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Lot 636

A small reproduction drum table, and a display cabinet

Lot 638

A mahogany leather top sofa table, and a nest of tables

Lot 650

An Ikea dining table, and four suede upholstered single chairs

Lot 661

A Stag Minstrel chest of drawers, dressing table and stool

Lot 666

An Edwardian extending dining table, and a set of seven Queen Anne style dining chairs

Lot 670

A Victorian extending dining table, with four spare leaves, Joseph Fitter patentee

Lot 674

A large 19th century copper pot, a copper coal scuttle, copper coal bin, brassware, trefoil top table and a tapestry firescreen

Lot 676

A Maple & Co strung and inlaid rosewood Pembroke table, 61cm long

Lot 681

A reproduction mahogany oval coffee table

Lot 690

A 19th century mahogany tulip wood cross banded fold-over card table

Lot 74

* THE OLD TESTAMENT TRINITY PALEKH, LAST QUARTER TO END OF THE 18TH CENTURY 61.5 by 41.2 cm. The complex shape of the icon panel suggests that it was originally intended as part of an iconostasis, perhaps from the Church Feasts Tier. However, it could have been a patronal icon in a small church or private chapel. The artist closely followed the old Rublev scheme in the rendering of the angels’ silhouettes and postures, but he also expanded the composition by introducing the figures of Abraham and Sarah waiting at the table of the divine visitors. This icon is a rare example of a monumental composition by a late 18th century Palekh master. The soft voluminous rendering of the faces and the fine assists of the robes are combined with the deep and tender shades of pure colours typical for Palekh, the pearl-like opalescent draperies and mountains and the saturated chiaroscuro effects all make the painting appear like a jewel and lend the icon a particularly exquisite look.

Lot 219

* SEREBRIAKOVA, ZINAIDA 1884-1967 Self-Portrait signed and dated 1938, also stamped twice by Z. Serebriakova`s atelier and numbered "20F/2248" on the reverse Oil on canvas, 73.5 by 60.5 cm. Provenance: The Serebriakova Foundation. Anonymous Sale, Sotheby’s London, November 2001, Lot 120. Related literature: For similar works, see V. Kruglov, Zinaida Serebriakova, Zolotoi Vek, St Petersburg, 2004, pp. 65, 101, 190. Serebriakova produced a great many self-portraits in her time. They reflect the artist’s life and offer an account of her feelings and thoughts, creative pursuits and objectives, as well as of a love for her children and a penchant for games and dressing up. The work offered for the auction represents an important turning point in the artist’s oeuvre. It was executed soon after the closing of a large exhibition of Serebriakova’s works in the gallery of J. Char pentier which despite its impressive contents did not yield material success. The artist was clearly painfully aware of her separateness from the artistic life of Paris which had only intensified over the years, but she had no wish to change herself. Alongside commissioned and non-commissioned portraits and still-lifes, she increasingly began to resort to painting self-portraits, with which she attempted to seize the transience of time and track its imprints not only on her appearance, but also on her growing skill and in the changing of her own outlook. A letter written in May 1938 to her children who had remained in Leningrad, is a testimony to how Serebriakova assessed the quality of her self-portraits: “But what rubbish my ‘self-portrait’ has turned out to be yet again!! I never knew that I was capable of producing such a mediocrity! My dear children, I implore you to destroy it…” In painting the self-portraits, Serebriakova is clearly setting herself different objectives. From an artistic viewpoint, the 1938 Self-Portrait is outstanding: in it, we no longer see the young, carefree woman of the self-portrait At the Dressing Table, or the romantic young lady of the Young Woman with a Candle. Rather, we face a mature artist. Serebriakova depicts herself at work, with paint-brushes in her hand. There is nothing deliberate in her choice of setting or her dress; moreover, paraphernalia neither underscores the exclusiveness of her craft, nor diverts the viewer’s attention from the artist’s radiant and serene expression. The portrait attracts with its immediate, captivating simplicity of feeling, its lyricism and tranquillity of a human being living in spiritual inner piece. In this self-portrait, Serebriakova achieves the confluence of the material and the ideal, a feature that distinguishes a true masterpiece. Dmitry Sarabyanov wrote that Serebriakova “is quite unique in her distrust of the mirror. It is of no concern to her that her left hand in the mirror becomes her right, and that it is her left hand…that holds the paint-brush. Serebriakova paints as she sees it. For her, the reflection of objects in the mirror is not an illusion, not a vacillating ephemeral phenomenon hovering on the boundary between reality and imagination, but a reality that is just as legitimate as that of the items themselves… Serebriakova never placed her own personality at the centre of the universe, did not impose her ideas about the world or her lifestyle upon anyone, and certainly did not pride herself on her features or her body. A self-portrait for her was simply a sign of one’s own existence in a world of nature, people and things – in a world of equivalencies. For the artist, it was the most ‘immediate’ manifestation of the existence of reality. The idea behind her self-portraits is surprisingly simple: it could even be interpreted as foolishly naïve, if this simplicity had not expressed the truth. In the second decade of the 20th century, the artist startled her contemporaries by reminding them how the truth could be expressed through simple words and acts without the need to resort to contrivances and subterfuge. Yet she was able to do this – and, moreover, she did this so naturally, without any particular effort. All she had to do was strive towards a conduct that would not dissipate what had purely and simply been conferred upon her by nature.”

