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Bourne End Auction Rooms
Lot 455

An early 19th century mahogany tilt top breakfast table, circular top with moulded edge, supported on a tapering column, tripod base with lion paw feet, 71cm h x 119.5cm diaLocation: G

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Bourne End Auction Rooms
Lot 221

Three vintage table lamps to include a chrome figural lamp

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Bourne End Auction Rooms
Lot 241

A group of oil paintings to include an Italian style still life of a vase of flowers, M N Lay- still life vase of flowers on a table with two books, oil on board, signed lower left, a Dutch style winter landscape with farm buildings, a river with figures to the foreground and a distant church, framed, a 19th century oil of a farmer herding sheep towards a barn with hens to the foreground, a portrait of a greyhound in a landscape with a hare being chased by a hound and an impressionist landscape of farm buildings with two figures in a field, unsigned and a gilt picture frame(7). Condition: long term damp from storage, to a couple of pictures, holes and splits to another, Location:

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John Nicholson's
Lot 546

A CHINESE HEXAGONAL HARDWOOD TABLE, with carved and pierced skirt and detachable folding foliate carved legs, top 70.5cm at widest point, 64cm high.

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John Nicholson's
Lot 499

A GOOD CHINESE HARDWOOD SQUARE TABLE, on square form legs, 33cm high, 90cm square.

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John Nicholson's
Lot 498

A LARGE 19TH CENTURY PERSIAN BRASS TRAY TABLE, the tray engraved with panels of figures, with mother of pearl inlaid wooden stand, tray 70.5cm diameter.

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John Nicholson's
Lot 376

A 19TH CENTURY INDIAN JODHPUR BARAMASA MINIATURE PAINTING, gouache on paper with gold highlights, depicting a couple seated either side of a games table, with mount surround; unframed, image 19.5cm x 14cm. Provenance: Property from the family collection of Ducs De Luynes, Christie's 4th October 2012 - lot 172.

