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Busby Auctioneers & Valuers
Lot 884

A circular marquetry table, having satinwood panels depicting songbirds, within scrolling marquetry decoration, on a base of three scrolling cabriole legs and ceramic casters, 120cmD 76cmH

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Busby Auctioneers & Valuers
Lot 895a

An extremely heavy contemporary steel and glass dining table, rectangular thick glass top, on a 'crossframe' steel base, glass top measures 200x100x2cm

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Busby Auctioneers & Valuers
Lot 897A

A white painted artist's bench, with raked canvas support, together with a small white painted bed table (2)

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Criterion Auctioneers Ltd
Lot 101

An Art Deco ivory Bakelite gentleman's dressing table set, including pin tray, clothes brushes, lidded pot and other items. H.24 W.17 D.2cm. (largest)

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Criterion Auctioneers Ltd
Lot 109

A 1970's coffee table, of rectangular form with a smoked plate glass top on a chromed steel base. H.38 W.130 D.64cm.

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Criterion Auctioneers Ltd
Lot 12

A 19th century Continental giltwood console table, the rectangular marble top with a moulded edge over a carved and pierced frieze, on turned and wrythen fluted legs. L.125 x D.38 x H.73cm

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Criterion Auctioneers Ltd
Lot 131

An Art Nouveau Edwardian silver dressing table tray, relief embossed heron decoration with quatrefoil border, by William Aitken, hallmarked: Birmingham, 1908, registration no. 416410. Weight 339g W.31 D.23cm

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Criterion Auctioneers Ltd
Lot 174

A 19th century mahogany night table, with a gallery top over a cupboard door, on slender tapering legs. H.81 W.30 D.30cm.

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Criterion Auctioneers Ltd
Lot 188

A blonde elm Ercol drop leaf dining table. Maker's label to underside. H.71 W.123cm. (extended)

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Criterion Auctioneers Ltd
Lot 247

An early 20th century mahogany demi lune side table, with a foldover top opening to reveal a satinwood interior, on three cabriole legs joined by a demi lune undertier. H.76 W.55 D.34cm.

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Criterion Auctioneers Ltd
Lot 257

A side table, with a rectangular top over a recess, on turned legs. H.73 W.60 D.40cm.

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Criterion Auctioneers Ltd
Lot 267

A pine folding trestle table, with a rectangular plank top on folding end supports. H.68 W.136 D.73cm.

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Criterion Auctioneers Ltd
Lot 284

A pair of urn form marble table lamps, on square bases with pink shades. H.38 Dia.20cm. (each)

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Criterion Auctioneers Ltd
Lot 300

A Georgian oak side table fitted with frieze drawer on square tapering supports. H.72 W.86 D.43cm.

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Criterion Auctioneers Ltd
Lot 304

A bronze ceramic glaze stylised floral design table lamp. H.19 W.22cm

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Criterion Auctioneers Ltd
Lot 325

A 19th century mahogany washstand table, the square top with a moulded edge over an undertier with a single drawer, the square section legs joined by a X stretcher. H.82 W.38 D.39cm.

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Criterion Auctioneers Ltd
Lot 370

A George III style Edwardian mahogany demi lune card table, the foldover top crossbanded, with a green baize interior, on square section tapering legs. H.75 Dia.92cm(ext)

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Criterion Auctioneers Ltd
Lot 39

A circa 1910 oak occasional table, the square top with a moulded undulating edge, on barley twist legs joined by stretchers. H.70 W.45 D.47cm.

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Criterion Auctioneers Ltd
Lot 415

A bronze glazed spherical disc ceramic table lamp. H.38 W.31cm

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Criterion Auctioneers Ltd
Lot 421

A Royal Worcester Evesham pattern 'oven to table ware' dinner set, comprising serving dishes, tureens, a sauceboat, ramakins and other items. H.4 W.36 D.19cm. (largest)

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Criterion Auctioneers Ltd
Lot 446

A pair of vintage Staffordshire pottery Scottish nobleman table lights with cream silk pleated shades. The hardwood bases made to fit the Staffordshire figures. H.68 W.42cm

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Criterion Auctioneers Ltd
Lot 461

A William IV rosewood drop leaf work table, with a single drawer flanked by applied palm leaves, on a U shaped support on a carved stem, over a quatraform base with scrolling feet. H.72 W.80 D.43cm. + pieces.