Lot 365

Philip Wickstead (died circa 1790) A portrait of the family of James Henry of Jamaica (1732-1787) and his wife Elizabeth née Jones their six children James John William Edward Elizabeth and Josiah their maternal grandmother Catherine Jones and their tutor All full length seated in an interior a view of their estate called Southfield in St Ann’s Bay Jamaica beyond Oil on canvas in the original 18th Century Jamaican frame 123 x 99cm; 44½ x 39in This impressive family group is undoubtedly one of the most elaborate works that Wickstead produced in his career and certainly one of only a few on this scale to have survived from his time in Jamaica. He was there for 17 years and unfortunately much of his work from this time was destroyed in the great hurricane of 1780. It has been in the collection of the Henry family and their descendants since it was painted. Wickstead trained under Zoffany however his work is closer in style to that of Arthur Devis who also specialised in the conversation piece and who often depicted similar slim elegant sitters. He went out to Jamaica in 1773 with the landscape painter George Robertson under the patronage of William Beckford of Somerley who owned large sugar plantations in Westmoreland Parish. He stayed in Jamaica for the rest of his life and in the 1780’s after a failed attempt at being a planter he took to drink and died around 1790. The Henry’s were Lowland Scots who became prosperous merchants. After the Jacobite Rebellion in 1745/6 James Henry a surgeon and physician by training depicted on the right of the picture set out for the New World. He is recorded as living in Jamaica by 1767. He married the daughter of a wealthy widow and he accumulated considerable wealth. His eldest son James Henry shown seated at the left hand end of the table was a Captain in the St. Ann’s Militia Regiment at the time of his father’s death in 1787. He was the only one of the four brothers to marry and produce heirs and it is through his line that the picture has been passed down through the generations. Provenance: James Henry (1732-1787) James Henry (1765-1807) James Henry (1802-1877) James Henry (1836-1916) Elsie Beatrice Sharp neé Henry 1879-1952) Basil Telford Sharp (1917-1988) who gave it to the present owner a direct descendant of the Henry family ++In good condition

Lot 421

James Paterson (Scottish 1854-1932) Still life of roses on a table Signed Oil on canvas 61 x 51cm; 24 x 20in ++Some flaking one or two small areas of paint loss one or two scratches.

