兩門之間立閂桿，安葵形面葉。櫃內抽屜架安有兩個抽屜，將內部空間分隔為兩層，下無櫃膛。整體線條利練，設計簡約，盡顯木材自然紋理，乃明清傢俱的永恆經典。明清時期，家具大多依照工匠圖樣、按約定尺寸進行定制。傳世的方角櫃尺寸多樣，本例頂面也使用黃花梨木製成，表明製作時沒有與之相配的頂櫃，且尺寸適中，非常適合置於文人書齋內儲物，兼器物陳設。屜板等櫃內構件也以黃花梨木製成，毫不吝惜木料，原主人的審美品位和日用標準可見一斑。關於方角櫃用途的詳細陳述，參考S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁241-267。無頂櫃的「一封書」式方角櫃傳世不多。現藏於紐約大都會博物館（館藏編號1988.350a-d）、由宮廷畫家徐揚於1770年所作之《乾隆南巡圖》中，繪有一隻形制相似的無頂櫃方角櫃。另參一幅方角櫃線稿，收錄於王世襄著，《明式家具珍賞》，卷二，香港，1990年，頁152，編號D24。一例十七至十八世紀黃花梨方角櫃，售於紐約佳士得，2012年3月22-23日，拍品編號1726，可為參考。... This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A RARE PAIR OF HUANGHUALI SIDE-TABLES WITH SHELF, ZHUO17th centuryEach of rectangular form, comprising one shelf and a top supported by four upright members, constructed with tongue-and-grooved floating panels and mitred joints, the lower shelf supported by curved braces; one table with a two-character mark Di You meaning 'bottom right'. 90cm (35 1/2in) wide x 55.5cm (21 6/8in) high x 54cm (21 2/8in) deep. (2).Footnotes:十七世紀 黃花梨带屉板邊桌成對Provenance: Jean-Pierre Dubosc (1903-1988)An important European private collectionPublished and Illustrated (one of the pair): G.N.Kates, Chinese Household Furniture, New York, 1948, no.49.來源：法國藏家杜伯秋（1903-1988年）舊藏歐洲重要私人收藏出版著錄（其一）：G.N.Kates，《Chinese Household Furniture》，紐約，1948年，圖版編號49Jean-Pierre Dubosc was a French connoisseur of Chinese art, a diplomat stationed in China during the 1930s-1940s, and son-in-law of the renowned Chinese art dealer C. T. Loo. Dubosc promoted Ming and Qing literati painting by organising exhibitions and selling works to Western museums.Of elegant proportions and form, the present tables would most likely have been used as side tables in a scholar's studio to support art objects of considerable weight, such as a scholar's rock, an incense burner or a table screen. The origin of side tables fitted with a shelf is unknown. However, the 'Portrait of Wang Xizhi', a painting dating to the Song dynasty (960-1279) depicts the central figure seated next to a side table similar to the present example, set with scholarly objects. This painting almost certainly inspired an 18th century portrait depicting the Qianlong Emperor appreciating antiquities, depicted in a very similar guise as the Song counterpart, beside a rectangular side table fitted with a shelf displaying an archaic bronze vessel and a table screen; see Chu-Pak Lau, Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.208. Giant's-arm braces, a feature introduced during the Ming dynasty, provided additional support on the underside of the table. Their use eliminated the need for the more commonly seen 'humpback' stretchers. The strength of this joint allows the table to be supported without stretchers, thereby creating a lighter and more elegant form. This device may have originated during the Warring States period (475-221 BC) to fasten bronze fittings; see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.1, Hong Kong, 1990, pp.121-122. Compare with a related pair of corner-leg tables with shelf, mid 17th/18th century, illustrated by Chu-Pak Lau, Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.209, no.49.杜伯秋全名尚-皮耶·杜伯秋，自大學時研習亞洲文化，後娶古董商盧芹齋的小女兒為妻。二十世紀三、四十年代，杜伯秋於北京作為外交人員就職於法國大使館；後致力於中國明清文人書畫的研究與收藏，參與策劃了一系列重要展覽，並協助諸多西方博物館機構收集中國書畫。邊桌主體粽角榫四面平式，桌面攢邊框鑲面心板。方腿直落地面，腿間加設橫棖，棖子裡口打槽裝屜板，形成隔層，以增加使用空間。除屜板下安花形角牙外，通身光素整潔，樸實無華。其一刻有「地右」二字，或為方位標記。此類帶屜板的邊桌傳世不多，原型已不可考。台北國立故宮博物院館藏一幅《宋人人物圖》，畫中士人坐於榻上，注目凝思，榻旁擺放邊桌數只，皆施四面腿間橫棖，陳設琴棋書畫、趣事雅玩。據學者考證，本幅畫作或為東晉王羲之《臨鏡自寫真圖》之宋代摹本，後經宋徽宗、高宗、清高宗等帝王收藏；清高宗乾隆皇帝很欣賞此類新穎別緻的構圖，諭令宮廷畫家共創作了五幅相似之作，將宋人冊頁中的文士換成了他的頭像，現藏於北京故宮博物院之《乾隆皇帝是一是二圖軸》是為一例。畫卷中的家具排布雖似《宋人人物圖》之構圖，但陳設種類已大不相同，各式香几桌案，雕飾頗繁；惟左側保留一件邊桌，腿間加裝屜板，形如本例。上層陳設青銅禮器及嵌玉硯屏，擱板用來放置書卷，可謂此類邊桌用途&... This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A Victorian mahogany jardinière stand, mid-19th century, the circular top with aperture for a planter, above a dished shelf supported on scrolled supports and a triform base and bun feet, 79cm high, the top 40cm diameter Condition Report: Restorations- top repositioned, mid section possibly replaced Condition Report Disclaimer