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Criterion Auctioneers Ltd
Lot 50

A George III mahogany occasional table, the rectangular top with a shallow three quarter gallery over a single drawer, raised on slender tapering square section legs. H.75 W.63 D.51cm.

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Criterion Auctioneers Ltd
Lot 51

A George III mahogany side table, the rectangular top with reeded edge, over two short drawers, on square section tapering legs. H.74 W.106 D.52cm.

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Criterion Auctioneers Ltd
Lot 65

E J Riley Ltd slate bed table top snooker table, with two score boards, six cues and rest and incomplete set of balls with traingle. L.164 W.90cm. (largest)

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Criterion Auctioneers Ltd
Lot 82

A late 20th century mosaic table lamp, of tapering form with a shade. H.67 Dia.14cm.

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Criterion Auctioneers Ltd
Lot 84

An early 20th century carved alabaster and spelter table thermometer in the form of a classical column with cherub sitting on top. H.48 W.13 D.13cm.

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Adams
Lot 15

William Scott RA (1913 - 1989)Still Life Forms (1969)Gouache, 29.5 x 42cm (11½ x 16½")Signed and dated (19)’69This work is registered in the William Scott Archive as number 2361Provenance: Collection of R.W. Wilson, DublinExhibited: Queen's Art Gallery, Belfast, Selling Exhibition in Aid of Innocent Victims Fund, 1 - 8 November 1969, where purchased by R.W. WilsonWilliam Scott is widely regarded as one of the most innovative artists of the twentieth century, noted in particular for his unique combination of still life and abstraction. Scott was born in Greenock, in Scotland, and subsequently moved with his family to his father’s native Enniskillen at the age of eleven, where his education as an artist began. He continued his studies at the Belfast College of Art, followed by the Royal Academy Schools.in London.  He travelled in Europe, returning to the UK at the onset of World War II, and taught for a time at the Bath Academy of Art. By the late 1950s, his reputation was established when he was one of three artists chosen to represent Britain at the Venice Biennale in 1958.While at the outset, the content of William Scott’s work was easily identifiable, his tendency to stylisation rather than illusionistic realism was soon evident. Over the years, Scott explored a number of thematic genres in his artwork. However, his interest in still life themes predominated and provided subject matter throughout his life as an artist. His interpretation focused on the humble, domestic objects of a working-class environment, and he explained that the objects he painted were the symbols of the life he knew best. Still life provided a substantial range of methods for William Scott, and his work evolved through an array of distinct phases. For example, during the late 1950s, his ‘table top’ images were crowded with forms and texture, and his relatively monochromatic leanings were shot through with elements of vibrant, contrasting colour. This gave way to a more spacious and airy aesthetic bordering on abstraction that was fully realised, in the mid 1960s, with his celebrated Berlin Blues series. He continued to venture between the two genres of still life and abstraction, each informing the other. Scott often worked with an almost monochromatic selection of colour as Still Life Forms (1969) demonstrates, using tonal variations for definition. The stark contrasts of white and black objects are foregrounded by the grey surround, and the paler greys of two further containers add visual interest as they denote depth in the composition. A further bowl-shaped object, on the lower right, appears ‘cut off’ as though continuing beyond the picture surface. Thus the artist finds a way to play with volumes and space, with tones and profiles, thereby translating a series of ordinary domestic objects into a dynamic abstraction that emphasises rather than diminishes their symbolic relevance in his life. Remarkably, with such a humble and selective range of objects, Scott found multiple arrangements and colours to explore, on the brink of abstraction. The airiness of the image, and the clean, confident outlines, here drawn in what presents as thick, dark pencil, might suggest at first glance an adhesion to the ‘machine aesthetic’ pioneered by some Modernists to suggest the democratisation of the image with the elimination of the distinctive hand of the artist. However, observation of the work of William Scott identifies its more typical hand-crafted nature; the apparently flat surfaces exhibit the textures of his brushwork, and the objects retain a deliberately blurred edge as paint is allowed to respond to the condition of the surface. Pentimenti – the ghostly lines of obscured earlier marks, almost erased or painted over – indicate how the artist’s changes of mind reflect the evolution towards a greater balance, and where that process is allowed by the artist to be just discernible. Scott enriched his own explorations with an awareness of the achievements of artists whose work he witnessed in galleries and exhibitions, including Piero della Francesca, Chardin, Cézanne, and Matisse. He observed: ‘My interest in still life painting grew directly out of looking at Cézanne. I wanted to look at Cézanne not through cubist eyes, but rather through the eyes of Chardin.’ He went on to explain that: ‘There were few works to be seen, but the great French exhibition at the Royal Academy in 1932 while I was a student jolted me towards new art.’ (1)Contemporaneous artists also provided important impetus in his explorations. Scott went to the United States in 1953, invited by gallerist Martha Jackson as he prepared his exhibitions there, and he came into contact with Yves Klein, Willem de Kooning, Jackson Pollock, as well as Mark Rothko who subsequently visited him in Somerset. Scott explained: ‘My experience in America gave me a determination to re-paint much of what I had left unfinished in terms of symbolic still life.’ (2)William Scott addressed familiar domestic utensils, distilling them from their everyday, three-dimensional, practicality, to the cool and airy abstraction of his work. The inherent contradictions in his practice, and the visual tensions evoked, give the work a unique dynamism so that even the most deceptively simple arrangement remains compelling and intriguing.Dr. Yvonne Scott, January 20231 William Scott, ‘Biographical Notes’, in Alan Bowness (ed.), William Scott: Paintings Drawings and Gouaches 1938–71, exhibition catalogue,    The Tate Gallery, London, 1972, p.66.2 William Scott, British Council Lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings,     Vol. 2, 1952–1959, Thames & Hudson in association with William Scott Foundation, London, 2013, p.18.Condition Report: Very good overall conditionIt appears that the paper has been stuck down onto the backing board and needs to be re-backed The painting was seemingly purchased  at a fund raiser in Belfast during the early days of the Troubles. Presumably it was donated by the artist

