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Lot 246

An 18th/19th century lace and linen tea table clock and a black lace shawl

Lot 21

A silver dressing table brush, and two others

Lot 49

Two dressing table sets, one glass Art Deco, and a pottery example

Lot 67

A brass table lamp, and a pair of candelabrum

Lot 67

A set of six early 20thC silver table forks, approx 20oz, London hallmark, various dates, 1915, 1916 and 1917.

Lot 96

A George V silver guilloche enamel dressing table set, (AF), Birmingham hallmark, 1922, and a silver vanity mirror, clothes brush and two hairbrushes. (7).

Lot 269

Various lace and table linen, fox fur and christening gowns.

Lot 270

A quantity of table linen, napkins, etc.

Lot 271

A quantity of table linen.

Lot 363

A modern hardwood table harp with case.

Lot 428

Anonymous (20thC School). Still life of fruit on a table, oil on canvas, 26cm x 34.5cm.

Lot 519

A Victorian mahogany Pembroke table, the rectangular top with a moulded edge, rounded corners on turned tapering legs, 82cm wide.

Lot 520

A Victorian mahogany swing frame dressing table mirror, the base with a hinged trinket compartment on tapering feet, 53cm wide.

Lot 525

A Regency period rosewood small circular occasional table, on octagonal pedestal and trefoil base, (AF), 79cm diameter, 74cm high.

Lot 534

A mid Victorian oval tilt top breakfast table on turned pedestal and scroll feet, 112cm wide.

Lot 538

A Victorian mahogany side table with a frieze drawer, on square tapering legs, 81cm wide.

Lot 539

A Victorian mahogany Pembroke table on turned legs, 90cm wide.

Lot 544

An Early 19thC oak tilt top occasional table, the oval top on turned column and tripod base, the top 93cm x 64cm.

Lot 547

A French Empire style inlaid king wood and tulip wood side table with gilt metal gallery surround and further gilt metal mounts, fitted with a single drawer with ring handles on slender tapered square legs, 75cm x 47cm.

Lot 559

A mahogany tray top table, the oval top on turned column and tripod base, the top 71cm x 31cm.

Lot 564

An early Victorian rosewood occasional table the square top on turned column and tripod base, 69cm wide.

Lot 565

A regency style mahogany sofa table, the bow fronted cross banded top above two frieze drawers on plain supports with sabre legs and brass castors, 145cm wide.

Lot 356

Silver backed dressing table brushes, both with engine turned pattern & with ornate monogram to centre, h/m Birmingham 1910, shellac loose in head of brush, the other h/m Chester 1922 & a faux tortoiseshell comb with silver holder, h/m Birmingham 1918 (3)

Lot 392

Wooden Cigarette Box, Art Deco in style, approx. 11” long x 5.5” wide and 3.5” tall, ladies boxed dressing table set in faux tortoise shell & small brass framed dressing table clock with floral tapestry panels down each side, all items have some wear, average condition (3 items)

Lot 102

A 5.5 inch terrestrial table globe on mahogany stand. Newton and Son, London mid 19th century. The sphere applied with twelve coloured gores annotated with principal countries, cities, and oceans, the North Pacific with printed trade inscription NEWTONS’, New & Improved, Terrestrial Globe, Containing the latest Discoveries, LONDON, NEWTON & SON, 66 Chancery Lane supported via the poles within a brass meridian arc on squat vase turned mahogany upright and moulded disc shaped foot, (some light varnish losses), 26cm (10.25ins) high.

Lot 103

A 12 inch terrestrial table globe on ebonised stand. George Philip and Son, London circa 1920. The sphere applied with twelve coloured gores annotated with principal countries, cities, oceans, tropics, Principal Shipping Routes, Principal Transcontinental Railroads and Principal Air Mail Routes, the North Pacific with printed trade inscription PHILIPS’, 12 INCH, TERRESTRIAL GLOBE., LONDON, GEOGRAPHICAL INSTITUTE, GEORGE PHILIP & SON LTD, 32 FLEET STREET, Printed in Great Britain supported via the poles within a brass meridian arc calibrated 0-90 in each direction from the horizon, on squat vase turned ebonised upright and moulded disc shaped foot, (some slight wear), 43cm (17ins) high.