A VERY GOOD EDWARDIAN SHERATON REVIVAL SIDE CABINET, the upper section with a mirror back galleried shelf with a tapering square columns, flanked by a pair of serpentine fronted doors over a similar pair of small doors, the shaped base with two central drawers flanked by serpentine panels, supported on slender tapering sabre legs. the whole of the cabinet profusely inlaid in the classical style with figures, urns and floral motifs. 3 ft 3 in wide x 4 ft 9 in high x 1 ft 3 in deep.
A good Victorian ladies tambour writing cabinet of serpentine form, the raised top with open shelf and foliate scroll carved and pierced surmount, raised on scroll supports over three short drawers, the tambour front enclosing three short drawers and a pull out writing inset, showing three dummy drawers and over a long drawer, the base with two cupboard doors with foliate carved corner details and feet, height 165cm, width 89.5cm.
Fine quality Edwardian Sheraton revival bow fronted sideboard, a top superstructure featuring a line inlaid door with lion mask ring handles either side of a central shaped shelf, cross banded top over three drawers with lion mask ring handle and four doors, one with pull out drawers within, all with inlaid panels, raised on four front heavily carved paw feet, label to top edge of central drawer "Robson & Sons, Newcastle-on-Tyne", 194cm wide x 66cm deep x 144cm high
An early Victorian oak metamorphic three tier dinner buffet, circa 1850, with canted angles, on scrolled feet, 83cm high, 146cm wide, 60cm deep Provenance: Berwick House, Shropshire Condition Report: Please note: the action for the lowest tier not working at time of report, there are loose ends of 'cat cut' where the action will need repair, the top section will raise and is held at time of report Marks, knocks, scratches, abrasions, consistent with age and use,Old splits and cracks, some chips and losses to mouldings and some areas of timberDamage to one canted corner of the top, the frieze lacking veneers and with some veneer splits. The snapped strings off the brass pulleys lifting the rising lower shelf, the rising shelf doesn't hold itself in the upper position to the base of the table top.One loose section of moulding to the end support above the scroll legs, others re-pinned. Ceramic casters Please refer to additional images for visual reference to conditionCondition Report Disclaimer
A walnut, parquety inlaid, and gilt metal mounted occasional table, in Louis XVI style, circa 1900, attributed to Donald Ross and in the manner of Riesener, 71cm high, 41cm wide, 36cm deepProvenance: Berwick House, ShropshireDonald Ross (1830-1916) was one of the most celebrated Victorian furniture makers. Located at 13 Denmark Square, Soho, his firm supplied furniture to some of the most important retailers of the period including Edwards & Roberts, Gillows and John Watson of Oxford Street, as well as exhibiting in the 1851 Great Exhibition. His work is characterised by its distinctive dot and trellis parquetry (as seen on this lot), a technique Ross developed in the fourth quarter of the 19th century inspired by the work of renowned 18th century Parisian makers such as Jean-Henri Riesener and Pierre Garnier. For a pair of tables by Ross incorporating dot and trellis parquetry are currently held at the Victoria & Albert Museum in London (W.47:1, 2-1911, W.47A&B-1911). Condition Report: Marks, knocks, scratches and abrasions consistent with age and useSome loss of veneers to one corner banding to the top and another circular loss to the front of the top.Lacking some fillets filling the gap between the underside of the wood table top and the gilt bronze mountsSome cracks to the frieze veneers.The lower tier shelf with a 'gouged' scratch. The end of one section of the gilt bronze gallery is bent.The gilt bronze mounts around the top 'polished' and smoother than the other mounts. The gilt brass feet with some movement to the leg joints, which gives some movement to the table when wobbled back and forth under pressure. Please refer to additional images for visual reference to condition Condition Report Disclaimer