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Adams
Lot 63

William John Leech RHA ROI (1881-1968)Self Portrait with Window and TableOil on board, 50 x 38cm (19¾ x 15'')SignedTaylor Gallery label versoListed as No.5 “Self-portrait with window and table” in the list compiled by Leo Smith of paintings by W.J. Leech in his studio at Clandon, 5 September 1968, for Greenwood & Loryman.Provenance: Accountants, London for death duty purposes by the Dawson Gallery, 4 Dawson St., Dublin 2.When William (Bill) Leech, with his wife May Botterell, moved out of London to live at West Clandon, near Guildford in Surrey, in 1958, Leech was already in his late 70’s. Moving into his newly built studio, in the garden, gave him renewed energy to paint and his subject matter was mainly his garden and his self-portraits. These “Self-portraits” depict Leech wearing his black hat, to cover his white and balding head, looking searchingly out towards the viewer, sitting posed in front of his ‘Aloes’ series, painted in the 30’s. He is questioning his life’s work as a painter.In this “Self-portrait” Leech is not wearing his debonair black hat, but captures himself in his casual jacket and open neck shirt, framed by the lighted window onto the garden. Always aware compositionally, he sits to the right, with the edge of the table forming a strong diagonal towards the upright metal bar of the window. Clothes draped casually over the edge of the chair to the left and the green ceramic vase with its darker green plant, all create his studio environment.Leech’s searching expression is now more haunted, with a hint of despair, perhaps reflecting on his long life as a painter, during which he did not achieve the promise of his early success. When he wrote to Leo Smith, of the Dawson Gallery in 1966, he recognized this failure; “You see not much success really but you cannot be a recluse all your life as I have been and have worldly success. I had an idea when young, that if the work was good enough it would sell in the end. The end is the word……”This is one of the last “Self-portraits” Leech painted and it maintains all the dexterity and skill the painter possessed. When his second wife May died on 10th July 1963, aged eighty-three years, Leech was a very lonely man and 5 years later on 16th July 1968 at age eighty-eight, after being diagnosed as terminally ill, Leech fell from the railway bridge at West Clandon onto the tracks below.Dr Denise FerranAugust 2021

