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Lot 1983

A white metal circular garden table, and a pair of garden chairs

Lot 1990

A red painted metal square-top garden table, W80cm, H75cm

Lot 1991

A mid-century bent-ply coffee table, on dansette legs, and an upholstered footstool

Lot 1993

Roger Capron, a 1970s Garrigue tiled circular coffee table, Vallauris, France signed to 1 tile, W95cm, H32cm

Lot 1999

A mid-century G Plan dining room suite, comprising a drop leaf table on cross stretcher, together with 4 matching upholstered chairs, a corner unit, and a side cabinet with 2 drawers and cupboards under, together with a similar canted bookcase with sliding glass doors

Lot 2007

A painted and wrought-iron garden suite, comprising rectangular low table, garden bench, and a pair of armchairs

Lot 2010

An Edwardian satin-walnut bedroom suite, comprising mirrored wardrobe, washstand, dressing table, bedside cupboard, and double head and foot board with rails

Lot 2012

An oak oval barley twist gateleg table, W88cm

Lot 2015

A rectangular pine kitchen table, W136cm, a pine glazed 2-door bookcase, W95cm, and a French painted 2-section bedside cupboard (3)

Lot 2020

A 1930s French Art Deco dressing table, with single drawer and shelf under, of classic L-shaped modernist form, L109cm, H41cm, D37cm

Lot 2023

A green painted metal circular folding garden table, together with a pair of matching folding chairs

Lot 2025

An Anglo-Indian chip carved octagonal centre table, with bone inlaid decoration, W61cm, H70cm

Lot 1507

A contemporary design ebonised 2-tier rectangular occasional/coffee table, with mirrored glass top, L82cm, H64cm, D46cm

Lot 1509

RALPH LAUREN HOME - a pair of chromed table lamps and shades, height including shade 70cm, model no. 164090

Lot 1521

A reproduction satinwood-banded walnut side table, with 4 short drawers on reeded legs, W96cm, H77cm, D43cm

Lot 1529

An Arts and Crafts oak drop leaf table, with spade cut-outs, in the manner of Liberty's or Goodyers, W77cm, H72cm, D30cm

Lot 1539

A rectangular beech and pine slatted-top coffee table, W123cm, H35cm, D54cm

Lot 1543

A Regency rosewood fold over card table, on a 4-column arched pedestal, with platform base, W92cm, H75cm, D45cm

Lot 1551

A Chinese hardwood demi-lune 3-tier console table, with a carved and pierced frieze and allover mother-of-pearl and abalone inlaid decoration, W81cm, H79cm, D41cm

Lot 1552

A small Ipswich oak style drop leaf table on baluster legs, W60cm, H47cm

Lot 1574

A Georgian oak drop leaf dining table on pad foot, W120cm, H72cm, D45cm

Lot 1575

An oak oval barley twist gateleg table, W90cm, H74cm, D44cm

Lot 1576

A small oak drop leaf swivel-top occasional table, W52cm, H40cm

Lot 1565

A retro tile top table set with four painted tile panels, 42cm high, 46cm square.

Lot 219

A pair of antique brass table lamp bases with Corinthian style capitals on glass twist columns on stepped bases. H.59cm

Lot 224

A set of three contemporary Corinthian column brass table lamps with shades. H.69xD.41cm

Lot 225

A pair of bronze textured ceramic vintage style table lamps. H.44xD.36cm

Lot 227

A collection of three various contemporary table lamps and shades. H.53cm

Lot 230

A pair of contemporary brass table lamps on stepped bases. H.42cm

Lot 245

A pair of glazed table lamps of bulbous form with leaf decoration. H.50xD.26cm

Lot 253

A pair of adjustable four sconce metal table candelabras in a bronzed finish. H.38cm

Lot 254

A collection of five copper effect metal three branch table candelabras. H.40cm

Lot 27

A Russian Gardner porcelain table centrepiece planter in deep blue glaze with gilded handpainted floral cartouches with gilt metal cherub mounts and scrolling feet, makers stamp to base. H.34 W.42 D.28cm

Lot 318

A John Lewis rattan style brown conservatory low table on metal base. H.30xW.77xD.77cm

Lot 333

A Louis XVI style mahogany console table with grey veined marble top and ormolu mounts to the frieze and tapering fluted supports. H.78x100xL.36

Lot 364

A Victorian burr walnut, satinwood and ebony inlaid tilt top dining table on quadruple turned pedestal on carved swept supports. H.70 L.134 W.98cm (Comes with a sales invoice from 1884 which includes this table at £4 and 15 shillings).