Lot 148

A French gilt brass gorge cased petit sonnerie striking carriage clock with push-button repeat and alarm. Retailed by Elkington and Co., late 19th century. The eight-day two train movement striking the quarters on a graduated pair of gongs and sounding the hour and alarm on the larger of the two, the original platform lever escapement with GV monogram and numbered 118176 to table, the backplate numbered 64, with circular white enamel Roman numeral dial inscribed ELKINGTON & Co. to centre with Arabic five minutes to outer track, blued steel Breguet hands and set into a foliate scroll engraved gilt brass mask with subsidiary alarm setting dial to lower margin, the bevel glazed gorge case with hinged carrying handle, 14.5cm (5.75ins) high excluding handle; with original leather covered outer travelling case.

Lot 175

A Swiss brass and steel crown escape wheel cutting engine. Unsigned, mid to late 19th century. The cutter pivot block mounted via a screw-adjusting slide for depth adjustment onto the box frame enclosing the 3.25 inch circular index plate divided for 7, 9, 11, 13, 15, 16, 17, 18 and 19 located by a sprung detent fixed to the rear of the frame, the centre arbor passing through the frame to support the work via a steady bracket with slider above, mounted on three down curved iron feet for fixing to the workbench, length of frame 10.5cm (4.25ins); with a Swiss watchmaker’s uprighting tool, late 19th century with bracket fitted with a vertical slider above circular table with two (originally three) securing arms, on turned supports, height of frame 16cm (6.5ins), (2). A closely related crown escape wheel cutting engine is illustrated in Crom, Theodore R. Horological Shop Tools 1700-1900 page 657 fig.1279.

Lot 197

A George III brass mounted ebonised table clock. John Ellicott, London, mid 18th century and later. The twin chain fusee movement with five substantial disc-knopped pillars and thick plates, now with deadbeat escapement, chiming the quarters on the original nest of six graduated bells and with passing strike on a single larger bell, the backplate retaining original backcock apron and engraved with symmetrical foliate scrolls around a central cartouche signed John Ellicott, London, the 7 inch brass break arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and repeat signature to lower edge, with fine pierced blued steel hands and rococo scroll cast spandrels to angles, the arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell-top case with recessed brass fillet inserts to the front door aperture and upper quadrant sound frets flanked by caddy moulded angles, the sides with conforming circular over concave topped rectangular windows, on shallow cavetto moulded skirt base with cast brass squab feet (movement with alterations), 47cm (18.5cm) high excluding handle. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers’ Company in 1696 and died 1733. John junior worked from Swithin’s Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772. The current lot was originally made as an hour-striking clock with verge escapement and pull quarter repeat on six bells. The movement was modified in the mid to late 19th century to chime the quarters every hour (using the bells and part of the mechanism for the original pull-quarter repeat facility) and to strike a single blow on the larger bell every hour. At this time the escapement was also converted from verge to deadbeat. These modifications were very well executed hence the clock presents as a good decorative example. Conversely the movement perhaps has the potential to be converted back to original specification as much of the original mechanism remains.

Lot 198

A George III ebonised table clock. Dowson and Peene, London, circa 1760. The five pillar twin fusee bell striking movement with verge escapement and symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and false bob apertures and silvered arched nameplate Dowson & Peene, LONDON to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell top case with brass carrying handle above cast brass upper quadrant frets and raised mouldings flanked by caddy moulded angles to the front door, the sides with circular over concave-topped rectangular brass fishscale sound frets, on shallow cavetto moulded skirt base with squab feet, 47cm (18.5ins) high excluding handle. The partnership Dowson and Peene is recorded in Baillie, G.H. Old Clocks and Watches and their Makers as working from Gray’s Inn circa 1800, however as the current lot can be stylistically dated to around 1760 the partnership must have been working earlier than the record suggests.