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Adams
Lot 14

William Scott RA (1913 - 1989)Still Life No.2 (1970)Gouache on paper, 59 x 78cm (23¼ x 30¾")Signed and dated 1970Provenance: Collection of R.W. Wilson, DublinStill Life No.2 (1970) is representative of the approach to such themes painted by William Scott at this time.  Over the years, Scott had explored a range of thematic subjects, from the early biblical narratives and genre scenes, to the landscapes and nudes that featured repeatedly throughout his oeuvre. However, Scott consistently reverted to still life as the primary theme of interest across his life as an artist. William Scott’s earliest still life images are relatively naturalistic, though always stylised rather than strictly mimetic. Following a series of phases of exploration, the forms in Scott’s paintings became increasingly distilled, typically based on the familiar domestic objects typical of his childhood in Greenock, Scotland, where he was born. He later moved with his family to his father’s native Enniskillen, and remained in Northern Ireland where he began his education as an artist. He continued his education at the Royal Academy Schools in London, eventually settling in Somerset. Scott was ground-breaking in creating art that combined the familiar and mundane useful object with his perspective on Modernism abstracted form.Still life has attracted artists for centuries, providing an opportunity to represent a host of significant objects. The earliest examples in western art present still life elements in religious altarpieces, particularly in Northern Europe, prioritising the potential of objects, some ordinary, others precious, to carry symbolic meaning: thus this genre provided a readable array of distinctive ‘attributes’, by which the character of religious characters could be defined - a vital visual language in an era of low literacy. Over time, still life emerged as a subject in its own right, though it continued to embody a host of readable symbols for purposes of morality, intended as reminders of the perceived wisdom at the time.  In time, still life became a celebration of the ordinary, as artists began to focus on mundane objects for their own sake, to signify the familiar and to evoke nostalgia. From the late nineteenth century, towards the emergence of Modernism, the possibilities of forms of expression that challenged academic principles, provided an impetus for alternative methods of seeing: from the colours and shapes of the objects themselves, to how they could be located in space.William Scott had the opportunity to observe methods of expression through the work of artists encountered in exhibitions and art galleries, ranging from the Renaissance to the present, from Piero della Francesca to Henri Matisse, via Jean Siméon Chardin and Paul Cézanne. His visits to the United States from 1953, for his own exhibitions there, provided unique opportunities to observe the most contemporary developments and to meet some of the leading exponents as an equal – artists like Jackson Pollock, Barnett Newman – and Mark Rothko, who visited him in Somerset some years later. Still Life No.2 (1970) demonstrates characteristics that can be observed in iconic works by William Scott, such as Still Life Brown with Black Note (1969)(1). Still Life No.2 comprises colours and forms typified by the artist at the time: a flat black profile appears suspended, suggestive of the profile of a skillet, familiar in Scott’s work. A white circular object to the left is cut off by the edge of the painting, while on the right a white jug, another form that appears in Scott’s work, is presented like a stencil against the red-brown ground. The background shows the marks of the brush, and there is a suggestion of shadows thrown by some of the objects. The slight ‘bleeding’ of paint at the edges of objects, softens their otherwise austere profiles, and indicates the hand-crafted dimension of the artwork, and introduces a human dimension to the austerity of the arrangement. The composition is spare and spacious, a marked distinction from Scott’s still life paintings of the 1950s, which featured crowded, almost chaotic, ‘table top’ images connecting the artist and viewer more closely with the domestic realities of a busy kitchen environment. The present painting reflects the more abstract and symbolic nature associated with the later works of the painter. Once he divested his repertoire of the food items (fish, eggs, vegetables) evident in his earliest work, Scott’s particular selection of items reflects his stated preference for man-made over ‘natural’ things, perhaps identifying with durability despite repeated use, over organic fragility.William Scott is recorded as commenting on his practice in a lecture delivered at the British Council in 1961 that sheds light on his approach to still life:“My pictures now contained not only recognisable imagery but textures and a freedom to distort. I again painted a profusion of objects that spread themselves across the canvas, often clinging to the edges leaving the centre open …’.(2)Dr. Yvonne Scott, January 20231 William Scott, Still Life Brown with Black Note (1969), oil on canvas, 121.9 x 183 cm, Irish Museum of Modern Art, Dublin. See Norbert Lynton, William Scott, Thames & Hudson Ltd., London, 2004, p.313.2 William Scott, British Council lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings,       Vol.2, 1952–1959, Thames & Hudson,in association with the William Scott Foundation, London, 1913, p.18.Condition Report: Very good overall conditionWe have no additional documentation, the painting was consigned from a deceased estate The edges or the hand made paper are a little scuffed in places, see images

