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Bourne End Auction Rooms
Lot 81

A Georgian mahogany gateleg table having single fall flap and square legs, 72.5h x 130w, Location:

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Bourne End Auction Rooms
Lot 349

A reproduction French side table having a marble effect top, applied gilt metal mounts and on cabriole legsLocation:

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Bourne End Auction Rooms
Lot 459

Two mid 20th century table top display cabinets, 48cm h x 67cm wLocation:

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Bourne End Auction Rooms
Lot 222

A modern table top cabinet, together with bible boxes, treen items, Native African American wall plaques and othersLocation:

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Bourne End Auction Rooms
Lot 65

A Victorian cast iron rectangular pub table base having a rectangular wooden top, A/F, 70cm x 107cm, Location:FOYER

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Bourne End Auction Rooms
Lot 207

A vintage wrought iron garden table with a marble top and a pair of matching chairs Location:

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Bourne End Auction Rooms
Lot 504

A Victorian stained wooden table cabinet with glazed front and sides 61cm x 73cm x 33cm Location:

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Bourne End Auction Rooms
Lot 350

Mixed furniture to include a kidney shaped table, two tier leather topped lamp table and a mahogany oval two tier coffee tableLocation:

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Bourne End Auction Rooms
Lot 43

Black lacquered papiermache comprising a pair of wall pockets, and a table top cabinet Location:

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Bourne End Auction Rooms
Lot 114

A 19th century walnut finished pedestal table, and a walnut tea caddy Location:

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Bourne End Auction Rooms
Lot 371

A retro G-plan teak coffee table with two nests of tables underneath, 51cm h x 98.5cm wLocation:

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Bourne End Auction Rooms
Lot 562

A selection of table glass and mixed ceramics to include Richardson's, Tyrone, and Edinburgh cut glass decanters and drinking glasses, Japanese blue and white porcelain cricket box, Delft ware china, and other items Location:

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Bourne End Auction Rooms
Lot 226

An Empire style circular topped table having a marble effect top, supported by three winged angels and raised on scrolled feet, 77cm h x 102cm wLocation:

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Bourne End Auction Rooms
Lot 198

Attributed to Benjamin Gibbon - an interior scene with an armchair and vase of flowers on a table, unsigned oil on canvasLocation:

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Bourne End Auction Rooms
Lot 381

A modern pine rectangular topped dining table on black painted block shaped legs, 78cm h x 152cm w together with a matching bench, 45.5cm h x 122cm wLocation:

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Bourne End Auction Rooms
Lot 487

Mixed furniture to include a music cabinet, trolley, demi lune table, mirror, stool and a small display cabinet Location:

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Bourne End Auction Rooms
Lot 553

A mid 19th century mahogany Sutherland table with turned columns and an inlaid mahogany cake standLocation:

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Bourne End Auction Rooms
Lot 477

Circa 1950, A G-Plan Librenza dining table, together with 4 matching butterfly chairs Location: RAB

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Bourne End Auction Rooms
Lot 380

A 19th century rosewood library table converted to a coffee table having a red leather top and on lion paw feet, 48.5cm h x 104cm wLocation:

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Bourne End Auction Rooms
Lot 79

A 19th century French work table having a hinged top, two drawers and shelf below, 77h x 49.5w, Location:

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Bourne End Auction Rooms
Lot 188

A 1930's silver framed desk calendar, 8cm x 10.5cmLocation: TABLE

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Bourne End Auction Rooms
Lot 472

A Victorian mahogany side table on spiral turned legs, with an end drawerLocation:

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John Nicholson's
Lot 127

A FINE CHINESE MOTHER OF PEARL INLAID HARDWOOD OVAL TOP TABLE, the surface decorated with fine inlay depicting various beasts and animals as well as objects, flora, and butterflies, with four column legs united by a carved and turned central boss, 75cm high, the top measuring 86cm x 56.5cm.

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John Nicholson's
Lot 124

A 19TH CENTURY CHINESE KANG TABLE, with carved frieze on cabriole legs terminating in claw feet, 81cm x 46cm, 28cm high.