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Dreweatts 1759
Lot 110

λ MARC NEWSON (AUSTRALIAN B. 1965)"EVENT HORIZON" TABLEPolished and partially lacquered aluminiumImpressed MARC NEWSON/POD EDITION/POD and numbered 6/10 to the underside; further impressed MARC NEWSON POD EDITION EVENT HORIZON and dated 1992 to tabletop81 x 180 x 97cm (31¾ x 70¾ x 38¼ in.)This example is number 6 from an edition of 10 plus 3 artist's proofs and 1 yellow version, produced by POD Edition, UK. Provenance:Galerie Kreo, ParisSale, Phillips, London, 25 April 2013, lot 229Acquired from the above by the present ownerLiterature:'Tavolo Event Horizon', Domus, Milan, no. 741, September 1992, pp. 67-69Marie La Fonta, 'Alu Surf', Actuel, nos. 31-32, July-August 1993, p. 168Alice Rawsthorn, An Australian in Paris, London, no. 104, February 1994, p. 31Jean Bond Rafferty, Making Waves, Harper's Bazaar, April 1994, p. 140Simon Mills, Watch this Space, The Sunday Times: The Magazine (London), 27 November, 1994, pp. 60, 61, 64marc newson : Bucky, dalla chimica al design, exh. cat., Triennale di Milano, 1995, fig. 10Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, p. 172Alice Rawsthorn, Marc Newson, London, 1999, pp. 64-69, 213 for a sketch, fabrication images and computer generated rendersthe magazine of the powerhouse museum: Powerline, Sydney, Spring 2001, pp. 6-7Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 150-51, 157, 170-71 for fabrication images and computer generated rendersLouise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007, p. 64Alison Castle, Marc Newson Works, London, 2012, pp. 58-63In astrophysical terms an Event Horizon is the boundary of a black hole where the properties of space and time are altered. It is the point of no return, where nothing can resist the immense gravitational pull of the black hole. In giving this work such a universal title Newson not only announces this piece as an important fulcrum or pivotal moment in his constantly developing creative process but also reminds us of the importance of exploration and innovation in his work. As a six-year-old boy Newson remembers watching NASA's Apollo moon landings and feeling "a sense of utopia; a sense of optimism pervaded" and he recalled that "it led me to want to create things, to explore things, to be ambitious." By embracing science and technology as both an inspiration and a fundamental basis for his work Newson inspired a new generation of designers to explore industrial advances in materials, to use more traditional ones in innovative applications and incorporate new digital technology in design and production in the creative process itself. Event Horizon is a clear evolution of the Black Hole Table first designed whilst working in Japan in 1988. The beautiful fluidity of this piece was achieved through the use of polyurethane and carbon fibre. In Newson's best-known piece Lockheed Lounge, from the same year, he looked to recreate this plasticity in what he described as a "fluid metallic form, like a giant blob of mercury". However, he was to admit "I never wanted it to be covered in panels. That was the only way I could think of to achieve something close to the effect I visualized." In Event Horizon he realised the effect in metal that he had only previously been able to imagine. The circumstances of how this was achieved were serendipitous but also fitting to Newson's central design tenets. In 1991 Newson was looking to buy his ultimate car; an Aston Martin DB4, manufactured between 1958 and 1963. He went to view one in a car body shop just outside London that specialised in restoring Aston Martins. There he discovered the highly skilled craftsmen creating beautifully fluid car panels. He commented that "What they do is more akin to silversmithing. They work metal as if it were a piece of fabric or plasticene. What you see is this incredibly sensual and refined object." He showed them one of his studies and described what improvements he was looking to achieve. By introducing a small, undetectable degree of positive curvature in the tabletop panel, they were able to give it the strength it needed to withstand the curvature introduced at the edges. A groove was also placed along the top, lending subtle character to the surface and adding enough reinforcement to prevent the top from flexing. Newson wanted the table to be as light as possible while still having inherent strength. The ends of the table are rolled inward for reinforcement, adding a decidedly aerodynamic element reminiscent of the grille of a sports car or the air intake of a jet engine. Painting the inner surface to give it a perfectly lacquered finish was another challenge, requiring the talent of highly specialized auto painting experts. He initially used three colours to celebrate European motorsport; British racing green, Bugatti blue and as in the present work, Ferrari red. He later added orange, yellow and lime green as variations. Event Horizon plays on the dichotomies of mass and space, solid and liquid. Just as an astrophysical Event Horizon alters space and time, the point of no return between reality and theory, Newson has created his own point of departure. A continuous skin like form whose interior volume feels larger than the exterior surface. Its strength appears to come, not from the delicate structure, but from the void below the surface and the hollow funnel legs, which in turn draw you in like black holes. Its fluid sculptural qualities contrast the simple utilitarian nature of the object. From concept, production and realisation this work encapsulates all of Marc Newson's ideologies making it one of his finest masterpieces.Please note: ARR aplies to this lotCondition Report: Please contact the department for all condition report enquiries on pictures@dreweatts.com Condition Report Disclaimer

