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Artist: Cecil Beaton (English, 1904 - 1980). Title: "Marilyn Monroe 1956 #2". Medium: Original vintage photogravure. Date: Composed 1956. Printed 1968. Dimensions: Image size: 7 7/8 x 7 3/8 in. (200 x 187 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition size unspecified, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): One from the famous series of photographs taken by Beaton of Monroe at the height of both of their storied careers. Although associated with ‘Vogue’ through most of his career, Beaton’s 'Monroe' portfolio appeared in ‘Harper’s Bazaar’, for which he worked in the mid-1950s. It was while in New York for the rehearsals and premiere of ‘My Fair Lady’ that Beaton photographed Monroe. With a possibility that he would be the designer of Monroe’s dresses for ‘The Prince and The Showgirl’, Beaton arranged a photography sitting in his suite in the Ambassador Hotel in New York City on 22 February 1956. Ed Pfizenmaier, Beaton’s assistant, noted that Monroe did her own make-up and ‘came just by herself, with these two little dresses… it was as simple as that.’ Beaton later recalled ‘She romps, she squeals with delight, she leaps on the sofa. She puts a flower stem in her mouth, puffing on a daisy as though it were a cigarette. It is an artless, impromptu, high-spirited, infectiously gay performance. It will probably end in tears.’ The session produced one of Monroe’s favorite portraits, which hung in her New York apartment that she shared with her third husband, Arthur Miller. Image copyright © The Estate of Cecil Beaton. [28973-2-300]

A button back Chesterfield sofa, tapering front legs on castors

A brown leather two seater sofa, approx 170cm long

A 19th Century French upholstered sofa

A Regency mahogany sofa table standing on reeded outswept legs with lion paw castors

A George IV rosewood sofa table with carved shaped end supports on bold carved paw feet and inset castors

A 1960's Ercol style teak three seater sofa

Reproduction Mahogany Bookcase, with dentil cornice, reeded sides, on bracket feet; Reproduction Mahogany Sofa Table, with red leather skivers, two small drawers, lyre supports, on swept legs. (2)

A three seater brown leather Chesterfield sofa

19th century French painted sofa, with carved decoration on turned and reeded legs, H101 x W162 x D64cm

Reconstituted stone figure of a boy, H69cm, together with a grey painted reconstituted stone figure of childing holding a basket of fruit, H77cm, a plaster figure of a Classical nude, H82cm, and a reconstituted stone study of two anthropomorphic animals sat on a sofa, H27cm (4)

„Vanity 2,5“-Sitzer-Sofa. Collektion Machalke, mit Colonial White Lederpolster, L=166 cm. Mit Originalrechung von 2009 über 1.350,- Euro.**

Wohl Waldemar Rothe (1942-2020). Designer-Sofa. Chromgestell mit Ledersitz und -lehnen sowie verstellbarem Kopfteil, L=200 cm. **

Paar Stühle und ein Sofa. Frankreich 19. Jh. Massiv Nussbaum, geschnitzt, Sofa: H=98 cm, B=225 cm, T=60 cm. **