A suite of oak Aesthetic movement bedroom furniture, third quarter 19th century, Collier & Pluncknett, Warwick & Leamington, with painted and gilt panels throughout, comprising; a breakfront wardrobe, 245cm high, 191cm wide, 60cm deep, a breakfront compactum wardrobe, 245cm high, 191cm wide, 60cm deep, a washstand, with Japonisme tiles above the variegated grey marble top, 123cm high, 135cm wide, 69cm deep, a writing table, with glazed superstructure, 148cm high, 133cm wide, 60cm deep, a half-tester bed frame, with heraldic lions to the footboard, 253cm high, 206cm long 161cm wide, and an overmantel or wall mount, 140cm high, 175cm wide, 25cm protuberance, some elements with maker's labelProvenance: Berwick House, Shropshire James Plucknett was originally in partnership with Frederick Collier with showroom in Leamington Spa and workshops in Warwick. The firm advertised in various trade directories between 1872-1880 and gained many commissions from well healed local families as well as from further afield. They advertises themselves as '...Manufacturers of rich carved furniture in the peculiar styles characteristic of the Gothic, Tudor and Elizabethan ages' Perhaps Collier and Plucknett's best known commission was for Tyntesfield, the celebrated Victorian Mansion, which was re-modelled for William Gibbs (1790-1875). Collier and Plucknett supplied much of the Gothic revival furniture to Tyntesfield. Today Tyntesfield is owned by the national trust and as well as examples of furniture visitors can also view the fully fitted Collier and Plucknett bathroom of Matilda Blanche Gibbs. Condition Report: OVERALL - Marks, chips, knocks, scratches and abrasions consistent with age and useWood quite matt and dry in appearanceHandles and mounts with some scratching to the lacquered brassBED - Faded to upper sides of half testerThe lion rampant carved finials chipped and cracked, one lion with front paws and shield detached and with cracks to base where they fit to the bed endSide curtain rail to side curtain rail 162cm wideCornice 171cm wideLacking a moulding to the baseA burn mark above the shelf to the back of the bed (presumably from a chamberstick)Wea/rubbed arear to painted panel 'Somnus'Upholstery aged, some stains, moreso to the upholstery on the mattress baseWARDROBES - Some fading to some sides and elsewhere, some marks around handles, some white paint marksSome tiny flakes to painted panelsCrack and bowed beading to lower panelled section of side doorsDamage to one door escutcheonLined with wriggle pattern printed fine cotton - spotting, aging and discolouration to fabricOVERMANTEL - the wood of darker appearance than the other pieces of furnitureThe central panel fadedChipped area along the mantel shelfA couple of tacks to the sidesDESK - Scratches to the central top area, the leather inset dry, with scuffing and some marksThe drawer locks have been sawn openLacking one swing handleWASHSTAND - scratches, scuffs and stains to the marble, chips around the marble edge more' visible' to touch than eyeSome water marks and fading to the wood below the ceramic tilesPlease refer to additional images for visual reference to condition Condition Report Disclaimer
