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Nigel Ward & Company
Lot 765

A round table on castors a/f., loose top, 21" diameter x 28 1/2" high.

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Nigel Ward & Company
Lot 766

An extending dining table with 6 chairs, 76" x 43 1/2" x 30" high.

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Nigel Ward & Company
Lot 767

A round extending table with 4 chairs, 42" diameter x 31" high.

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Nigel Ward & Company
Lot 769

A solid drop leaf beech table with central drawers.

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Nigel Ward & Company
Lot 777

Two chairs and a round table, 26" diameter x 28" high.

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Nigel Ward & Company
Lot 78

A circular adjustable height table, 28'' diameter.

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Nigel Ward & Company
Lot 785

Green lined curtains and table cloth etc.

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Nigel Ward & Company
Lot 786

A glass top table, 56 1/2" x 201/2" x 18 1/2".

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Nigel Ward & Company
Lot 787

A small footstool and a small table.

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Nigel Ward & Company
Lot 79

A glass topped occasional table.

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Nigel Ward & Company
Lot 805

A modern glass table and 4 grey chairs.

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Nigel Ward & Company
Lot 806

A modern glass console table.

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Nigel Ward & Company
Lot 817

A round coffee table with glass top.

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Nigel Ward & Company
Lot 831

A stag dressing table with mirror, stool etc.

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Nigel Ward & Company
Lot 864

A Stag bedside table with drawer.

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Nigel Ward & Company
Lot 96

A garden bench, 5'3'' long x 31'' high with table, 36'' long x 18'' high.

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Nigel Ward & Company
Lot 97

A circular glass topped table, 31'' diameter x 27'' high with parasol and chair.