EDWARDIAN MAHOGANY SOFA, IN NEED OF REPAIR APPROXIMATE DIMENSIONS (H) 113CM; (W) 138CM (D) 58CM

SUBRTEX ONE PIECE STRETCH CLOUD PATTERN SOFA COVER

SUBRTEX BOX CUSHION SOFA SLIP COVER IN GREY

SECTIONAL SOFA COVER FOR L-SHAPED SOFA

SUBRTEX STRETCH CLOUD PATTERN SOFA COVER

STRETCH COVER FOR SOFA

Heinrich Hoerle - - 1895 Köln - 1936 Köln Begegnung. 1925. Tempera. Backes Teil III 29. Rechts unten signiert. Rechts oben in der Darstellung monogrammiert. Verso mit Tuschezeichnung eines Rückenakts. Auf dünnem Karton. 27 x 16,2 cm (10,6 x 6,3 in), blattgroß. [SL]. • Aus der gefragten konstruktivistischen Werkperiode des Künstlers. • Mithilfe konstruktiver Flächensegmentierung lässt Hoerle Figur und Hintergrund miteinander verschmelzen. • Nach dem Ersten Weltkrieg ist der Künstler Mitglied der Kölner Dada-Gruppe um Max Ernst und Johannes Baargeld. • Seine Werke sind bereits zu Lebzeiten in renommierten musealen Sammlungen vertreten, unter anderem im Wallraf-Richartz-Museum, Köln, im Kunstmuseum Düsseldorf oder dem Museum in Detroit. PROVENIENZ: Galerie Michael Hasenclever, München. Sammlung Deutsche Bank. AUSSTELLUNG: Hoerle und sein Kreis, Ausstellung des Kunstvereins Frechen e. V., Dezember 1970-Januar 1971, Kat.-Nr. 96, Ausst.-Kat. mit Abb. Man in the Middle, Kunsthalle Tübingen, 13.9.-2.11.2003, Ausst.-Kat. mit Farbabb. S. 101. LITERATUR: Ariane Grigoteit, Ein Jahrhundert. One Century. 100 x Kunst, Sammlung Deutsche Bank, Frankfurt a. M. 2001, S. 120-121 (mit ganzs. Abb.). 'Wir wollen keine Bildchen malen, die sich der Satte über sein Sofa hängt, dass sie ihm den Mittagsschlaf versüßen. Wir wollen keine Bildchen machen, damit der Hungrige seinen Hunger vergisst. Wir wollen auch keine Bildchen machen, wo die Welt schön und alles gut ist.' Heinrich Hoerle Klein, abwechslungsreich und qualitätiv hochkarätig ist das künstlerische Gesamtwerk, das der Kölner Maler Heinrich Hoerle hinterlässt, als er im Alter von gerade 40 Jahren an Tuberkulose stirbt. Im Zuge der nationalsozialistischen Aktion 'Entartete Kunst' werden 21 Werke von Heinrich Hoerle aus deutschen Museen beschlagnahmt und teilweise vernichtet. Heute sind Hoerles Arbeiten eine Seltenheit auf dem Auktionsmarkt. Nach mehr als dreißig Jahren hat das herausragende, aber leider ab den 1970er Jahren in Vergessenheit geratene Werk Hoerles, der neben dem Fotografen August Sander und dem Maler Franz Wilhelm Seiwert zu den Protagonisten der Gruppe 'Kölner Progressive Künstler' zählt, erst 2008 in der Ausstellung des Museums Ludwig 'Köln progressiv 1920-33. Seiwert-Hoerle-Arntz' wieder die ihm gebührende museale Würdigung gefunden. Nach dem Ersten Weltkrieg ist Hoerle zunächst Teil der Kölner Dada-Gruppe um Max Ernst und Johannes Bargeld, löst sich aber bald wieder von Ernsts internationalen Dada-Bestrebungen, da er eine stärker national ausgerichtete, politischere Kunst anstrebt. Formal verschmilzt Hoerles klare, reduzierte Bildsprache Elemente der Neuen Sachlichkeit, des Konstruktivismus und des Kubismus, wobei bei der Tempera 'Begegnung' deutlich die Nähe zum analytischen Kubismus Picassos und Braques zu Tage tritt, die Hoerle formal mit einer konstruktivistischen Strenge und Grandlinigkeit verschmilzt, die vielmehr der konstruktivistischen Abstraktion entlehnt scheint. [JS] Aufrufzeit: 18.06.2021 - ca. 14.58 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONHeinrich Hoerle -1895 Köln - 1936 Köln Begegnung. 1925. Tempera. Backes Teil III 29. Lower right signed. Monogrammed in upper right part of the image. Verso with an India ink drawing of a nude in rear view. On thin board. 27 x 16.2 cm (10.6 x 6.3 in), size of sheet. [SL]. • From the artist's sought-after constructivist period. • Constructive surface segmenattion combining figure and background. • After WW I the artist was a member of the Cologne Dada group around Max Ernst and Johannes Baargeld. • His works were shown at renowned museums during his lifetime, among them the Wallraf-Richartz-Museum, Cologne, the Kunstmuseum Düsseldorf or the Detroit Art Institute. PROVENANCE: Galerie Michael Hasenclever, Munich. Deutsche Bank Collection. EXHIBITION: Hoerle und sein Kreis, exhibition at Kunstverein Frechen e.V., December 1970 - January 1971, cat. no. 96, ex. cat. with illu. Man in the Middle, Kunsthalle Tübingen, September 13 - November 2, 2003, ex. cat. with color illu. on p. 101. LITERATURE: Ariane Grigoteit, Ein Jahrhundert. One Century. 