Y A rosewood side cabinet, circa 1835 and later, in the manner of Gillows, with a pair of glazed doors enclosing a glass shelf, 111cm high, 125cm wide, 39cm deep Provenance: Berwick House, ShropshireCondition Report: Marks, knocks, scratches, abrasions, consistent with age and use,Some chips and losses, old splits and cracks, The top has splits and cracks and appears to be stained pine simulating rosewood in this area - it probably originally had a marble top to cover this area. The glass shelf is certainly a replacement, There are some chips and losses to the glass doors including around the lockThe lock is later replacedCondition Report Disclaimer
A 'Regency' rosewood break-centre secretaire side cabinet, verde antico marble top with three-quarter gallery above three drawers, the central fitted as a desk with a writing surface, small drawers and pigeonholes, swing handles, oval escutcheons pressed with a lion mask, military ensign flags, canon, anchor, galleon and and meandrous border, the pleated and grilled door enclosing a shelf flanked by panel doors, each enclosing a further shelf, plinth base, 86.5cm high, 118cm wide, 42cm deep, elements c.1820
A late Victorian oak duodarn or side cabinet, in the 17th century taste, outswept cornice above a shelf and a panel door carved with a foliate 'Green Man' mask enclosing a shelf, flanked by further panels carved with a flowerhead boss and geometric motif, bold columns carved with stiff foliage, the base with a pair of panel doors carved with an arrangement of demilune flowerheads enclosing a further shelf, ball feet, 177.5cm high, 153.5cm wide, 59.5cm deep
A Victorian mahogany inverted break-centre sideboard, substantial half gallery carved with scrolls and acanthus, moulded top above a frieze drawer and a pair of panel doors enclosing a shelf, flanked by further panel doors, the left enclosing a short drawer and a pair of sliding trays, the right enclosing a short drawer and a deep vacant 'cellarette' drawer, plinth base, 157cm high, 185cm wide, 58cm deep
A Victorian mahogany large chiffonier or sideboard, shaped mirror back half-gallery, the frame carved and applied with a fruiting branch cresting, serpentine top with moulded edge above two frieze drawers and a pair of panel doors enclosing a shelf, divided and flanked by foliate scroll brackets, plinth base, 179cm high, 177cm wide, 46cm deep
A Victorian mahogany sideboard, pointed arch half gallery, rectangular top above three frieze drawers, and a pair of panel doors enclosing a shelf, neighboured to the left by a cupboard door enclosing a shelf, to the right a further door enclosing a pair of sliding trays and a celarette drawer, plinth base, 114.5cm high, 173cm wide, 56cm deep
Rowling, J. K. Harry Potter and the Philosopher's Stone, celebratory edition, first printing, London: Bloomsbury, 2001, paperback, in unread condition with a few faint scuffs and creases to covers; Harry Potter and the Philosopher's Stone, Ted Smart edition, third printing, London: Book People Ltd., 1998, hardback with dust-jacket, slight shelf-lean, erased owner inscriptions on front free endpaper (2)
Tolkien, J. R. R. The Lord of the Rings Trilogy, second revised editions, London: George Allen & Unwin Ltd. The Fellowship of the Ring, sixth impression, 1971; The Two Towers, fourth impression, 1969; The Return of the King, fifth impression, 1970. Octavo, publisher's gilt red cloth, complete with dust-jackets (Fellowship clipped), complete with maps. Generally good, clean, bright, light marks in places, pale spots to fore-edge, dust-jackets with light creasing/wear, slight loss; neat contemporary gift inscription; protective covers on jackets. Together with Harry Potter and the Half-Blood Prince, by J. K. Rowling, first edition, London: Bloomsbury, 2005, shelf-lean and some marks (4)
An early Victorian rosewood breakfront twin pedestal sideboard, circa 1840, shaped slight oversailing top above twin drawers centred with one long drawer with oval back brass ring handles above beaded aprons, on twin panel cupboards enclosing a single shelf, united by a single shelf, raised on ogee feet. 112cm H x 226cm W x 44cm D
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