Lot 209

A fine George III brass mounted ebonised quarter chiming musical table clock. Paul Rimbault, London, late 18th century. The substantial six pillar triple fusee movement with verge escapement and chiming the quarters on eight bells and playing a choice of two tunes including ‘Oh Worship the King!’ on the same eight bells with fifteen hammers on the hour, the symmetrical foliate scroll and strapwork engraved backplate with external fly with adjustable vanes for regulating the speed of the music and conforming decorative backcock apron, the 7 inch wavy-outline arched Roman numeral painted dial signed PAUL RIMBAULT, LONDON to centre and with scroll pierced blued steel hands within spandrels decorated with delicate floral sprays on a dark ground, beneath arch finely painted with a landscape view of a church beside a river with a sailing boat and bridge beyond, the inverted bell top case with figural surmount cast as ‘Britannia’ set on a pedestal applied with side scrolls over foliate festoon mount to the concave section of the superstructure flanked by cast vase finials to corners, with pierced and engraved foliate brass frets to upper quadrants of the brass fillet inset front door flanked by ribbon bow and entwined husk drapery cast mounts incorporating relief portrait medallions to front angles, the sides with hinged handles above arched fishscale frets and with conforming mounts to rear canted angles, on brass-bound shallow cavetto moulded skirt base with brass bracket feet, 48cm (19ins) high excluding figural surmount, 60cm (23.5ins) high overall. Paul Rimbault is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Denmark Street, London 1770-85. He was related to John Stephen Rimbault who is recorded working from Great St. Andrew’s Street, London 1744-85. Both makers probably had Huguenot roots and appear to have specialised in the production of complex musical clocks which often incorporated automata within the arch of the dial. The current lot can be traced back within the vendor’s family until at least mid 19th century and it is possible that the clock has remained in the same family since it was made; this is perhaps supported by the fact that it survives in good, relatively unrestored original condition. With a dial width of seven inches the current lot is also perhaps of a more manageable size than many musical clocks from this period which tended to be of larger proportions, however it still remains a highly decorative thus impressive object.

Lot 210

An unusual padouk wood musical alarm table clock. Berguer London, probably early 19th century. The five pillar twin chain fusee movement with verge escapement and alarm playing a choice of two peels or a lively melodic tune on eight bells, the backplate engraved with an urn within a rococo scroll cartouche and decorative border incorporating leafy sprays to angles, with a 7 inch brass break-arch dial with alarm disc to the matted centre and blued steel hands within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track and signed Berguer, London to lower edge the angles with female mask and scroll pattern spandrels beneath arch with CHIME/SILENT dial flanked by conforming scroll cast mounts, in a case with brass carrying handle to a moulded panel following the profile of the break-arch top with brass pineapple finials, the front door with ebonised fillet mouldings to the glazed aperture and brass inset angles, the sides with circular foliate scroll engraved brass sound frets above concave-topped windows, on moulded base with brass bracket feet, 39.5cm (15.5ins) high. Four makers with the surname Berguer (probably brothers) are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first quarter of the 19th century; Frederick 1805-24, John 1809-24, Francis (Holborn) 1820 and Joseph 1820. Two generations of makers with the same surname are also recorded working in Chaux-de-Fonds, Switzerland during the 18th century hence it is probable that the London-based makers at the start of the 19th century were first generation immigrants. The fact that the signature to the chapter ring suggests that the maker of the current lot was probably an immigrant may account for the unusual specification of the movement (which plays music as an alarm only) as well as the individual nature of the detail design of the case. These variations perhaps echo those seen on clocks made in London by an earlier generation of Huguenot immigrant makers working during the early years of the 18th century.

Lot 219

A fine Charles II ebony table clock. John Knibb, Oxford, of ‘phase III’ design circa 1685-90. The fully latched twin fusee movement with typical Knibb pattern baluster turned pillars, verge escapement and striking the hours on a bell via a crossed-out numbered countwheel mounted to the rear of the movement, the backplate engraved with tulips and symmetrical scrolling foliage incorporating signature John Knibb, Oxon Fecit in a downward curve toward the lower margin, the 7 inch square gilt brass dial with calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with trident half hour markers and Arabic five minutes within the narrow outer track, with fine sculpted blued steel hands and angles applied with gilt winged cherub head spandrels with engraved repeat signature to lower margin, the ebony veneered case with typical Knibb pattern foliate-bud tied hinged gilt brass carrying handle to the domed caddy surmount above moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the uprights with cherub head and scroll cast gilt mounts (the left hand pivoted to reveal keyhole), the sides with rectangular side windows, on moulded shallow skirt base, 33cm (15ins) high excluding handle; with a foliate engraved and pierced brass winding key. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph’s larger concern in London. The strong similarities between John’s best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The current lot is an quintessential example of a Knibb ‘phase III’ table clock with the movement possessing many typical features including distinctive baluster-turned movement pillars, crossed-out countwheel, signature in a downward curve to the foliate engraved backplate and finely sculpted blued steel hands. The case with its shouldered tied foliate-bud gilt brass handle, cornice with mouldings to underside only and winged cherub head mounts to the front door is also unmistakably Knibb in its design and detailing. All these details can be directly compared with an example by John Knibb of Oxford which sold at Christie’s King Street Magnificent Clocks 15th September 2004, Lot 38 for £44,212