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Bonhams
Lot 52

GEORGES MATHIEU (1921-2012)Ornithogale 1978 signé et daté 78 ; titré au revershuile sur toile signed and dated 78 ; titled on the reverseoil on canvas 97 x 195 cm. 38 3/16 x 76 3/4 in.Footnotes:Cette œuvre est accompagnée d'un certificat d'authenticité du Comité Georges Mathieu. (https://georges-mathieu.fr/)ProvenanceCollection de l'artiste, FranceAcquis auprès de celle-ci par le propriétaire actuelExpositionAvignon, Palais des Papes, Mathieu, 1985, p. 20, n° 61En 1985 au Palais des Papes à Avignon se tient une importante exposition après la rétrospective en 1978 à Paris au Grand-Palais. Elle réunit cent peintures de très grands formats, représentatives du parcours de Mathieu depuis 1944. Elles affirment le triomphe de celui qui donna ses lettres de noblesse à l'abstraction lyrique dont le nom lui est redevable. De la révolte à la renaissance, jusqu'à l'abstraction prophétique, le langage de Mathieu s'est érigé en un style qui vaut comme signature. Depuis la publication de son texte Esquisse pour une Embryologie des Signes en 1951, Mathieu a érigé le signe en un acte fondateur de l'inversion sémantique, faisant table rase de tout le système de pensée depuis Platon jusqu'à Heidegger. En créant une nouvelle dialectique picturale, l'artiste revendique de nouvelles pratiques pour une approche différente de l'univers. L'improvisation, la spontanéité et la vitesse sont requises au nom de l'imaginaire, de l'inconnu et du risque pour un bouleversement prémonitoire, celui de la fin de l'image.Les œuvres de Mathieu, qui font l'objet de nombreuses rétrospectives depuis plus de quarante-ans, sont visibles dans plus de quatre-vingts collections publiques, y compris l'Art Institute of Chicago ; le Centre George Pompidou à Paris ; le Hirshhorn Museum and Sculpture Garden à Washington, DC ; le Salomon R. Guggenheim de New York, la Tate à Londres, le Musée d'Art Moderne de la ville de Paris etc. Selon le mot de Clément Greenberg, Mathieu était le plus influent des peintres européens.La toile titrée Ornithogale appartient à une importante série de peintures que Mathieu réalise en 1978. Le nom est celui d'une plante à bulbe communément connue sous celui d'étoile de Bethléem. Formé à partir de deux mots grecs : ornithos : oiseau et gala : lait. Si ceux-ci peuvent être évoqués par la blancheur de l'écriture hiéroglyphique, allusion aux pétales de l'ombelle, Mathieu donne toujours un titre une fois la peinture terminée et rejette toute interprétation littéraire ou historique. Il ne faut chercher aucune correspondance identitaire et pas davantage une interprétation symbolique. En affirmant que le signe précède le sens, c'est la plénitude du signe qui convoque l'Histoire et non l'inverse. C'est avec un geste essentiellement pictural qu'advient la créativité. Avec Ornithogale la prégnance du signe est absolue. La fulgurance du trait égale celle du geste assuré, jusque dans son appropriation de l'espace. Volontairement décentré, le noyau graphique impose sa posture héraldique d'une souveraine grandeur classique en se détachant d'un fond brossé dans un ocre sombre. Telle une comète, un unique trait se prolonge dans une trajectoire détentrice du commencement et de l'aboutissement d'une nouvelle liberté. Toujours structuré l'informel précède la naissance dans un fracas paroxystique qui prend appui d'un petit rectangle rouge. Cette phénoménologie de l'acte de peindre fait de Georges Mathieu un précurseur et un visionnaire dont la peinture flamboyante et cosmique est indissociable de l'action spirituelle vécue par les grands mystiques en renouant avec le vide originel. Le signe appartient à l'ordre du cri et du rituel, à la jubilation où alternent le risque et la maîtrise, l'extase et la pensée dans une solitude existentielle absolue. A la fin d'un corpus mythique, Mathieu peut se dire « Désormais seul en face de Dieu ».In 1985 at the Palais des Papes in Avignon, an important exhibition was held after the 1978 retrospective in Paris at the Grand Palais. A collection of one hundred very large paintings, representative of Mathieu's career since 1944, established the prominence of an artist who made a name for and gave lyrical abstraction its prestige. From revolt to renaissance, to prophetic abstraction, Mathieu's language has become a recognized signature style. With the publication of his text Esquisse pour une Embryologie des Signes in 1951, Mathieu elevated the sign to a founding act of semantic inversion, thus erasing an entire system of thought from Plato to Heidegger. By creating a new pictorial dialectic, the artist advocates new practices to seek a fresh approach to the universe. The imaginary requires improvisation, spontaneity and speed; the risk of the unknown conducive to a premonitory upheaval: the end of the image. The past forty years have been marked by numerous retrospectives of Mathieu's work in over eighty public collections, including the Art Institute of Chicago; the Centre George Pompidou in Paris; the Hirshhorn Museum and Sculpture Garden in Washington, DC; the Salomon R. Guggenheim in New York; the Tate in London; the Musée d'Art Moderne de la Ville de Paris and many more. In the words of Clement Greenberg, Mathieu was the most influential among European painters. One of an important series created by Mathieu in 1978, the title of this painting, Ornithogale, refers to a bulbous plant commonly known as the Star of Bethlehem, formed from two Greek words ornithos: bird, and gala: milk. Though these might evoke the whiteness of his hieroglyphic writing, an allusion to the petals of the umbel, Mathieu only ever named a painting once it was finished and rejected any literary or historical interpretation. One should not expect a reference to something specific, or some symbolic interpretation.By affirming that signs precede meaning, it is the plenitude of the sign that summons History and not the opposite. Indeed, it is during the pictorial gesture that creativity emerges. With Ornithogale, the relevance of the sign is absolute. The dynamism of the stroke is coupled with the resolve in his gesture as it appropriates the space. Voluntarily off-centre, the graphic nucleus imposes its heraldic posture with a regal, classical grandeur by emerging from a background brushed in dark ochre. Like a comet, a single line extends in a trajectory containing at once the inception and the achievement of a true emancipation. Always structured, the informal precedes deliverance in a paroxysmal crash while anchored to a small red rectangle. This phenomenology ofthe act of painting is why Georges Mathieu is both a precursor and a visionary. His flamboyant and cosmic art is inextricably linked to the spiritual activity experienced by great mystics when reconnecting with the original void. The sign, the cry and the ritual are of kindred spirit, the joy of risk and mastery, ecstasy and thought alternating in total existential solitude. At completion of a mythical corpus, Mathieu could say to himself: 'Henceforth alone before God'.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Wilson55 Auctioneers & Valuers
Lot 1

