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A Victorian cut glass table lustre, with seven droplets on a rectangular base, (AF), 15cm high, a mother of pearl aide memoire, 5.5cm wide, a micro mosaic link bracelet, 19.5cm long, a 19thC paste stone set shoe buckle, a shell pen stand and a 19thC gilt wood clock stand, 14cm wide.
A 19thC Chinese blue and white porcelain ginger jar base, decorated with script, flowers, leaves, etc., converted to a table lamp, 29cm high overall, an Oriental orange ground ginger jar, decorated with dragons, and a modern Chinese vase, converted to lamp base, each with a shade. (3)
A 1970's/80's teak oval extending dining table, on turned legs and four chairs, the table 90cm x 145cm enclosed. The upholstery in this lot does not comply with the 1988 (Fire & Fire Furnishing) Regulations, unless sold to a known exporter or upholsterer it will be cut from the frame before leaving the premises.
An early Victorian rosewood sofa or library table, the rectangular top with rounded corners, above two frieze drawers opposing false drawers, each with turned wood handles on pierced end supports with turned stretcher and scroll carved feet, 77cm high, 92cm wide, 47cm deep.
An Edwardian mahogany writing table, the bow fronted top with a hinged raised back enclosing a recess for letters, ink, etc., flanked by two drop leaves above a frieze drawer with beaded border, on square tapering reeded legs headed by floral patera, 187cm high, 100cm wide, 46cm deep.
A late 17thC oak refectory side table, the three planked top with cleated ends, the finely decorated moulded frieze having shaped brackets on turned supports with plain stretchers, 77cm high, the top 74cm x 247cm. Upon initial inspection the top is generally worn through use with numerous scratches and loss to the varnish there are also two areas where the wood has nibbled away to the borders and a split is beginning to form on one of the three planks. The base appears structurally sound but there are losses to the main bases of the legs through use with evidence of past worm. Overall the patina on the top of the table is good and true to the piece.
§ JAMES CUMMING R.S.A., R.S.W. (SCOTTISH 1922-1991) TABLE IN THE BARN, C.1965 Signed lower right, oil on board(91.5cm x 68.5cm (36in x 27in))Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art CollectionFootnote: Exhibited: Summer Exhibition 1997, The Scottish Gallery, Edinburgh Cumming was born in Dunfermline and enrolled at Edinburgh College of Art (ECA) in 1939. His training was interrupted by service with the Royal Air Force during World War Two. His return to ECA in 1946 led to post-graduate study and a travelling scholarship used to live in Callanish on the Isle of Lewis. This experience inspired the body of work with which Cumming made his name and emerged as a leading figure in post-war Scottish art. Cumming joined the staff of ECA in 1950 and taught there for over thirty years. His colleagues included Robin Philipson and William Gillies, whilst his students included John Bellany and Sandy Moffat. Amongst multiple accolades and positions, Cumming was elected a full member of the Royal Scottish Academy in 1970, an institution he served as Treasurer, Secretary and Custodian of Collections. Table in the Barn of c.1965 is a fine example of the abstract vocabulary and varied technique for which Cumming is celebrated. Whilst referencing reality, Cumming brings together form, pattern, spatial and physical layering with textural variety and an extensive palette. A retrospective of his work was held in 1966, not long after this painting was completed, which was organised by the Carnegie Trust in his home town. Indeed, Cumming exhibited regularly throughout his career and his work is held in multiple public collections. Following his death in 1991, The Independent declared 'James Cumming's unique and unmistakable style and his stature as an artist made him a major figure in Scottish painting...The pictorial language he created evolved out of Post-Cubism and produced an idiom of expressive distortions within a powerfully controlled structure and impeccable craftsmanship. His colour sense could be strangely beautiful and haunting, the paintings wrought with immense care.' (The Independent, 28 January 1991 as quoted in the exhibition guide to James Cumming, Talbot Rice Gallery, 2012).
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