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Dreweatts 1759
Lot 131

λ JONATHAN WARRENDER (BRITISH B. 1954)CHEQUERS Oil on canvas Signed with initials and dated 1982 (lower right) 39 x 32.5cm (15¼ x 12¾ in.)Provenance:Commissioned direct from the artist in 1982 Baroness Margaret Thatcher, Chequers Residence, Private CollectionThence by descent to the Estate of Baroness Margaret Thatcher Peter Harrington, London Purchased from the above by the present owner In Spring of 1982 the artist Jonathan Warrender was invited by Margaret Thatcher to lunch at the Prime Minister's country retreat, Chequers, located in Buckinghamshire. Conflict had begun just a few weeks earlier between Argentina and the United Kingdom in the Falklands which lasted for 74 days ending on 14 June, the war cabinet for which was sternly led by the 'Iron Lady' herself. It was during these tumultuous times that Warrender was to meet Thatcher.Thatcher had admired a painting by Warrender hanging in close friend Lord Hector Laing's Dunphail residence and he suggested that he would like to gift Thatcher a painting of Chequers for her personal collection. Warrender spent his childhood in Somerset amongst the undulating Mendip hills, captivated by the vast landscape and the patterns that sprawled across the pastures. In 1966, his family moved to Scotland where he resides today with his wife and children in Ayrshire. Warrender studied at Camberwell School of Art but he found it difficult to find his path during a period when abstraction was all the rage. He focused on his meticulous eye for detail and fascination with perspective. After studying at Camberwell School of Art, Warrender was introduced to a circle of Sotheby's clients by a dear friend and fellow artist Andrew Festing. He used his skill in producing infinite detail to create copies for these clients who were looking to sell important works of art. In 1980 Sir Iain Tennant commissioned Warrender to paint his residence in Morayshire, Innes House. This event catapulted his career working on commissions in both the UK and abroad. Warrender's style became extremely recognisable as he used a 'bird's eye view' perspective to depict the estates and their landscapes. His attention to detail is mesmerising capturing the texture of every brick and the light catching every blade of grass. On Saturday 17th April 1982, Warrender found himself in the back of Lord Laing's Bentley whirling through the country lanes to Chequers, to attend lunch with Margaret Thatcher. The surreal commission commenced. Warrender recalls arriving at the house and being immediately struck by the gardens and landscape surrounding the iconic house. 'Bluebells were getting ready to chime in the woods and the leafy buds on the lime trees in the Park were the size of [a] mouse's ear.' Jonathan Warrender Memoir, February 2013, Archive Thatcher MSSThe artist recollects the intimate setting, sat closely together on a round table with Thatcher, her husband Denis, Lord Laing and his wife Marion. 'As we sat down I remember having to overcome a hot moment of panic due to my extreme proximity to the Prime Minister.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSAfter lunch Thatcher invited Warrender to accompany her in the gardens to locate a view from which to paint the house. They settled on a viewpoint under a tulip tree just opposite the front door. As the whirlwind afternoon drew to a close Warrender remembers Thatcher proclaiming 'And now I must see what is happening in those bloody islands.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSS Warrender started in the May and spent three weeks painting at Chequers which was coming to life as the summer months took hold. 'What an irony it was for me, that at the same time as Mrs Thatcher handed the historians a pen, she handed me a brush.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSCondition Report: Not relined. Inspection under UV reveals some minor areas of flaring to the left edge and to details in the cloud however this is most likely brushwork added by the artist. In overall good original condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 130

λ JONATHAN WARRENDER (BRITISH B. 1954)CHEQUERS Oil on canvas Signed with initials and dated 1982 (lower right) 25 x 39.5cm (9¾ x 15½ in.)Provenance:Commissioned direct from the artist in 1982 Baroness Margaret Thatcher, Chequers Residence, Private CollectionThence by descent to the Estate of Baroness Margaret Thatcher Peter Harrington, London Purchased from the above by the present owner In Spring of 1982 the artist Jonathan Warrender was invited by Margaret Thatcher to lunch at the Prime Minister's country retreat, Chequers, located in Buckinghamshire. Conflict had begun just a few weeks earlier between Argentina and the United Kingdom in the Falklands which lasted for 74 days ending on 14 June, the war cabinet for which was sternly led by the 'Iron Lady' herself. It was during these tumultuous times that Warrender was to meet Thatcher.Thatcher had admired a painting by Warrender hanging in close friend Lord Hector Laing's Dunphail residence and he suggested that he would like to gift Thatcher a painting of Chequers for her personal collection. Warrender spent his childhood in Somerset amongst the undulating Mendip hills, captivated by the vast landscape and the patterns that sprawled across the pastures. In 1966, his family moved to Scotland where he resides today with his wife and children in Ayrshire. Warrender studied at Camberwell School of Art but he found it difficult to find his path during a period when abstraction was all the rage. He focused on his meticulous eye for detail and fascination with perspective. After studying at Camberwell School of Art, Warrender was introduced to a circle of Sotheby's clients by a dear friend and fellow artist Andrew Festing. He used his skill in producing infinite detail to create copies for these clients who were looking to sell important works of art. In 1980 Sir Iain Tennant commissioned Warrender to paint his residence in Morayshire, Innes House. This event catapulted his career working on commissions in both the UK and abroad. Warrender's style became extremely recognisable as he used a 'bird's eye view' perspective to depict the estates and their landscapes. His attention to detail is mesmerising capturing the texture of every brick and the light catching every blade of grass. On Saturday 17th April 1982, Warrender found himself in the back of Lord Laing's Bentley whirling through the country lanes to Chequers, to attend lunch with Margaret Thatcher. The surreal commission commenced. Warrender recalls arriving at the house and being immediately struck by the gardens and landscape surrounding the iconic house. 'Bluebells were getting ready to chime in the woods and the leafy buds on the lime trees in the Park were the size of [a] mouse's ear.' Jonathan Warrender Memoir, February 2013, Archive Thatcher MSSThe artist recollects the intimate setting, sat closely together on a round table with Thatcher, her husband Denis, Lord Laing and his wife Marion. 'As we sat down I remember having to overcome a hot moment of panic due to my extreme proximity to the Prime Minister.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSAfter lunch Thatcher invited Warrender to accompany her in the gardens to locate a view from which to paint the house. They settled on a viewpoint under a tulip tree just opposite the front door. As the whirlwind afternoon drew to a close Warrender remembers Thatcher proclaiming 'And now I must see what is happening in those bloody islands.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSS Warrender started in the May and spent three weeks painting at Chequers which was coming to life as the summer months took hold. 'What an irony it was for me, that at the same time as Mrs Thatcher handed the historians a pen, she handed me a brush.' Jonathan Warrender Memoir February 2013, Archive Thatcher MSSCondition Report: Not relined. The canvas is protruding at the centre of each edge where framing spacers were once pressed between stretcher and canvas, verso. These have now been removed. The work may benefit from re-stretching. Some diagonal cracking across the sky. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