A diamond brooch, A diamond brooch, the old cut diamond line within an openwork millegrain surround, estimated total diamond weight 0.95ct, principal diamond estimated 0.45ct, estimated colour I-J, estimated clarity SI, stamped 14k, length 4.7cm, gross weight 4.6g.Overall condition good to fairScratches and discolouration in keeping with occasional wearPin in working order, with safety claspDiamonds bright and well matched - inclusions visible under magnification, one outer diamond SI2-P1 with a light crystal inclusion under table facet

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Wilson55 Auctioneers & Valuers
Lot 128A

A synthetic sapphire and diamond three stone ring, A synthetic sapphire and diamond three stone ring, the cushion shape synthetic sapphire doublet with circular cut diamond sides, estimated total diamond weight 0.45ct, ring size U1/2, gross weight 7.5g.Overall condition good to fairSynthetic sapphire doublet- with visible curved colour zoning under table facet, light abrasion to facet edges, replacement stoneDiamonds well matched - with light inclusions visible under table facetUnmarked and untested

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Wessex Auction Rooms
Lot 170

A collection of ten Royal Mint London 2012 Olympics 50p coins, uncirculated in original card sleeves, to include Athletics, Aquatics, Goalball, Canoeing, Gymnastics, Table Tennis, Fencing, Tennis, Boccia and Cycling.

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Wilson55 Auctioneers & Valuers
Lot 50

A pair of early 20th century 18ct gold diamond cufflinks, A pair of early 20th century 18ct gold diamond cufflinks, each designed with an old cut diamond inset to a planished circular panel, estimated total diamond weight 0.15ct, hallmarks for Chester, 1903, length 1.5cm, gross weight 10.7g.Overall condition good to fairScratches and discolouration in keeping with age and wearSponsor's marks BHJOne diamond with a chip to the table facet

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Forum Auctions
Lot 165

Gillray (James) A Voluptuary Under the Horrors of Digestion, etching and stipple-engraving with original hand-colouring, on laid paper with large Strasbourg Lily watermark, sheet 345 x 274 mm (13 1/2 x 10 3/4 in), trimmed within the platemark, faint exposure lines to extremities, minor browning, tipped at upper corners into mount, unframed, published by Hannah Humphrey, 1792Literature:BM Satires 8112⁂ A corpulent Prince of Wales rests in an armchair by a dining table covered with the remains of his substantial meal, his waistcoat and trousers all but unbuttoned, an overflowing chamber pot rests on unpaid bills, his gambling debts and related items lie on the floor.

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Forum Auctions
Lot 19

Freedman (Barnett) Real Farmhouse Cheese, first edition, 16pp., 8 full-page colour lithographs by Freedman, stitched in original limp pictorial cloth wrappers by Freedman, small scuff to upper cover, 4to, [Milk Marketing Board], [1949].⁂ Commissioned in 1939 and written and illustrated by Barnett Freedman, it was finally published in 1949 by the Milk Marketing Board. It portrays cheese production from the cow to the dining table.

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Forum Auctions
Lot 198

Voyages.- Cook (James) A Voyage to the Pacific Ocean, 3 text vol. only, first edition, 24 engraved plates and maps, some folding, double-page table, some offsetting, vol.1 marginal repair to one leaf, contemporary mottled calf, gilt, rebacked, worn, vol.3 with upper different (blind-stamped calf) cover, 4to, Printed by W. and A. Strahan, 1784.⁂ First edition of the official account of Cook's third and final voyage. The third volume was written by Capt. James King. Without the accompanying folio atlas.

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Forum Auctions
Lot 225

Illuminated manuscript.- Leaf from the celebrated Ghistelles Hours, with a hare playing the bagpipes and a human-drollery dancing, in Latin, illuminated manuscript on vellum, single leaf, with single column of 11 lines in a fine and angular gothic bookhand, red rubrics, line-fillers in red, blue and liquid gold geometric patterns, one-line initials in blue or liquid gold with ornate red or dark blue penwork, two historiated initials in gold on bi-coloured blue and rose grounds, each enclosing a human-headed drollery creature, and with extensions in border forming a frame to text on three sides terminating in gilt animal masks, the hare playing the bagpipes standing on the lower outer edge of this frame on the verso, and the drollery with a woman's torso in the same place on the recto, slightly darkened at edges, some small spots, gold flaked away in places, else in good condition, 120 x 80mm., [Flanders (perhaps Bruges)], [c.1300].⁂ From a fine Book of Hours long associated with John III of Ghistelles (d.1315), lord of Ghistelles and Ingelmunster, whose family arms appear on a number of leaves. The calendar is now at the Walters Art Museum in Baltimore and includes an Easter Table for the years 1300-1316, suggesting its completion immediately before the earliest of these years. It was reportedly owned by Sir Sydney Cockerell (1867-1962), and was certainly imperfect when it was broken by Heinrich Eisemann in 1952. A list of known leaves was published in Medieval and Renaissance Manuscripts in New Zealand Collections, 1989, no. 72.