Lot 33

A table top polyphon, with seventeen 8" discs

Lot 100

A glass dressing table set, and other glass

Lot 181

A late Victorian rosewood envelope card table, with bone and satinwood leaf inlay, united by an undertier

Lot 239

A quantity of silver backed dressing table items, a silver plated entree dish and cover, goblet etc

Lot 14

A collection of Delft tiles, probably English 18th century, the twenty one manganese decorated tiles, each depicting a religious scene, to include; Christ on the cross, Jonah and the whale, Tobias and the angel burning the Fish`s gall, and further biblical scenes, each tile measures 13cm x 13cm, and made into two patio table tops with scroll bases, one containing nine tiles, the other containing twelve tiles

Lot 87

An unusual glass epergne/table centrepiece, 19th century, designed as a central, tapering stand terminated by a flute, gilt metal mounted, issuing six clear glass twisted `rods`, connecting six further, table standing trumpet flutes, 41.5cm high

Lot 97

A Victorian figured walnut veneered table top dwarf chest of four long graduated drawers fitted with turned wooden handles under a three quarter arched gallery to the back on a plinth base, 34cm wide, 45cm high, 20.5cm deep

Lot 154

An oak side table, 18th century and later the rectangular top with bowed ends over a thumb moulded frieze on turned and tapering corner supports united by line moulded side stretchers on short turned feet, 186cm wide, 73cm high, 78.5cm deep

Lot 166

A mahogany twin pillar dining table 20th century the table with rounded corners and reeded moulded edge on short gun barrel columns and four down swept legs to each column the table opening to accommodate the two additional leaves, 182cm long (closed), 302cm long (extended), 111cm wide, 72cm high

Lot 167

An early Victorian mahogany rectangular tilt-top pedestal breakfast table the top with rounded corners over a veneered plain freeze on a short turned pedestal and four scrolling down curved legs terminating in leaf carved toes and hidden casters, 119cm long, 106cm wide, 72cm high

Lot 169

A William IV mahogany fold-over card table, the rectangular top with rounded front corners opening to reveal a baize inset circular playing surface on an inverted gun barrel tapering column and circular base, raised on four compressed bun feet, 91.5cm wide, 73.5cm high, 45cm deep (closed)

Lot 171

An 18th century and later mahogany side table, the rectangular top with leaf carved edge over a fluted frieze, on four leaf and flower carved turned legs terminating in pad feet, 113cm wide, 79cm high, 69.5cm deep

Lot 173

An early Victorian rosewood fold-over card table, the rectangular top with rounded corners, on a reeded baluster column and four down-swept legs, terminating in scroll feet and salt glazed casters, 90cm wide, 75cm high, 44.5cm deep

Lot 176

A mahogany marquetry boxwood line strung side table, by Edwards and Roberts, in the 18th century taste, the top inlaid with a band of leaves and rosettes over a single frieze drawer, fitted with a single brass swan-neck handle, with re-entrant front corners, raised on four slender cabriole legs terminating in pad feet, 84.5cm wide, 71cm high, 44cm deep

Lot 178

An early Victorian rosewood pedestal circular breakfast table by Miles and Edwards the circular top over a reeded globe and shaft pedestal on a flat triform base raised on three reeded compressed bun feet, stamped `Miles and Edwards, 134 Oxford Street, London, No.13592`, 120cm diameter, 72cm high,

Lot 181

A Regency mahogany fold-over tea table, the rectangular top with rounded front corners and reeded moulded edge, over a plain frieze on a short turned column four down-swept reeded moulded legs terminating in brass claws and castors, 91cm wide, 90cm open, 74.5cm high, 45cm deep

Lot 183

An early Victorian mahogany wind-out dining table, the rectangular top with D-ends opening to accommodate the single leaf raised on four tapering fluted legs terminating in white salt glazed casters, 148cm long (closed), 191cm long (open), 120cm wide, 71.5cm high

Lot 201

An early Victorian mahogany pull-out dining table the rectangular top with moulded edge and rounded corners on five slender turned tapering legs terminating in casters opening to accommodate the two additional leaves, 132cm long (closed), leaves 2 x 46.5cm, 103.5cm wide, 72.5cm high