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John Taylors Auction Rooms
Lot 56

*2 Voyage stands, large fabric sample book stand, book stand and work table

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John Taylors Auction Rooms
Lot 34

*Wicker baskets, wooden crates, suit covers, Dents hand mannequins & pine table

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Sloane Street Auctions
Lot 11

Property of a lady Early 19th Century A Regency mahogany dining table. With turned column on four reeded sabre legs with drop-leaf centre section. Dimensions: 29.5 in. (H) x 45 in. (W) x 120 in. (L)

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Sloane Street Auctions
Lot 2

Property of a Lady English 19th Century A late George III mahogany and satinwood cross-banded breakfast table With a circular flip top veneered in flame figured mahogany in a sunburst, on a baluster turned column to four downswept reeded supports, brass caps and castors. Provenance: Apter-Fredericks (where purchased by the current owner) Dimensions: 28 in. (H) x 55 in. (Diameter)

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Sloane Street Auctions
Lot 13

Property of a lady A Regency rosewood sewing table With a single drawer over a silk work-basket. Dimensions: 29 in. (H) x 30 in. (W) x 18 in. (D)

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Sloane Street Auctions
Lot 18

Property of a Lady English 19th Century A rosewood sofa table with inlay and stringing  Dimensions: 28.5 in (H) x 58 in. (L) x 24.25 in (D)

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Bourne End Auction Rooms
Lot 114

A rectangular Windsor Minerva coffee table, probably by Ercol, model 844 with two small drawers and open recess, raised on ball castors. - 40 cm high x 80 cm square

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Bourne End Auction Rooms
Lot 117

A rectangular Windsor Minerva Ercol coffee table, model 844 with two small drawers and open recess, raised on ball castors, with label, 40 cm high x 80 cm square

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Bourne End Auction Rooms
Lot 123

A small blonde elm Ercol sutherland table, with drop leaf ends, 46 cm high x 68 cm deep x 103 cm wide (fully open)

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Bourne End Auction Rooms
Lot 124

A mid century elm Ercol coffee table, Model 459, having a rectangular top supported on angled supports united by a slatted magazine tray, 36 cm high x 104 cm wide x 45 cm deep

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Bourne End Auction Rooms
Lot 127

A light elm drop leaf dining table, possibly by Ercol, together with a set of four Windsor dining chairs, stamped B.S 1960 to underside, the table 72 cm high x 124 cm wide x 113 cm deep

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Bourne End Auction Rooms
Lot 128

A mid century light elm dining table with end extension, possibly by Ercol, model 265, together with two Ercol Windsor carvers and four dining chairs, table 72 cm high x 151 cm wide x 75 cm deep, the extended end adds 46 cm wide

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Bourne End Auction Rooms
Lot 129

A mid century light elm dining table, possibly by Ercol, with rectangular plank top, on four tapered legs, 71 cm high x 151 cm wide x 76 cm deep

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Bourne End Auction Rooms
Lot 132

A light elm Ercol drop-leaf dining table, together with a pair of Swan Ercol carvers and another pair of Ercol Windsor dining chairs, with labels, the table 72 cm high x 112 cm deep x 123 cm wide (fully open)

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Bourne End Auction Rooms
Lot 134

A dark elm Ercol dining table and chairs, the rectangular top on four tapered legs, together with two carvers and four windsor chairs with arched spindle back, with labels, the table 71 cm high x 151 cm wide x 76 cm deep

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Bourne End Auction Rooms
Lot 135

A single Ercol style elm pebble table, 39 cm high x 64 cm wide x 43 cm deep

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Bourne End Auction Rooms
Lot 140

A long Perspex console table, 80 cm high x 147 cm wide x 30.5 cm deepProvenance: Contents of the Estate of Sir Frank Williams CBE and Lady Virginia Williams.