Lot 220

A fine and rare small William III ebony table timepiece with silent pull quarter repeat. Samuel Watson, London, circa 1695. The five finned pillar single fusee movement with verge escapement and silent pull quarter repeat on two bells, the symmetrical foliate scroll engraved backplate signed Samuel Watson, LONDON to a central shaped cartouche beneath elaborate pierced backcock apron, the 5.25 inch square brass dial with single winding hole and curved false bob aperture backed with scroll engraved infill to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and outer track divided to thirty second intervals and unusually numbered 0 to 60 twice, the lower edge with repeat signature, the angles applied with small winged cherub head spandrels within fine foliate scroll engraved border, the case with hinged cast gilt brass ‘Quare’ pattern double scroll carrying handle and vase centred foliate decorated repousse mount to the caddy surmount above moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door the uprights with scroll decorated gilt repousse escutcheon mounts, the sides with short over long rectangular sound frets, on moulded shallow skirt base with block feet, (movement and case with old repair and restoration), 28cm (11ins) high excluding handle. Samuel Watson was an important clockmaker and mathematician who is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as initially working in Coventry from around 1680 where he was Sheriff in 1686 before moving to London in around 1691; he was admitted to the Clockmakers’ Company as a free Brother in 1692. He was supposedly ‘Mathematician ordinary’ to Charles II for whom he made an astronomical clock in 1682 followed by another clock which he did not finish until after the King’s death. This clock was eventually sold to Queen Mary on its completion in 1690 and is preserved at Windsor Castle albeit in a later case. He also made two further complex astronomical clocks for Isaac Newton and invented five minute repeating for watches. In November 1712 Samuel Watson approached the Clockmakers’ Company with an instrument to ‘discover the houre of the day at sea and several other useful mathematical matters’ but to no avail. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is very closely related to the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON’S CHOICE pages 36-7. The reasoning behind the division of the outer track to thirty second intervals and the more confusing double 0-60 annotation is unknown, however the overall compact proportions and fine detailing such as the engraved border to the dial suggests that the current lot was supplied to a particularly discerning client from one of the best connected and enigmatic makers of the period.

Lot 221

A rare Queen Anne fruitwood table timepiece with silent-pull quarter repeat. Daniel Robinson, Nottingham, circa 1700. The five finned pillar single fusee movement with silent-pull quarter repeat on two bells and fine asymmetric foliate scroll engraved decoration incorporating a cornucopia to backplate, the 7 x 6.5 inch rectangular brass dial with herringbone border engraved calendar aperture and applied silvered oval name cartouche Dan Robinson, Nottingham to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes to outer track, the angles applied with generous winged cherub head cast spandrels with foliate engraved detail between the upper two, the case with floral bud cast brass hinged carrying handle to the caddy upstand above foliate scroll sound fret to the upper rail of the front door and rectangular glazed side apertures, on moulded base, 36cm (14ins high) excluding handle. Although there appears to be no record of a Daniel Robinson working in Nottingham during this period there is a maker of this name recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born in London 1667, apprenticed to William Arthur 1681-8 but not freed. A few clocks are known to exist signed ‘Dan Robinson, London’ and it would be reasonable to suggest that this is the same maker who may have subsequently moved to Nottingham, perhaps in order to ensure he is beyond the jurisdiction of the Clockmakers’ Company. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The basic design of the repeat mechanism used in the current lot is devised from the earliest form used by the Knibb family of clockmakers, and is very similar in layout to an example by Rooksby (probably John of York) illustrated in Allix, Charles and Harvey, Laurence HOBSON’S CHOICE page 68.