Lot 366

A Carolean style oak refectory dining table with end draw leaf extensions on heavy carved baluster and stretchered supports with scrolling vine carving to the frieze. H.78 L.304 W.91cm (fully extended).

Lot 369

A metal framed Romanesque style console table with plate glass top on cabriole supports. H.77xW.122xD.41cm

Lot 384

A Georgian style flame mahogany segment veneered shaped top occasional table on central turned pedestal on carved quatreform cabriole supports. 67x68cm

Lot 404

A mid Victorian mahogany foldover top card table raised on shaped reeded pedestal on quattreform base resting on turned bun feet. H.73 W.91 D.91cm

Lot 408

A 19th century French walnut lamp table with fitted frieze drawer on turned tapering supports united by a shaped undertier. H.78 W.117 D.54cm

Lot 7

David Burliuk (Russian/American, 1882-1967)Morning still life inscribed with blue pencil 'N18', 'David Burliuk' (stretcher), bearing Kakhovka typography label inscribed in Cyrillic 'David Burliuk, Morning still life' (verso) oil on canvas50 x 70cm (19 11/16 x 27 9/16in).Footnotes:ProvenanceCollection of V. A. PushkarevAcquired from the above by the present owner in the late 1990sThe creative legacy of David Burliuk has come down to us in an extremely disproportionate manner. As it is known, most of his works are made up from his American period. Fate turned out to be not so favourable to his earlier works created in Russia. Many paintings, the existence of which we know from press reviews and exhibition catalogues, turned out to be irretrievably lost. This is especially true for works in the avant-garde style. In contrast to the artist's impressionistic paintings, which were always appreciated and were in demand by private collectors even in Soviet times, his primitivist works, as well as experiments in the style of Cubism or Fauvism, were not taken seriously for a long time. Being unclaimed, they were primarily destroyed as a result of improper storage, and often intentionally ruined. Morning still life in this sense can be attributed to the happy exceptions to this rule.Burliuk was well aware of this state of affairs. Having settled in the early 1920s in America, the artist, several times, tried to get back something from his 'Moscow' artworks. We know from Burliuk's correspondence that most of it was kept at the old Kuntsevo dacha and was left in the care of new tenants, to whom the artist managed to transfer small funds for some time. However, in the autumn 1923, an old acquaintance of Burliuk, photographer Nikolai Yarovov, visited the Kuntsev house. The photographer wrote to him and mentioned that most of the works stored there had fallen into disrepair, 'on the paintings are two layers of chicken dung', many of them were torn and others used by the new owners for insulation and protection from the wind on the terraces. The letter indicates that there are barely any Russian landscapes left and that almost all of them stolen, and there were only 'cubist-futuristic portraits' and other things that the Yarovov was not certain about. For Burliuk, these works that he has left behind were of particular interest - for personal exhibitions he desperately needed examples of his early works that could visually reinforce his proud title of 'father of Russian futurism.' Therefore, Yarovov was transferred money to repair and put things in order. The artist hoped that he would be able to send at least some of them to New York as he was planning, with I. Garbar, an exhibition of Russian paintings. The condition of the Morning Still Life, like the canvas itself, and the preserved author's stretcher, suggests that it was among those works, which Burliuk's entrusted friend managed to take out of the Kuntsevo dacha. The colourful layer on the whole surface has bits of talus and in other places (especially noticeable on the bread loaf and the painting behind it) craquelure. Clearly, the artist's thick layered painting style facilitated the damage, but also the re-stretching of the canvas, or rather, the rough burlap on which the still life is painted.The work is the earliest known example of Burliuk's later favourite still life construction, in which, along with household items, his own works are used. As an example, we can recall a still life with a bouquet of flowers and a book from the collection of the Arkhangelsk Museum, in which the artist's painting Cossack Mamai is used as a background. In Morning Still Life Burliuk recreates two of his works. On the left, we see one of the artist's Fauvist landscapes, reminiscent of his canvas Dnieper rapids from the Russian Museum. On the right, is a fragment of a painting made in a primitivist manner. It apparently depicted the figure of a lumberjack or a reaper in profile - his right arm bent at the elbow got into the composition of the still life. Stylistically, this fragment echoes the artist's well-known primitivist work depicting a running man, from the Rostov Kremlin Museum. It is worth noting that part of the painting's composition (surface of the table of two clay jugs and a loaf of bread) almost completely repeats the composition of the still life with the dog from the Russian Museum, one of the very first Fauvistic paintings of the artist.These parallels, as well as the pronounced expressionist manner of painting, allow us to attribute this still life to the very beginning of the 1910s. On the canvas's verso, the artist's label, with the name of the painting and the number written by hand, has been preserved. A work with this title is not found in the catalogues of exhibitions with Burliuk's participation; at the exhibition Stefanos, held in the spring of 1909 in St. Petersburg, a still life 'Morning coffee' was exhibited. Such names, which give details of the painted still life are generally not typical for Burliuk, and we only see them in catalogues of exhibitions of 1908-1910. He later preferred to label works of this genre in French (Nature morte). Postage paper was used for the above-mentioned label, which preserved the address of the Bergart printing house in Kakhovka. Since the estate where the Burliuks lived before 1913 was located nearby, the artist often used private printing houses in Kakhovka and Kherson to publish his publications. There were also printed and still unresearched catalogues of several exhibitions organized by Burlyuk in Kherson in the late 1900s. Also unknown is the composition of the works sent by the artist in 1910-1913 to various exhibitions in Yekaterinoslav, Rostov-on-Don and St. Petersburg. One of them could have exhibited Morning Still Life.In the end, neither this work nor other works of Burliuk taken from the Kuntsev dacha by Yarovov could be sent back to the artist in New York. For a while, they were in his apartment on the Malaya Bronnaya, and before his departure to South America, he gave them for storage in the House of Press on Nikita Boulevard. Later Burliuk, through many acquaintances, tried to find out their fate, but with no result. The paintings were kept there in basements, without description. Many of them, including, perhaps, 'Morning still life', subsequently ended up in private hands. Since the 1960s, the painting has been in the collection of the director of the Russian Museum, Vasily Pushkarev, who actively sought and collected works of 'leftist' artists.We are grateful to Vladimir Polyakov, author of Khudozhnik David Burliuk, 2016, for this note.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Lot 46