100 x Kunst, Collection Deutsche Bank, Frankfurt a. M. 2001, pp. 120-121, with full-page illu. 'We don't want to make pleasant pictures that adorn the walls of the overfed, so that they can enjoy their sweet midday nap. And we don't make pictures that help the hungry ones to forget about their hunger. Neither do we want to make pictures of a world in which all is good and nice.' (Heinrich Hoerle) Called up: June 18, 2021 - ca. 14.58 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Julian Opie - - 1958 London - lebt und arbeitet in London IKA 4.2011. 2011. Inkjet auf Leinwand. Auf der umgeschlagenen Leinwand signiert. Unikat. 192 x 119 cm (75,5 x 46,8 in). • Großformatiges Anti-Porträt des britischen Meisters der Entindividualisierung. • Julian Opie war u. a. 2000 in der legendären ersten Ausstellung der Reihe 'New British Art' in der Tate Britain, London, vertreten. • Opie wird u. a. von der Lisson Gallery, London/New York, und der Opera Gallery, London, vertreten. • Arbeiten Opies befinden sich u. a. in den Sammlungen des Museum of Modern Art, New York, dem Victoria and Albert Museum, London, und dem Stedelijk Museum, Amsterdam. PROVENIENZ: Lisson Gallery, London/New York (auf dem Keilrahmen mit dem Etikett). Privatsammlung Rheinland (vom Vorgenannten erworben). 'Looking at older art led to collecting it. Not just to contemplate but to learn from, I think learning from art is an essential part of making it. Reynolds said he’d give up everything to own a good Titian.' Julian Opie, zit. nach: Julian Opie, Ausst.-Kat. Lisson Gallery, London, 15.10.–15.11.2008, o. S. Für seine stark stilisierten Werke nutzt Julian Opie, bedeutender Vertreter der New British Art, Fotografien als Grundlage, die er digital bearbeitet. Durch die Eliminierung aller überflüssigen Details vereinfacht er seine Motive auf das Wesentliche und entwickelt auf diese Weise die für ihn charakteristische, reduzierte und sehr präzise Formensprache. Opie bedient sich dabei verschiedenster Medien: Neben Serigrafien und Gemälden erstellt er auch animierte LCD- und LED-Arbeiten, die auf Flachbildschirmen oder Displays präsentiert werden. Wunderbar ist im vorliegenden Gemälde Opies radikale Auseinandersetzung mit der kunstgeschichtlichen Tradition der Porträtmalerei zu erkennen. Indem Opie uns die Dargestellte in der klassischen Pose eines Brustbildes gegenüberstellt und lediglich Schmuck und Kleidung in wiedererkennbarer Detailgenauigkeit wiedergibt, während er die individuellen Züge der dargestellten Person konsequent ausklammert und das Gesicht als leere Kreisform wiedergibt, thematisiert der Künstler elementare Fragestellungen: Was macht uns und unsere, gerade in der zeitgenössischen kapitalistischen Gesellschaft, vielbeschworene Individualität letztlich aus? Was ist besonders, was austauschbar? Opie ist mit dem vorliegenden Gemälde ein meisterhaftes Paradoxon gelungen, ein Porträt, das von der Dargestellten nur eine zeichenhaft entindividualisierte Hülle zeigt und sich damit dem zentralen Charakteristikum des traditionsreichen malerischen Genres radikal verweigert. In besonderer Weise irritierend ist darüber hinaus der fehlende Hals, der eine Art Durchblick durch den transparenten Menschen auf das eigentlich dahinter verborgene Sofa freigibt und durch diesen Verfremdungseffekt spielerisch thematisiert, dass wir hier keinen Menschen, sondern eben nur eine leere und damit austauschbare Hülle vor uns haben. Opie hat mit seinen berühmten Comic-artigen und oftmals gesichtslosen Darstellungen Tendenzen weiterentwickelt, die bereits in der Kunst der amerikanischen Pop-Art, vor allem in den augenlosen Wesselmann-Akten angelegt waren, und damit zu seiner ganz eigenen, charakteristischen künstlerischen Handschrift gefunden. Opie war u. a. im Jahr 2000 auf der legendären ersten Ausstellung der dreiteiligen Ausstellungs-Folge 'New British Art' in der Tate Britain, London, vertreten. 