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Forum Auctions
Lot 311

Sombre Binding.- Book of Common Prayer (The), engraved throughout and ruled in red, with decorative borders, illustrations, volvelle on Circular Table and advertisement leaf at end, list of subscribers, contemporary black sombre bidning, rebacked retaining original backstrip, tooled in blind, a little rubbed, expert repairs to corners, 8vo, John Baskett, sold by John Sturt, engraver, 1717.

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Dreweatts 1759
Lot 414

A WILLIAM III WALNUT SIDE TABLE CIRCA 170072cm high, 76.5cm wide, 47.5cm deep

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Dreweatts 1759
Lot 435

AN UNUSUAL NEEDLEWORK TABLE 'CARPET'LATE 17TH/EARLY 18TH CENTURY Woven with central large flowerhead within tulip spandrelsapproximately 148 x 69.5cmProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Edges with fraying and some trimming- overall quite dry to the touch and fragile- will require remedial backing- - typical colour muting- some old insect loss. Black dye thread looks to have corroded leaving vacant visible underlying fabric with shadow linesWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Dreweatts 1759
Lot 442

A SMALL PAINTED FAUX BURR WOOD TABLE TOP CABINET PROBABLY GERMAN OR FRENCH, 17TH CENTURYSlide top above twin doors enclosing fitted interior of small drawers, pull out drawer below, the whole with painted simulated burr wood finish, drawers with remnants of red and cream paper lining 25cm high, 23.5cm wide, 16cm deep Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: generally fairly good condition given age and likely use- rubbing to exposed edges and corners. Repaired top slide- bottom long drawer with replaced interior sides and back- key lacking loop and seemingly stuck in lockWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Dreweatts 1759
Lot 452

A GEORGE I FIGURED WALNUT AND FEATHER BANDED SIDE TABLE CIRCA 1720 71cm high, 75cm wide, 50cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: There are scuffs, scratches, cracks, knocks and abrasions consistent with age and use.There are losses, restorations and observations including:Some elements including the legs are fruitwood; repairs to veneers; use of filler.There is evidence of worm.The top with marks.The handles and lock are later; some cracks to the oak drawer linings.Some cracks, repairs and splicing to the legs and feet.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 482

A GEORGE II OAK, BURR OAK AND INLAID SPICE CUPBOARD OR TABLE TOP CABINETCIRCA 174065cm high, 54cm wide, 29cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Cabinet with the marks, knocks, scratches and abrasions commensurate with age and use. Old chips, splits and losses. Various old veneer and moulding repairs - please see images. Hinges are of the period but are replacements. There are some filled old holes visible to the door from previous fixtures. Lock plates to door and drawer are both lacking. Handle and escutcheons are replacements but suit the piece well. Some evidence of old worm to backboards. One backboard is an old replacement. Some small drawers possibly lacking to interior. One divider/shelf to the interior lacking. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 491

A GEORGE II CARVED MAHOGANY CONSOLE TABLE CIRCA 1750 With Verde Antico marble top 78.5cm high, 137cm wide, 61cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Some old chips and splits. Marble top is late associated. It has the expected minor chips and 'nibbles' to edges and some scratches. The underside of the marble has two metal bars inset. These appear to be for support as there is no repaired crack visible to the top. Some shrinkage cracks to the joins between the legs and 'ears'. Old vacant screw holes to the underside from where a previous top was fixed. Table is structurally solid. Later pads of timber applied to the undersides of the claw on ball feet. Some evidence of old worm to underside. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 494