Lot 223

A William III ebony table clock. Nicholas Massey, London, circa 1700 and later. The five finned pillar twin fusee bell striking movement now with anchor escapement incorporating rise/fall regulation, the fine symmetrical foliate engraved backplate incorporating two female terms holding aloft a laurel wreath and supporting a drapery cartouche signed Nicholas Mafsy, London, with wheatear border and visible spring barrel set-up clicks, the 8.25 inch square brass dial with matted centre now within applied white Roman numeral chapter ring with Arabic five minutes to outer track, the lower angles with shaped enamel panels decorated with finely drawn puce rococo scrolls issuing floral sprays, the upper angles now with conforming subsidiary enamel STRIKE/SILENT and regulation rings applied to the original foliate scroll engraved infill and interrupting the wheatear decorated border, with pierced steel hands, the case with particularly fine heavy cast and chased hinged gilt handle incorporating figural putto terms, a snake and architectural elements to the domed caddy surmount above shouldered urn finials with foliate knops, moulded cornice and foliate scroll pierced lozenge sound fret to the upper rail of the front door, the sides with short over long rectangular apertures, on conforming moulded shallow skirt base with gadroon cast disc feet (movement and dial with older alterations), 40cm (15.75ins) high excluding handle. Nicholas Massey senior is recorded in Loomes Brian The Early CLOCKMAKERS of Great Britain as admitted as free Brother of the Clockmakers’ Company in 1682. He was a French Huguenot immigrant who is believed to have been the eldest son of Nicholas Massey of Blois who died before 1658. He worked at Cranborn Street with the business presumably passing to his sons (one of which was also called Nicholas) on his death in 1698. Nicholas junior, who was also admitted as a free Brother of the Clockmakers’ Company in 1693 is thought to have worked up to 1723. The current lot could have been made by either Nicholas Massey senior or his son of the same name. Detailing such as the fine engraved backplate with unusual signature within a drapery cartouche, and the exceptional mounts to the case suggest a strong French Huguenot influence and can be compared to the work of other immigrant makers such as Claude DuChesne. The enamel fittings to the dial appear to date to the third quarter of the 18th century and are very well detailed; they were probably fitted to the clock to give it a more ‘modern’ appearance at that time. The dial centre also has a matted circular plate carefully placed over the original in order to disguise the redundant calendar and false bob apertures, the presence of this plate (to hide the false bob aperture) suggests that the escapement was also converted at the time the new dial fittings were added.

Lot 224

A George II brass mounted ebonised small table clock. James Snelling, London circa 1730. The five (formerly six) pillar bell striking movement with foliate engraved backplate centred with a figural representation of Britannia and inhabited by ho-ho birds, the 6 inch brass break-arch dial with recessed shaped silvered nameplate engraved James Snelling, LONDON and blanked-off false bob aperture inscribed Green Castle 1776 to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the lower angles with female mask and scroll cast spandrels, the upper angles with star-centred silvered subsidiary Strike/Silent opposing regulation dials flanking a central calendar dial within applied foliate cast infill to the arch and with cherub mask and scroll decoration to panel beneath, the inverted bell top case with brass carrying handle and pierced gilt frets to the upper quadrants of the brass-fillet inset front door, the sides with concave bottomed rectangular above break-arch glass apertures with conforming brass fillet inserts, the rear door with further break-arch window, on moulded base with block feet, (movement with losses and other faults), 39cm (15.5ins) high. James Snelling is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as being admitted as an apprentice in 1703, gaining his freedom of the Clockmakers’ Company in 1712. He was appointed master in 1736 and died 1751. Baillie notes him as an ‘Eminent’ maker. The placing of three subsidiary dials in the arch of the dial of the current lot was perhaps made popular during the 1720’s by makers such as DuChesne, DeCharmes and Quare. The relatively complex dial, combined with neat proportions of the case results in an particularly attractive clock which perhaps deserves restoration of the movement.

Lot 485

A Victorian burr walnut and ebonised card table, fold-over top with rounded ends, brass bead outline, enclosing a baize lined interior, the frieze with jasperware plaque inset to the tablet, on four parcel gilt, fluted columns, `X` frame under-section, scrolled legs, width 93cms, (36½"), depth 47cms, (18").