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John Nicholson's
Lot 278

A 19TH CENTURY MOORISH POSSIBLY SPANISH (ALLA CERTOSINA TYPE) BONE INLAID TABLE, 48cm high.

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John Nicholson's
Lot 415

A FINE 19TH CENTURY ANGLO-INDIAN TABLE, with finely carved and pierced folaite skirt and legs, 75cm high, 78cm x 51cm.

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Jones & Jacob
Lot 329

A silver backed dressing table set with initialled decoration, another three-piece dressing table set with engine turned decoration and other brushes and mirrors

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Jones & Jacob
Lot 540

A late 19th century mahogany dining table with three extra leaves, on square taper supports and brass castors, 110" wide x 48" deep x 28" high when fully extended

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Jones & Jacob
Lot 260

A pair of turned oak table lamps, on circular bases, 16 1/4" high

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Jones & Jacob
Lot 350

Two tortoiseshell and silver backed dressing table mirrors, and three similar brushes

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Jones & Jacob
Lot 354

An Asprey's green enamelled, silver and cut glass dressing table jar and a similar clothes brush

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Jones & Jacob
Lot 601

A mahogany side table, fitted two drawers with brass handles, on turned supports, 35" wide x 18" deep x 29" high

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Jones & Jacob
Lot 320

A quantity of silver dressing table brushes, mirrors, etc

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Jones & Jacob
Lot 351

A pair of silver backed dressing table clothes brushes, another pair of silver backed hair brushes, three similar silver backed mirrors and three other brushes

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Jones & Jacob
Lot 221

A large collection of table linen, various

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Jones & Jacob
Lot 591

A George III mahogany inverse breakfront sideboard/dressing table, fitted five drawers with brass lion mask stamped handles, on turned and tapering supports, 48" wide x 23" deep x 32" high

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Jones & Jacob
Lot 317

A silver backed dressing table mirror with embossed decoration (damages), two silver topped dressing table jars and a silver backed brush

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Jones & Jacob
Lot 84

A pair of Staffordshire figures, man and woman with jug, 9 3/4" high, a Royal Dux Bohemia table centre, formed as two women, 12" high, a Royal Doulton Winston Churchill character jug, 5 1/2" high, a white glazed relief moulded jug and other items

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Jones & Jacob
Lot 586

A 19th century rosewood and satinwood games table, on turned column and carved tripod splay supports, 19" dia x 27" high

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Jones & Jacob
Lot 257

Three Moorcroft "Magnolia" table lamps, various shapes, tallest 15" high

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Jones & Jacob
Lot 548

A late 19th century mahogany dome top work table, fitted one drawer and well, on square taper supports, 17 1/4" wide x 12" deep x 31 1/2" high

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Jones & Jacob
Lot 721

A 4SO all season out door oval table, 70" x 42" x 29 1/2" high

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Jones & Jacob
Lot 299

A Chinese white metal double table salt, formed as two peaches, 3 7/8" wide, 1.6oz troy approx

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Jones & Jacob
Lot 326

A pair of silver collared and cut glass scent bottles, a similar long cut glass and silver topped scent bottle, 11 1/2" long, and three other silver topped dressing table jars

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Jones & Jacob
Lot 552

An oak carved table of early 17th century design, on vase turned columns and united by a pierced stretcher and bun feet, 54" wide x 27" deep x 28" high

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Jones & Jacob
Lot 534

A late 19th century mahogany circular tray top occasional table, on turned and tripod splay supports, 16 1/2" dia

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Jones & Jacob
Lot 684

An oak fold-over top patience  table with undertier, on splay supports, 20" wide x 30" deep x 29" high, and a wine table

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Jones & Jacob
Lot 271

A pair of silver plated wine bottle coasters and a table lighter with stand, mounted golfer, 6 3/4" high overallCondition:Paint losses to base of lighter stand.There's a dent on the lighter's chrome base.The golf club is bent and twisted the wrong way. 