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Golding Young & Mawer
Lot 755

A Nathan Georgian style mahogany and walnut cross banded draw leaf dining table, raised on brass capped scroll en supports united by a stretcher, 74cm high, 154cm wide, 195cm extended, 100cm deep, together with six dining chairs, with striped fabric, overstuffed seats, comprising pair of carvers and four single chairs.

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Golding Young & Mawer
Lot 356

Vintage weighing measures, comprising a pair of cast iron table top scales, with arrangement of weights applied to base from 7lb downwards, 28cm high, 61cm wide, 25cm deep, a brass No 60T Salter scale, and a cast green metal weighted scale, 20cm high. (3)

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Golding Young & Mawer
Lot 2

A pair of Moorcroft Hibiscus pattern table lamps, each on a cream ground, stamped to underside, with shades, 48cm high. (2)

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Golding Young & Mawer
Lot 820

A late Georgian mahogany tilt top breakfast table, raised on a turned column with three out swept legs, brass capped on castors, 72cm high, 118cm wide, 81cm deep.

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Golding Young & Mawer
Lot 784

A 20thC Chinese hardwood side table, with a single frieze drawer, raised on square legs united by an under tier, 51cm high, 51cm wide, 51cm deep.

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Golding Young & Mawer
Lot 789

An E Gomme Limited teak rectangular coffee table, raised on turned legs united by a slatted under tier, 45.5cm high, 70cm wide, 49.5cm deep.

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Golding Young & Mawer
Lot 817

An early 20thC Anglo Indian carved occasional table, decorated with flowers, the octagonal top raised on four cabriole legs united by an under tier, 70cm high, 40cm wide.

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Golding Young & Mawer
Lot 805

A late 20thC Italian tubular steel and marble topped occasional table, of square form, raised on fluted legs, 40cm high, 52cm wide, 52cm deep.

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Golding Young & Mawer
Lot 148

An early 20thC brass and wrought iron dressing table mirror, with oval swing mirror, on a shaped metal base, with painted flowers and leaves, on tripod feet, 34cm high.

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Golding Young & Mawer
Lot 605

An Art Deco style table lamp, formed as a lady in shawl and evening gown with greyhound, on a black ebonised base, 66cm high. WARNING! This lot contains untested or unsafe electrical items. It is supplied for scrap or re-conditioning only. TRADE ONLY

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Golding Young & Mawer
Lot 803

A Victorian ebonised occasional table, with a pine top, raised on fluted and turned columns over cabriole legs united by a turned stretcher, on ball feet, 75cm high, 57cm wide, 43cm deep.