Lot 204

A stained mahogany and beechwood cricket style table, early 20th century, the circular top carved to represent England, Scotland and Ireland, with three drop leaves on a triangular base with bobbin turned supports and platform stretcher, on short peg feet, 72cm diameter, 71cm high

Lot 210

A Victorian figured walnut veneered fold-over tea table, the bow-fronted top opening to reveal a quarter veneered interior, on a short leaf carved pedestal and tripod base terminating in scroll feet and brown salt glazed castors, 99cm wide, 99cm open, 75.5cm high, 49.5cm deep

Lot 226

A George III and later mahogany dish top pedestal occasional table the associated 51cm diameter dished top on a turned column and tripod base (at fault) 70cm high

Lot 227

A mahogany wind-out dining table mid 19th century stamped No.7928 the two D-ends opening to accommodate the four additional leaves raised on four slender reeded tapering legs terminating in brass casters along with an additional centre leg support, 135cm long (closed), 303cm long (extended), 126cm wide, 75cm high

Lot 235

A Regency rosewood fold-over card table the rectangular top with rounded front corners and quarter bobbin turned edge over a bead edge frieze with central rectangular panel on a rectangular tapering pedestal and quatraform platform base raised on four lion claw feet with hidden brass casters, 90cm wide, 90cm open, 74.5cm high, 45cm deep

Lot 237

A mahogany press table 19th century stamped `No.4 Manchester & London`, the rectangular top under a wooden threaded press plate over two short drawers on four plane square legs, 66cm wide, 139.5cm high, 39cm deep

Lot 241

A George III and later mahogany tilt-top pedestal occasional table, the dished circular top on a slender double baluster column and tripod base, terminating in pad feet (with repairs and renewals), 55cm diameter, 70.5cm high

Lot 243

A Regency mahogany satinwood banded D-shaped fold over card table, on four square tapering legs, 101cm wide, 93cm open, 74cm high, 41.5cm deep

Lot 244

A Regency mahogany fold-over tea table, the rectangular top with cut off front corners, over a plain frieze on a short baluster column of four down-swept legs, terminating in brass castors, 91cm wide, 91cm open, 74cm high, 45.5cm closed

Lot 254

An early Victorian mahogany pull-out dining table the rectangular top with moulded edge and rounded corners, opening to accommodate the three additional leaves raised on four tapering reeded legs terminating in brass wheel casters, 156cm long (closed), 336cm long (extended), 138cm wide, 76cm high

Lot 61

A Stourbridge glass Webb and Corbett "Pine Cone" pattern part table service

Lot 88

A 19th Century gilt brass table lamp, on ball feet, 16" high

Lot 107

A pair of Chinese blue and white two-handled vases (now converted as table lamps), 20" high

Lot 108

A Chinese porcelain ginger jar (now converted as a table lamp) with gilt metal mounts

Lot 248

A silver ring tree with embossed decoration and a glass and silver mounted table condiment, in the form of a swan

Lot 249

An embossed silver rectangular dressing table tray and a similar embossed dressing table jar lid

Lot 252

A pair of silver rat-tail tablespoons, a matching pair of dessert spoons and three matching silver table forks, 14oz troy

Lot 257

A Walker & Hall silver part table service, comprising tablespoons and forks, dessertspoons and forks, teaspoons and coffee spoons, 68oz troy

Lot 284

A silver plated table gong, a silver plated sugar bowl, a number of plated goblets and other plated items

Lot 287

An embossed silver dressing table mirror, a silver spoon with ship finial and two other items

Lot 317

Six silver tablespoons, Sheffield 1913, and a matching set of six table forks, 19oz troy

Lot 318

Four silver table forks, two matching dessert forks and a pair of tablespoons, 16oz troy

Lot 476

A late Victorian satinwood and inlaid envelope top card table, fitted one drawer, on square taper supports united by a shaped undertier, 21" square

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