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Jones & Jacob
Lot 560

A late 19th century maple folding table with 1-yard marking, on turned supports, 43" wide x 22" deep x 24" high

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Jones & Jacob
Lot 325

A silver framed shaped dressing table easel mirror with fluted design and heart-shaped bevelled plate

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Jones & Jacob
Lot 166

A base metal table centre with floral and acanthus leaf decoration, on fluted column with winged cherub supports and circular base, 13 3/4" high, a similar brass jardiniere with embossed cherub decoration, 8 1/2" high, a pair of candlesticks and other items

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Jones & Jacob
Lot 314

A silver table lamp with weighted base, 13 1/2" high

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Dreweatts 1759
Lot 104

JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.

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Dreweatts 1759
Lot 16

FOLLOWER OF GILBERT JACKSONPORTRAIT OF JAMES BOEVEY, AGED 11, FULL-LENGTH IN A GREEN DOUBLET AND HOSE, HOLDING A GLOVE, BY A TABLE WITH AN OPEN BOOK IN A CURTAINED INTERIOROil on canvas (in an 18th century frame)Dated 'AN.O DOM: 1634/AETATIS SUAE II' with identifying inscription (lower right)146 x 99cm (57¼ x 38¾ in.) Provenance: Possibly commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1295Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley AbbeyLiterature:Compiled by: Arthur W. Crawley-Boevey, 'The Perverse Widow': Being Passages from the Life of Catharina, wife of William Boevey, Esq., London, 1898, p. 37Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 11-12, no. 2J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 982, fig. 5, The Morning Room This full-length painting is a companion piece to lot 17, Joanna Boevey (1605-64), aged 11, daughter of Andreas Boevey (1566-1625) and his first wife, Esther Fenne. This portrait probably depicts James Boevey (1622-96), Joanna's half-brother, son of Andreas and his second wife, Joanna (née de Wilde). The two portraits were probably painted to mark the children's coming of age when they were eleven. James, merchant and philosopher, was, in later life, only five feet tall, 'slenderly built with extremely black hair curled at the ends, an equally black beard, and the darkest of eyebrows hovering above dark but sprightly hazel eyes' (com accessed 14 June 2022). His early career was as a 'cashier' for the banker Dierik Hoste, and for the Spanish ambassador in London, while in the employ of the Dutch financier Sir William Courten. A known figure in Restoration London, Samuel Pepys described him as: 'a solicitor and a lawyer and a merchant altogether who hath travelled very much; did talk some things well, only he is a Sir Positive; but talk of travel over the Alps very fine' (Pepys, 9.206). Although his writings on 'Active Philosophy' were never published, they circulated widely amongst his friends and acquaintances. In 1642, James Boevey and his half-brother, William, made a joint-purchase of Flaxley Abbey. In 1912, it was argued that the painting was in fact a portrait of Abraham Clarke the Younger rather than James Boevey (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester, Bristol, 1912, pp. 11-12, no. 2). This was based on a discrepancy between the date of the painting and the age of the sitter - in 1634, Joanna Clarke's son (née Boevey), Abraham the Younger, born in 1623, was aged 11 while his uncle and Joanna's half-brother, James, born in 1622, would have been 12 years old when the portrait was painted. In the 'old Flaxley List', the painting was recorded as 'Mr. Clarke' and attributed to Van Dyck. However, in retrospect, it seems more likely that Andreas Boevey would have commissioned a portrait of his children, Joanna and James. The Van Dyck attribution seems unlikely if he is to be credited with the companion portrait of Joanna, painted in 1616, as Van Dyck did not arrive in England until 1620 (ibid.). A 19th-century copy of this portrait was painted and published in Crawley-Boevey, A.W.C., The Perverse Widow, Being Passages from the Life of Catharina, Wife of William Boevey, 1898, p. 34.  Condition Report: Canvas has been relined and mounted on a later stretcher. The work appears to be in overall good restored condition. A layer of surface dirt and cloudy masking varnish, which prevents proper inspection under UV, but is is presumed there is historic retouching.Condition Report Disclaimer

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Barry L Hawkins
Lot 777

Retro coffee table with shelf H39cm Top 44cm x 105cm approx 

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Barry L Hawkins
Lot 716

Retro ceramic table lamp with shade (no plug)

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Barry L Hawkins
Lot 760

Demi Lune table and coffee table 

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Barry L Hawkins
Lot 769

Stag coffee table H50cm Top 62cm x 120cm approx 

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