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20th century French walnut and Kingwood card table, shaped fold-over top with figured quarter-matched veneers and floral egg and dart moulded edge in gilt metal, shaped aprons decorated with shell motifs with extending foliage, pull-out action base revealing storage well, on cabriole supports with ornate gilt metal mounts Dimensions: Height: 77cm Length/Width: 87cm Depth/Diameter: 43cm
French inlaid walnut dressing table, fold-out top with rectangular mirror plate. decorated with floral inlays, flanked by two fold-out hinged compartments, fitted with brushing slide over single drawer, flanked by three faux drawers and one real, on cabriole supports with gilt metal mountsDimensions: Height: 76cm Length/Width: 78cm Depth/Diameter: 45cm
Regency rosewood writing table, rectangular drop-leaf top with rounded corners, hinged easel centre with inset leather writing surface, fitted with single cock-beaded drawer, foliage carved corner brackets, on waisted end supports with scroll carved out-splayed feet, central turned stretcher carved with acanthus leaves and flowerheads Dimensions: Height: 73cm Length/Width: 75cm Depth/Diameter: 48cmCondition Report:Warp to the central hinged writing surface. The rear adjustable stand is damaged and will need reassembling.
Early 20th century Georgian design mahogany extending dining table, rectangular top with rounded corners and gadrooned edge, moulded frieze rail over cabriole supports with acanthus carved knees and ball and claw feet, on castors, with additional leafDimensions: Height: 78cm Length/Width: 120cm Depth/Diameter: 105cm
19th century mahogany extending dining table with three additional leaves, rectangular top with rounded corners, pull-out action, on turned and faceted supports with brass castorsDimensions: Height: 75cm Length/Width: 112cm Depth/Diameter: 130cmCondition Report: Extended length - 280cmSome movement in the tops. One end top is currently detached. Various screw holes in the end tops. The mechanism seems to function OK. There look to be some adaptions.
Regency mahogany dining table, rectangular top with rounded corners and reeded edge, raised on square pedestal with platform, terminating to sabre supports with brass cups and castorsDimensions: Height: 77cm Length/Width: 144cm Depth/Diameter: 108cmCondition Report:No screws. Table moulding detached.
Georgian design inlaid mahogany kneehole desk or side table, rectangular top with satinwood banding, fitted with two long over two short drawers, raised on square tapering supports with brass castorsDimensions: Height: 81cm Length/Width: 107cm Depth/Diameter: 48cm
Yorkshire oak - small oak occasional table, rectangular top with carved checkered edge, on four stop chamfered pillar supports, sledge feet united by stretchers, carved with butterfly signature Dimensions: Height: 48cm Length/Width: 45cm Depth/Diameter: 26cm
Early Victorian mahogany breakfast table, circular top with banded edge, raised on octagonal pedestal base with three scrolled cabriole supports with foliate moulding, terminating in stepped square feet and brass castorsDimensions: Height: 75cm Depth/Diameter: 135cm
Early 20th century American oak smokers bow tub armchair, shaped cresting rail with pierced handle over ring turned spindle back, seat upholstered in pink tapestry fabric (W56cm, H73cm); small 20th century walnut occasional table on turned supports (W43cm, H70cm, D33cm)Dimensions: Height: 73cm Length/Width: 56cm
Regency rosewood and brass inlaid card table, the rectangular fold-over and swivelling top with rounded corners with a satinwood band, opening to reveal a blue baize lined interior playing surface, the frieze with a raised panel with satinwood stringing and a lower beaded brass edge, the concave and canted column with a shaped platform base applied with scrolls with brass star inlays and stringing, quadruple splayed supports terminating in foliate cast cups and castorsDimensions: Height: 75cm Length/Width: 92cm Depth/Diameter: 45cm
SYCAMORE & ASH 'CHEESE TOP' CRICKET TABLE, late 18th Century, believed Welsh, single-piece circular top on three hand shaped legs morticed and wedged through the top, 44.5 (diam) x 58cms (h)Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017).Comments: top repair
WELSH SYCAMORE AND ASH CRICKET TABLE, 19th Century, circular top with top with natural insect damage adding inersting texture, raised on hand shaped splayed legs sicketed to an under block with presumed original claret red paint,Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017).Comments: old damage to rim, top slightly worn. Provenance:19TH