Lot 487

A Victorian burr walnut and marquetry pedestal table, lobed circular top, with quartered veneers and a foliate inlaid centre, on three fluted and ringed columns, scrolled and splayed legs, diameter 90cms, (35½").

Lot 493

A Victorian burr walnut and marquetry card table, stamped James Winter & Son, 101 Wardour Street, Soho, London, serpentine outlines to the fold-over top with kingwood banding, stringing and ornamental scroll work, baize lined interior, shaped apron piece, gilt metal knees and sabots, width 93cms, (36½"), depth 53cms,(21"). Footnote: The firm of James Winter were furniture brokers who traded from 1823-70

Lot 494

A George III mahogany pedestal table, circular tilt top with a moulded rim, ringed baluster column, tripod legs, diameter 52cms, (20½").

Lot 498

An Art Deco ebony and figured walnut servery table, with an ebonised rail, fitted with three frieze drawers, on fluted cabriole legs, width 124cms, (49"), depth 52cms, (20½")

Lot 507

A Victorian walnut extending dining table in the manner of Lamb of Manchester, rectangular top with canted corners, wind-out action with five leaves, 403 x 152cms, (158½" x 60"), the leaves housed in a buffet "sideboard", with open shelves, panelled front with a carved and rosette decoration, length 163cms, (64"), depth 51cms, (20"), height 117cms, (46").

Lot 128

A electroplated five-light table candelabra, mid 19th Century, with four detachable foliate scrolled branches, leaf capped urn sconces, shaped drip pans, leaf capped pear and baluster shaft, shaped circular base with serpentine outlines, marked only with an `N` device, 53cms, (21").

Lot 141

A part canteen of American sterling silver cutlery by Gorham Manufacturing Co, patent date 1897, scrolled outlines, engraved initials, the back engraved 99, comprising a tablespoon, seven dessert spoons, nine dessert forks, ten teaspoons, ten coffee spoons, 40ozs, together with twelve table knives with fused blades, filled handles, (49).

Lot 158

A composite six-place silver canteen, Fiddle and Shell pattern cutlery, mostly by George Whiting, London 1862, comprising tablespoons, table forks, dessert spoons, dessert forks, together with a basting spoon by Samuel Smily, London 1867, 51ozs and two sets of ssix modern knives, with stainless steel blades, the spoons and forks, each with an engraved crest of a lion rampant, (31).

Lot 400

A French style gilt metal and onyx table clock, circa 1900, with a cast urn finial, cast foliate and volute scrolled uprights, plinth base, white enamelled dial with visible escapement, the movement by Ansonia, New York, striking on a gong, 41cms, (16").

Lot 435

A William IV mahogany extending dining table, pull-out action, rounded corners with a reeded edge, fitted with three additional leaves and a half leaf, on eight ringed and fluted legs, brass toes and castors, 164 x 145cms, (65" x 57").

Lot 439

A Victorian burr walnut and amboyna banded card table, rectangular fold-over top with mirrored veneers, banding and stringing, baize-lined interior, banded and strung frieze, on paired ringed and fluted legs with applied bead collars, conforming stretcher rail, splayed legs, width 107cms, (42"), depth 53cms, (21").

Lot 472

A Victorian mahogany extending dining table, `D` shaped ends, moulded outline, wind-out action with three leaves, plain deep frieze, ringed and fluted legs, 105 x 130cms, (41½" x 51").

Lot 1773

A collection of table linen

Lot 1774

A collection of table linen

Lot 1788

A white linen table cloth with openwork lace border and a collection of similar items (a lot)

Lot 1792

A large white linen table cloth with hand worked cream embroidery to the edges 120" x 68" and twelve matching napkins

Lot 1803

A cream satin embroidered table runner and matching napkins

Lot 111

A brass oil lamp and a collection of table lamps, some made from old bobbins

Lot 119

A decoupage decorated pine box and a pair of electric table lamps and an Edwardian window table

Lot 129

A folding brass tray top table and a quantity of metalware

Lot 222

A cased four piece silver mounted dressing table set and a set of plated fish knives and forks

Lot 227

A pair of short table sticks on circular bases

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