1995 wird Opie zum Ehrenmitglied der 'British School at Rome' ernannt. Im Jahr 2001 wird er mit dem 'Best illustration award' der Music Week CADS für die Gestaltung eines Albumcovers der britischen Band Blur ausgezeichnet. Julian Opie ist mit seinen Arbeiten weltweit in zahlreichen renommierten Museen vertreten, darunter die Tate Gallery, London, das Museum of Modern Art, New York, und das Stedelijk Museum, Amsterdam. [JS] Aufrufzeit: 18.06.2021 - ca. 20.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJulian Opie -1958 London - lebt und arbeitet in London IKA 4.2011. 2011. Inkjet on canvas. Signed on the reverse. Unique work. 192 x 119 cm (75.5 x 46.8 in). • Large-size anti-portrait by the British master of de-individualization. • Julian Opie was part of the legendary first show of 'New British Art' at Tate Britain, London in 2000. • Opie is represented by, among others, Lisson Gallery, London/New York and Opera Gallery, London. • Works by Opie are part of, among others, the collections of the Museum of Modern Art, New York, the Victoria and Albert Museum, London, and the Stedelijk Museum, Amsterdam. PROVENANCE: Lisson Gallery, London/New York (with the label on the stretcher). Private collection Rhineland (acquired from above). 'Looking at older art led to collecting it. Not just to contemplate but to learn from, I think learning from art is an essential part of making it. Reynolds said he`d give up everything to own a good Titian.' Julian Opie, quote from: Julian Opie, ex. cat. Lisson Gallery, London, October 15 - November 15, 2008, no p. Julian Opie, an important representative of New British Art, uses photographs as a basis for his highly stylized works, which he processes digitally. By eliminating all unnecessary details he simplifies his motifs to the essentials and thus develops the reduced and very precise formal language characteristic of him. Opie uses a wide variety of media: In addition to serigraphs and paintings, he also creates animated LCD and LED works that are presented on flat-screen TV or on displays. In the present painting Opie's radical examination of the art-historical genre of portrait painting becomes quite obvious. By contrasting us with the sitter in the classic pose of a half length portrait and at the same time only rendering jewelry and clothing in recognizable detail, while excluding any individual traits of the depicted person and showing the face only as an empty circular shape, the artist addresses elementary issues: What ultimately defines us and our individuality, which is so strongly emphasized in today‘s capitalist society? What is special, what is interchangeable? With this painting offered here Opie has succeeded in creating a masterful paradox, a portrait that only shows a symbolically de-individualized shell of the sitter and thus radically rejects the central characteristic of the traditional painterly genre. What is particularly irritating is the missing neck, which allows a view through the transparent person onto the sofa that is actually hidden behind it and, through this alienation effect, playfully shows us that we are not dealing with a real person here, but just an empty and thus replaceable shell. With his famous comic-like and often faceless depictions Opie develops tendencies that we already find in American Pop Art, especially in Wesselmann‘s eyeless nudes, and thus he attained his very own signature style. Opie was represented, among others, in the legendary first exhibition of the three-part exhibition series 'New British Art' at Tate Britain, London in 2000. In 1995 Opie became honorary member of the “British School at Rome“. In 2001 he received the 'Best Illustration Award' from Music Week CADS for designing an album cover for the British band Blur. Julian Opie's work is represented in numerous renowned museums around the world, including the Tate Gallery London, the Museum of Modern Art, New York, and the Stedelijk Museum, Amsterdam. [JS] Called up: June 18, 2021 - ca. 20.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ausgefallenes Sofa. Nussbaum mit floralen Einlagen aus Ahorn, auf Nadelholz furniert. Sockelzarge mit geschnitzten Frontecken in Form von gotischen Säulen. Gebogte Armstützen und wolkenähnliche Rückenlehne. Aufwendige Seiderpolsterung. Rest., Gebrauchsspuren. England, um 1900. 113x 185x 70 cm.