A GEORGE II MAHOGANY FOLDING TEA TABLECIRCA 175073cm high, 74cm wide, 36cm deep (when closed)Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseFor a remarkably similar example of tea table, see Christie's, Interiors, 9th Jan 2013, Lot 372 ($2,500).A similar example of tea table attributed to John Goddard is on display in the Metropolitan Museum: The American Wing (Accession Number 67.114.1).Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Various old splits and chips. Various old repairs and some sections of replacement veneer to frieze - see images. Later blocks and screws to the underside of the top. Two of the 'ears' of the legs are old replacement elements. Strip of old replacement timber inset to one of the halve of the top along the hinge line. There are also old repairs to the areas around the hinges and to the centre of this edge - see images. Small amounts of filler used in places. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 517

A WILLIAM & MARY OAK SIDE TABLE CIRCA 1690 71cm high, 82cm wide, 49cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields House

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Dreweatts 1759
Lot 526

A LARGE PAIR OF BRASS COLUMNAR TABLE LAMPS 19TH CENTURY Of fluted tapering form, square plinth bases, now electrified each 59.5cm high (including fitment), the bases 19cm wideProvenance: Property from the Phillip Lucas Collection, Spitalfields HousePlease note: All brass feet are present to both lamps as illustrated online. Condition Report: surface dirty- possibly traces of prior gilding visible. one missing wick winder keyWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please note: All brass feet are present to both lamps. Three of the feet to one lamp are professionally cast and matched replacements Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer

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Dreweatts 1759
Lot 543

A GEORGE II MAHOGANY 'PIE CRUST' TRIPOD TABLE CIRCA 1750 The stem and legs carved throughout70cm high, the hinged top 68cm diameterProvenance: Property from the Phillip Lucas Collection, Spitalfields House

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Dreweatts 1759
Lot 551

A GEORGE III FUSTIC MAHOGANY 'PEMBROKE' TABLECIRCA 1760-177071cm high, 62cm wide, 68cm deep (107cm when open)Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseThe use of Fustic and the fine quality of the craftsmanship of this table suggests that this table could be attributable to the Chippendale workshop. Please note: The dating should read 'circa 1760-1770' and not as originally included in the printed catalogue Condition Report: There are scratches, knocks, chips, cracks and abrasions consistent with age and use.There are losses, restorations and observations including:Some cleaning and staining to the top with some fading showing shadowed patches. The top has some cracks.The handles could be later though there is just one fixing holes. There is no key for the lock. The drawer linings are mahogany.Cracks visible to the underside of the top.Knocks to the stretcher and some cracks to the feet.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer

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Dreweatts 1759
Lot 553

A GEORGE III MAHOGANY TRIPOD WINE TABLECIRCA 1760 56.5cm high, the top 39cm diameterProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseFor a small tripod table with comparable spirally fluted knops, carving and feet see Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture, The Norman Adams Collection, p306.Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Block to the underside of the top is a later replacement. Glue residue visible between stem and block. The stem with a large old repaired split running down it - see image. Old repairs to two legs where they meet the stem - see images. The metal bracing to the underside of the stem/legs has moved position. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 579

A GEORGE II CARVED MAHOGANY TRIPOD TABLE CIRCA 1750 72cm high, the top 74cm diameterProvenance: Property from the Phillip Lucas Collection, Spitalfields House

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Dreweatts 1759
Lot 582

A GEORGE III MAHOGANY SILVER TABLECIRCA 1790The frieze decorated with a fine 'fiddleback' mahogany veneers 71.5cm high, 86cm wide, 57cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Various old chips, splits and losses - see images. Sun fading to timber.Two cracks running across the top. Old repairs and replacements to pierced spandrels. Some elements of the spandrels and detached but present, other elements are lacking. Old glued repair to one stretcher. Later supporting blocks to the underside of the top. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 601

A PAIR OF BRONZE TABLE TOP STORM LANTERNS LATE 19TH CENTURY/EARLY 20TH CENTURY Handblown glass shades with metal protective top rims on foliate stepped bases, the bases in the form of upturned stylised Corinthian capitalseach 35cm high, the bases 10.5cm squareProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: The bases look to have been polished quite hard with only traces of old patina remaining, the glass fits well and though the top rims are a little loose seem to be possibly original Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Dreweatts 1759
Lot 610

A PAIR OF MAHOGANY AND BRASS OCTAGONAL TRIPOD TABLESIN REGENCY STYLE, 19TH CENTURY AND LATER ELEMENTSeach 73cm high, the tops 38 x 38cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. The brass to the base of the stems are lacking a screw each. One table with an old glued split to top of stem. The other table with an old repair to tip of one leg. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 658