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Golding Young & Mawer
Lot 802

A 19thC style painted hardwood occasional table, the hexagonal top with sides decorated with leaping deer and scrolling leaves, raised on a trunk carved column over three scrolling cabriole legs, 86cm high, 53cm wide, 47cm deep.

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Golding Young & Mawer
Lot 756

A Victorian mahogany draughtsman's table, with adjustable rectangular top, on a shaped and moulded four splayed base, 70cm high, 76cm wide, 40cm deep.

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Golding Young & Mawer
Lot 763

A late Georgian mahogany oval tilt top breakfast table, raised on a turned column, over three out swept legs, brass capped on castors, 70cm high, 156cm wide, 133cm deep.

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Golding Young & Mawer
Lot 819

A late Georgian mahogany fire screen, with a fabric covered lift up side, candle shelf, raised on square supports united by turned stretcher, 94cm high, together with an Edwardian rosewood and satinwood cross banded occasional table, raised on slender turned supports, 70cm high. (2)

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Golding Young & Mawer
Lot 791

An oak nest of occasional tables, raised on turned legs united by stretchers, largest table 45cm high, 51cm wide, 38.5cm deep.

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Golding Young & Mawer
Lot 712

A cast iron and marble circular pub table, on a white painted base, with circular marble top, 70cm high, 64cm diameter.

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Golding Young & Mawer
Lot 500

Three items of silver, comprising two silver Fiddle pattern and golf design teaspoons, and a silver handled miniature hand held dressing table mirror, 10cm high, 3.47oz gross. (3)

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Golding Young & Mawer
Lot 839

An Edwardian mahogany fold over occasional table, with single frieze drawer, raised on chamfered square legs, 73cm high, 51cm wide, 39.5cm deep.

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Golding Young & Mawer
Lot 769

A Victorian mahogany tilt top occasional table, raised on a baluster turned column, over three cabriole legs, 70cm high, the top 67cm x 48cm.

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Golding Young & Mawer
Lot 823

An 18thC oak bible box, with a foliate carved frieze, raised on a turned table base, united by a box stretcher, 76cm high, 66.5cm wide, 41cm deep.

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Golding Young & Mawer
Lot 519

George V and later silver dressing table wares, comprising an imitation tortoiseshell five piece silver dressing table set, comprising pair of clothe brushes, pair of hair brushes and a hand held mirror, and three pieces of Sambonet plated cutlery.

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Golding Young & Mawer
Lot 825

An oak circular draw leaf dining table, raised on a square central column, above X frame block feet, 77cm high, 123cm wide, 178cm extended, together with eight light oak single dining chairs, with brown leather seats and panel backs. (9)

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Golding Young & Mawer
Lot 818

A G-Plan dark elm coffee table, the oval top raised on turned legs untied by a rod slatted under tier, 44cm high, 94cm wide, 83cm deep.

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Golding Young & Mawer
Lot 866

A solid oak rectangular coffee table, with four panel top, 44cm high, 180cm wide, 90cm deep.

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Golding Young & Mawer
Lot 832

A Victorian mahogany Sutherland table, raised on slender square legs, united by an undertier, 66cm high, 60cm wide, 19cm deep, 70cm extended.

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Golding Young & Mawer
Lot 503

A George V silver dressing table brush, with tortoise shell and pique flower scroll inset design, Birmingham 1923, 25cm high.

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Golding Young & Mawer
Lot 770

A light oak and grey painted draw leaf dining table, raised on square legs, 78cm high, 139cm wide, 208cm extended, 90cm deep, and a pair of similarly painted single dining chairs.

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Golding Young & Mawer
Lot 699

A Bursley ware Charlotte Rhead pottery table lamp, tube line decorated with flowers, pattern no. TL76, printed and painted marks, with shade 33cm high, together with a late 20thC Studio pottery table lamp, of tapering square form, decorated with a band of circular motifs, 46cm high. (2)

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Golding Young & Mawer
Lot 867

A South African blackwood with yellowwood inlay side table, with cross banding, having three frieze drawers, raised on turned columns over cabriole legs, united by an arched, shaped stretcher, 72cm high, 122c wide, 48cm deep.