Wegner, Hans J. (1914 Tondern - Kopenhagen 2007) Dreisitzer Sofa. "GE 290" oder "Plank Sofa". Gestell aus Eichenholz, geölt, hellbeiger "Hallingdal"-Bezug (wohl Original). Entwurf 1953. Zarge mit Brandstempel "DESIGN HANS J. WEGNER GETAMA GEDSTED DENMARK". Normale Gebrauchsspuren, Sitzkissen sehr gepflegt. Ausführung Getama, Gedsted/Dänemark 1960er Jahre. 73x 181x 80 cm.

Wegner, Hans J. (1914 Tondern - Kopenhagen 2007) Zweisitzer Sofa. "GE 290" oder "Plank Sofa". Gestell aus Eichenholz, geölt, hellbeiger "Hallingdal"-Bezug (wohl Original). Entwurf 1953. Zarge mit Brandstempel "DESIGN HANS J. WEGNER GETAMA GEDSTED DENMARK". Normale Gebrauchsspuren, Sitzkissen sehr gepflegt. Ausführung Getama, Gedsted/Dänemark 1960er Jahre. 73x 128x 80 cm.

Modernes Lounge-Sofa (Dreisitzer). Stahlrohrgestell. Schwarze Lederpolsterung. Innenfutter bez. Made in Italy. 68x 178x 70 cm.

A good quality modern sofa, 84' long; with matching armchair

Brown leather small two seater sofa with studded arms, shabby looking leather fabric seats.

A modern three-piece suite upholstered in red and gold, sofa - 150cm wide

Ercol Three Seater Sofa

A 19th century French walnut button back bucket end sofa, on acanthus carved cabriole legs on casters, approximately 180cm wide

A substantial George Smith three seater sofa, in a Gollut 'Tits & Cherries' pattern fabric, approximately 215cm wide, George Smith label to base

A substantial George Smith three seater sofa, upholstered with kilim, approximately 245cm wide

A contemporary Italian brown leather sofa by Saporiti, approximately 162cm wide

A very large Roche Bobois grey leather corner sofa, 317cm long, running 220cm outwards, each section 89cm deep

Ox blood leather 3 seater and 2 seater sofa

A cream 2 seated sofa ,cream floral pattern along with reclyning electric chair with built in light

A Regency brass inlaid rosewood sofa table with two rounded rectangular side flaps and two frieze drawers above a shaped support mounted with gilt brass and femion detail, on a plateau and four hipped splayed legs with gilt brass feet, height 72cm, width 88cm, depth 66cm (sized when closed).Additional InformationSome sun fading to the top giving a two tone colour in parts. The gilt brass mounts to the drawers and the faux drawer to the back and the column may not be original. General tarnishing to the metal mounts throughout. The base with general age wear, some scratches and small hairline cracks to the veneer.