‡ NINA HAMNETT (Welsh 1890-1956) pencil - entitled verso, 'Life Class', signed with initials, dated verso c.1920, 44 x 28cmsProvenance: private collection West MidlandsAuctioneer's Note: born Tenby, studied at the Pelham Art School and the London School of Art between 1906 and 1910. Then launched herself into the London art world on the strength of a fifty pound advance on an inheritance from her uncle and a stipend of two shillings and sixpence a week from her aunts. She socialised with the likes of Augustus John, Walter Sickert, and Henri Gaudier-Brzeska. She became very popular as a result of her high spirits, her devil-may-care attitude, and her sexual promiscuity. Like other women at the time revelling in a newfound independence, she had her hair cut short in a ‘crophead’ style (what we would now call a basin cut) and she wore eccentric clothing: It was said that at this phase in her life Nina Hamnett had the knack of being in the right place at the right time. In 1914 she went to live in Montparnasse, Paris, immediately meeting on her first night there the Italian painter Amedeo Modigliani. He introduced her to Picasso, Serge Dighilev, and Jean Cocteau, and she went to live at the famous artist’s residence of La Ruche which housed many other Bohemian artists and modernist writers. It was there that she met the Norwegian artist Roald Kristian, who became her first husband. Rapidly she established herself as a flamboyant and unconventional figure - bisexual, drank heavily, and had liaisons with many other artists in Bohemian society, often modelling for them as a way of earning a (precarious) living. She established her reputation as ‘The Queen of Bohemia’ by such antics as dancing nude on a cafe table amongst her drinking friends. Her reputation as a Bohemian and an artist eventually filtered back to London, where she returned to join Roger Fry and his circle working on the application of modernist design principles to fabrics, furniture, clothes, and household objects as part of the Omega Workshops. She acted as a model for the clothes along with Mary Hutchinson, Clive Bell‘s mistress, and she mingled with other members of the Bloomsbury Group, such as Vanessa Bell and Duncan Grant. Her paintings were exhibited at the Royal Academy and the Salon d’Automne in Paris. She also taught at the Westminster Technical Institute in London. Around this time she divorced her first husband and lived with the composer and fellow alcoholic E.J. Moeran. During the 1920s (and for the rest of her life) she made the area in central London known as Fitzrovia her home and stomping ground. This new locale for arty-Bohemia was centred on the Fitzroy Tavern in Charlotte Street which she frequented along with fellow Welsh artists Augustus John and Dylan Thomas, making occasional excursions across Oxford Street to the Gargoyle Club in Soho.After the glamorous world of modernism and the artistic avant-garde, there was a no less spectacular descent into poverty, squalor, and alcoholism, living in a bed-sit in Howland Street, infested with lice and littered with rodent droppings. It was said that the flat was furnished only with a broken-down chair, a piece of string for a clothes line, and newspapers instead of proper bedding. In 1932 she published a volume of memoirs entitled 'Laughing Torso', which was a best-seller in both the UK and the USA. Following its publication she was sued by Aleister Crowley, whom she had accused of practising black magic. The ensuing trial caused a sensation which helped sales of the book, and Crowley lost his case.Her success in this instance only fuelled her downward spiral, and she spent the last three decades of her life propping up the bar of the Fitzroy trading anecdotes of her glory years for free drinks. She took little interest in personal hygiene, was incontinent in public, and vomited into her handbag. Her ending was as spectacular as had been her previous life. Drunk one night she either fell or jumped from the window of her flat and was impaled on the railing spikes below. She lingered miserably in hospital for three more days, where her last words were “Why don’t they let me die?”Comments: framed and glazed, ready to hang
OAK AND ASH CRICKET TABLE, late 18th C., believed Welsh, oak and ash, circular top raised on three hand-shaped legs united by T-shaped stretcher, 45 (diam) x 55cms (h)Provenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017). Comments: top shrunk and rejoined, old nailed repairs through the top
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1181390 item(s)/page