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Bourne End Auction Rooms
Lot 142

A glass and Perspex occasional table, the rectangular glass top with chamfered corners, on a heavy Perspex base, 74 cm high x 122 m wide x 61 cm deepProvenance: Contents of the Estate of Sir Frank Williams CBE and Lady Virginia Williams.

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Bourne End Auction Rooms
Lot 143

A large glass and Perspex coffee table, of square form with glass top sitting on two rectangular Perspex pillars, 35.5 cm high x 147 cm wide x 19 cm deepProvenance: Contents of the Estate of Sir Frank Williams CBE and Lady Virginia Williams.

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Bourne End Auction Rooms
Lot 148

Finn Juhl (Danish 1912-1989) for France & Son- three 1960's teak occasional tables with shield shaped tops on brass legs, the underside with makers mark Condition report:Surface scratches and wear to all 3 table surfaces, with dents/knocks to edges. Two of the table surfaces have one of the manufacturers roundels missing. The legs: five of them are missing the brass ring at the top. One of them is missing the black cap to the foot. No signs of actual breakage to the wooden surfaces. 

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Bourne End Auction Rooms
Lot 258

A William IV rosewood breakfast table, with circular top sitting on a carved tripartite pedestal base with paw feet, 71 cm high x 119 cm diameterProvenance: Contents of the Estate of Sir Frank Williams CBE and Lady Virginia Williams.

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Bourne End Auction Rooms
Lot 266

A Louis XV style giltwood and marble console table, the shaped griotte marble top with moulded border, above a carved shell and acanthus scroll table, the legs joined by a central satyr mask flanked with two others, ending in two hoof feet

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Bourne End Auction Rooms
Lot 267

A George III mahogany serving table, the serpentine top with shell inlay, central frieze drawer flanked by dummy drawers, supported on four tapered legs with spade feet, 87.5 cm high x 107 cm wide x 60.5 cm deep

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Bourne End Auction Rooms
Lot 291

An Edwardian mahogany triple top folding games table, the rectangular top enclosing a baize lined panel with counter recesses and a further panel with roulette wheel, counter wells with counters and green baize marked scoring panel, on fluted square tapered legs, headed with horizontal fluted panels, terminating in spade feet with brass castors, 68 cm high x 94 cm wide

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Bourne End Auction Rooms
Lot 294

A William IV rosewood and sycamore banded card table, the d-shaped hinged top with boxwood stringing, opening to a green baize surface, on a half hoop and circular base with further stringing, resting on a shaped platform with chamfered corners, and splayed legs with brass caps and castors, 74.5 cm high x 91.5 cm wide x 45.5 cm deep

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Bourne End Auction Rooms
Lot 301

A set of four Ercol windsor carvers, together with a pair of tall back Ercol armchairs, and a blonde elm 'Grand Windsor' dining table with double leaf extension, the chairs with label, the table 70 cm high x 152 cm wide (without extension)

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Bourne End Auction Rooms
Lot 302

(XX/XXI) Contemporarylarge modernist style painting on thick board, depicting a woman in her kitchen reading a letter, with cubic pattern to the table, chair, curtains and her dress, 135 cm high x 152 cm wide

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Bourne End Auction Rooms
Lot 303

A French Louis XVI style giltwood and marble side table, the circular top inset with pink breche marble, with egg and dart moulded giltwood border, raised on four tapered fluted legs joined by a small platform, on tapered feet, 72 cm high x 45 cm diameter

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Bourne End Auction Rooms
Lot 64

Friedrich Arthur (Artur) Wittig (1894-1962) German, stylised portrait of a woman smoking a cigarette at a table, signed upper right and dated '57', oil on board, 63 cm x 47 cm

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Bourne End Auction Rooms
Lot 81

An Ercol style blonde elm and beech drop-leaf Windsor coffee table, no visible label, total width with sides up 161 cm wide x 36 cm high

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