A 19th century mahogany two drawer sofa table raised on lyre supports, length 101cm, height 72cm, together with a mahogany triptych dressing table mirror (each for restoration).

An early 19th century mahogany sofa table, with two frieze drawers, with carved undertier, raised on turned baluster supports, terminating on four outswept supports (af).Additional InformationOld repair to one of the legs, and baluster supports, the leaves are warped, minor losses, knocks, scratches and scuffs, splitting to the leaves.

A late William IV/early Victorian mahogany framed sofa, raised on turned bun supports, length 226cm.Additional InformationGood overall condition, replacement bracket to the feet, the castors are lacking, knocks, scuffs and wear, losses to the surface and veneer.

An Edwardian inlaid mahogany two seater sofa with pierced detail to the central back, upholstered in a striped and floral material, length 121cm, height 96cm, depth 60cm.

A 1940s carved walnut three piece bergere suite, with single cased sides and yellow foliate upholstery, on claw and ball feet, the settee 83.5 x 162 x 75cm.Additional InformationThe upholstery with some sun fading and a little grubby in parts. The upholstery to the back of the sofa is torn along the back edge. Some sun fading to the wood and some light scuffs and scratches.

A Multiyork Howard style two seater sofa in jacquard upholstery on turned tapering supports on brass cup casters. H.80 L.170 D.100cm

A Victorian drop arm two seater sofa, scrolling floral upholstery, 91cm high, 157cm long.

A late 19th/early 20th century Chesterfield sofa with floral Damask button back upholstery, raised on turned feet and castors, 75 h x 178 w x 91 cm d

A Duresta two seater sofa 80cm h x 192cm w x 96cm d Location: A1

A MODERN UPHOLSTERED THREE SEATER SOFA AND ARMCHAIR - PET SCRATCHES TO BASES

A REGENCY ROSEWOOD SOFA TABLE, the rounded oblong top over frieze with two drawers, with turned brass handles, scrolled silhouette end supports on trestle base with carved lion paw feet and castors joined by a pole stretcher with foliate collar, 41" x 26 1/4" x 29 1/4" (Est. plus 21% premium inc. VAT)Top water stained and badly faded  - very minor shrinkage, otherwise very good, finely carved feet and pole stretcher

A WILLIAM IV ROSEWOOD SOFA, the show wood frame carved with flowers and scrollwork, button upholstered in green velvet, shaped back raised on one end, loose cushion and two bolster cushions, raised on squat cabriole legs with brass castors, 77" x 22 1/2" x 37 1/2" (Est. plus 21% premium inc. VAT)Rust and pitting, needs cleaning and repainting, no damage

Sofa Grand Confort "LC3", Zweisitzer. Entwurf: 1928. Ausführung: Cassina. Chromstahl und schwarzes Lederpolster. Seriennummer und Hersteller-Prägung. 163x73x48,5 cm.- Guter Zustand. Leichte Gebrauchsspuren.

2 Sofas "Stringa" mit Beistelltisch. Entwurf: 1965. Ausführung: Poltronova. Chromstahl, Leder, Rauchglas. Unbezeichnet. Sofa: 130x85x73, Sitzhöhe 35. Tisch: 83x83x35 cm.- Starke Alters- und Gebrauchsspuren.