A SANDSTONE AND CARVED LIMESTONE TABLE 20TH CENTURY 71cm high, 143cm wide, 65cm deep

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Dreweatts 1759
Lot 692

A SUIT OF HARDWOOD 'GROTTO' FURNITURE 20TH CENTURY Comprising; a bench, 133cm high, 127cm wide, 70cm deep overall, another bench, 106cm high, 164cm wide, 62cm deep overall, a seat, 103cm high, 95cm wide, 80cm deep overall, and a low table, 38cm high, 120cm wide, 64cm deep overall (4)Condition Report: Weathering - leading to some colour variance- quite damp and with natural shrinkage and wear to feet and surfaces from exposurePlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.Condition Report Disclaimer

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Anderson & Garland Ltd. Newcastle
Lot 1260

Workshop of Robert ‘Mouseman’ Thompson, Kilburn: an oak table lamp, with carved mouse signature, 36cms high to fitting, with shade.

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Anderson & Garland Ltd. Newcastle
Lot 1271

Workshop of Robert ‘Mouseman’ Thompson (Kilburn): an oak octagonal coffee table, the adzed top on a shaped cruciform style base, 51 x 48cms high, Purchased from Robert Thompson’s Craftsmen Ltd, Kilburn in 1988.

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Anderson & Garland Ltd. Newcastle
Lot 1274

Workshop of Robert ‘Mouseman’ Thompson (Kilburn): an oak refectory coffee table, the rectangular adzed top raised on octagonal baluster supports, sledge feet and chamfered stretcher, with carved mouse trademark, 91.5 x 38 x 44.5cms high.Purchased from Robert Thompson’s Craftsmen Ltd, Kilburn in 2016.

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Anderson & Garland Ltd. Newcastle
Lot 1276

Workshop of Robert ‘Mouseman’ Thompson (Kilburn): an oak 4’6’’ octagonal dining table, the adzed top on a cruciform base, with a carved mouse trademark, 147.5 (dia,) x 73cms high.Purchased from Robert Thompson’s Craftsmen Ltd, Kilburn in 1990.

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Anderson & Garland Ltd. Newcastle
Lot 1285

Workshop of Robert ‘Mouseman’ Thompson (Kilburn): a carved oak side table, the rounded rectangular top overhanging apron and four faceted octagonal baluster legs, one carved with mouse trademark, peripheral stretcher, 47 x 36 x 48cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1286

‘Eagleman’ Albert J. Jeffray (Sessay): an oak dining table, the rectangular adzed top raised on octagonal baluster supports and sledge bases, connected by a chamfered understretcher, 167 x 84 x 73cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1287

‘Eagleman’ Albert J. Jeffray (Sessay): an oak coffee table, the square adzed top raced on octagonal baluster legs with under tear, block feet, 84 x 46cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1292

A 19th Century mahogany and rosewood banded rent/dining table, the oval top with moulded border, above eight drawers to the frieze with turned knob handles, raised on reeded baluster stem and four fluted downswept feet with brass castors, 138 x 112 x 74.5cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1307

A Victorian mahogany console table, the associated architectural back centred by a carved shield, serpentine marble top above a plain frieze with single short central drawer, the substantial carved front legs with fluting, leaf and scrollwork design and paw feet, 122 x 45 x 113cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1311

A Regency mahogany tea table, the D-shaped folding swivel top above plain frieze with straight gadrooned edge, raised on a spirally fluted stem and concave sided platform with four downswept feet, brass caps and castors, 102 x 50 x 74cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1312

A Georgian mahogany tilt-action tripod table, the shaped circular piecrust top on fluted and turned stem and leaf-wrapped downswept legs with pad feet (restorations), 84 (dia) x 73cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1313

A mid 19th Century burr maple and ebony strung card table, the D-shaped folding swivel top opening to reveal a baize-lined playing surface, the frieze with leaf pattern tablet, square tapered column on concave sided platform raised on four downswept feet with brass caps and ceramic castors, 92 x 46 x 74cms high.

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Anderson & Garland Ltd. Newcastle
Lot 1314

A late Regency mahogany tea table, the D-shaped folding swivel top above the frieze with carved foliage corners, raised on a reeded vase-shaped stem and four leaf capped downswept feet with brass caps and castors, 91 x 45 x 74cms high.

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