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Golding Young & Mawer
Lot 498

A set of six Edward VII table spoons, each with a moulded leaf design top, Mayfair MW Bros London 1902, 10.96oz.

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Golding Young & Mawer
Lot 794

A Victorian light oak wind out dining table, with three additional leaves, raised on fluted and turned legs, brass capped on castors, 73cm high, 156cm wide, 287cm extended, 129cm deep.

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Golding Young & Mawer
Lot 631

An early 20thC ruby glass table lamp, the shaped lamp with gilt painted decoration, on a leaf and flower moulded foot, 61cm high.

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Golding Young & Mawer
Lot 811

A George IV mahogany fold over card table, with rosewood cross banding and brass inlay, raised on turned legs, brass capped on castors, 75cm high, 91cm wide, 45cm deep.

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Golding Young & Mawer
Lot 795

A late 20thC rosewood draw leaf dining table, possibly Danish, with curved square supports, 73cm high, 160cm wide, 210cm extended, 100cm deep.

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Golding Young & Mawer
Lot 602

An Art Deco spelter table lamp, formed as a lady holding a torch, on a stepped black marble base, 50cm high. WARNING! This lot contains untested or unsafe electrical items. It is supplied for scrap or re-conditioning only. TRADE ONLY

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Golding Young & Mawer
Lot 813

An early 20thC demi lune flame mahogany fold over tea table, raised on tapering square legs, 73cm high, 103cm wide, 51.5cm deep. (AF)

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Golding Young & Mawer
Lot 382

A Chinese mahogany table top cabinet, with an altar top above an arrangement of two drawers over two cupboards, 45cm high, 50cm wide, 26cm deep.

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Golding Young & Mawer
Lot 386

An Italian onyx side table, with a circular top, on a baluster column support with circular base, 52cm high, 36cm diameter.

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Golding Young & Mawer
Lot 31

A Christiaan Huygens burr walnut table clock, the oval brass dial with silvered chapter ring bearing Roman numerals, date day apertures, the upper phase with month and astrological dial, fronted by a constellation dial, chapter ring showing the comparable times for various cities and countries across the world, strike silent lever, eight day movement with rod chime strike, number 1050-023, clock number S29, serial number 1401, the case of domed form, raised on brass bracket feet, certification and information leaflets, 28cm high, 33cm wide.

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Golding Young & Mawer
Lot 812

A Victorian oak side table, with two frieze drawers, raised on baluster turned columns united by stretchers, 76cm high, 102cm wide, 51cm deep.

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Barry L Hawkins
Lot 746

Mahogany drop leaf dining table H75cm W75cm D21cm (when closed) 

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Barry L Hawkins
Lot 705

Maple & Co dressing table with mirror H151cm W107cm D52cm approx 

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Barry L Hawkins
Lot 370

A Silver Framed table clock - Sheffield 1994 by R Carr. working order (needs new battery)

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Barry L Hawkins
Lot 791

Ceramic Lady table lamp on wooden base 

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Barry L Hawkins
Lot 760

Mahogany coffee table H48cm Top 60cm x 120cm approx 

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Barry L Hawkins
Lot 798

Ceramic table lamp with glass shade 

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Barry L Hawkins
Lot 495

A.E.Poston & Co Ltd Lonsdale Plate silver plated Queens cutlery consisting of 8 tablespoons, 2 salad servers, 2 soup ladles, 2 fruit serving spoons, 18 desert spoons, 18 soup spoons, 18 table forks, 18 desert forks, 12 table knives, 2 carving knives, 2 carving forks, 1 knife sharpener, 12 desert knives, 12 tea knives, 12 fruit spoons, salt spoon, 16 teaspoons, 6 grapefruit spoons and 12 coffee spoons 

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Barry L Hawkins
Lot 468

AFTER AUGUSTE MOREAU, a pair of single branch table lamps, centred with girl and with a  single branch lamp with leaves attached hanging over her with opaque glass flower moulded shades, 55cm high each

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Barry L Hawkins
Lot 524

Boxed cutlery, flat ware and a table calendar

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