Bahunek, Branko (1912 - 1985)Weiblicher Akt auf lila Sofa, (19)82 Öl auf Leinwand Signiert und datiert rechts unten 55,6 x 45,5 cm gerahmt Kleine Delle rechtes oberes Bilddrittel

A TWO SEAT SOFA IN HOWARD & SONS STYLE LATE 20TH CENTURYWith Aubusson upholstery, the rounded arms on turned walnut legs with castors90cm high, 160cm wide, 100cm deepProvenance: Supplied by Robert KimeCondition Report: The Aubusson upholstery with wear and discolourations (see images). Some opening and loose threads between the colour lines of the tapestry in places throughout. Some 'pulls' and small holes to tapestry. Stitched repair made to one seat cushion (see image). The legs bear the expected marks, knocks, scratches and minor chips consistent with age and use. Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

A KIDNEY SHAPED SOFA IN VICTORIAN STYLELATE 20TH CENTURYCovered in blue-gray cotton, on turned and ebonised legs76cm high, 180cm wide, 76cm deep Condition Report: Marks, knocks, scratches, and abrasions commensurate with age and use. The upholstery with wear, some fading, marks, and stains to the set and back reast (see images for extent). Some seams are opening slightly. Some chips to the legs. The front legs appear to have been lightly sanded in areas to dull the shine of the black painted surface. Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

Y A LARGE WILLIAM IV ROSEWOOD AND UPHOLSTERED SOFACIRCA 1835With a rectangular back and outscrolled arms, on turned and leaf-carved feet with brass castors, together with five cushions of various Robert Kime fabric95cm high, 224cm wide, 95cm deepProvenance: Supplied by Robert KimePlease note: The estimates are now £3,000 - £5,000, not as previously stated in the printed catalogue.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits, chips, and losses. Upholstery with some wear and pulls. Several small holes have been worn to the seat cushion. Evidence of old worm to underside of the sofa and to the rear seat rail (see images). Frame is structurally solid. Two later stretchers to the underside. The two rear legs with old filled holes from where there was previously bracing to the legs. Crack through one of the scroll elements of the arms (see image). Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

A LARGE THREE SEAT SOFA IN THE MANNER OF HOWARD & SONSLATE 20TH CENTURYWith loose textured off-white cotton covers, on turned mahogany feet, together with three cushions 85cm high, 250cm wide, 122cm deepProvenance: Supplied by Robert Kime Condition Report: Wear, discolourations, and 'pulls' to fabric of covers throughout. Some pet hairs. Some areas of additional wear to the arms and corners. The legs with the expected scuffs, chips and knocks. Some small holes and tears to fabric. Please refer to additional images for visual reference to condition.   Condition Report Disclaimer

A SUITE OF HARDWOOD GARDEN FURNITURE20TH CENTURYComprising; a hardwood garden table, nine matching slatted chairs, four sun-loungers and related itemsGarden table 76cm high, 300cm long extended, 100cm wide; chairs 87.5cm high (18)Please note: there are four sun loungers, not as stated in the printed catalogueCondition Report: Garden table 76cm high, 200cm long not extended, 300cm long extended, 100cm wide.Accompanying chairs 87.5cm high, 60cm wide, 50.5m deep (9)Sun beds 31cm high, 64cm wide, 197cm long (4)Sofa 74cm high, 216cm long, 94cm deepAccompanying arm chairs 74cm high, 87cm wide, 69cm deep (2)Side table 30.5cm high, 89cm wide, 89cm deepThere are cream/buff seat cushions for the dining chairs, seat cushion for the sofa and seat and back cushions for the armchairs. The parasol is not in the sale. They are all made by Jo Alexander of Cambridge Condition Report Disclaimer

Edwardian mahogany and inlaid parlour sofa with serpentine cushioned back, down swept arms, on square tapering legs terminating in ceramic castors, 132cm wide, 88cm high and 66cm deep.CONDITION REPORT: The upholstery is marked and worn in areas.  The braiding is coming off.  The arms and legs are scuffed and scraped, and have water marks and colour fading.  There is a small amount of movement to the left arm.  Has period ceramic castors. 

Victorian chesterfield sofa with buttoned back and seat, on tapering ring turned legs and ceramic castors, 170cm wide, 73cm high and 80cm deep.CONDITION REPORT: The upholstery is marked, faded and worn.  The frame has slight movement on the left arm.  The springs are soft.  The legs have general scuffs and scrapes.  This requires re-upholstering.