Africa.- Stanley (Henry Morton) In Darkest Africa, 2 vol., first edition, frontispieces, plates and illustrations, 4 maps (3 folding), 1 with large tear without loss, 1 folding table at end vol. 2, occasional spotting, original decorative cloth, slight bumping to corners, slight chipping to spine extremities, [Hosken p.189], 8vo, 1890.

Lot 49

Middle East.- Shaw (Thomas) Travels or Observations relating to several parts of Barbary and the Levant, 2 parts in 1 vol., first edition, half-title, title printed in red & black with engraved vignette, 20 engraved plates on 17 leaves, 1 folding and 3 printed on both sides, 11 engraved maps, 7 folding, 1 folding table, engraved head & tail pieces, initials and decorations, woodcut diagrams, occasional short marginal tears neatly repaired, occasional faint spotting, modern morocco with contemporary panelled calf and contemporary spine label laid down, [Blackmer 1533], folio, Oxford, 1738.⁂ "Shaw was chaplain to the English factory at Algiers from 1720 to 1723. During this period he visited Egypt, Sinai, Palestine, Cyprus and most of North Africa ... [The work] is especially esteemed for its botanical and zoological plates, in addition to the information Shwa imparts on the antiquities, geology and geography of the areas he visited." (Blackmer).

Lot 57

NO RESERVE Australia.- Roth (Walter E.) Ethnological Studies among the North-West-Central Queensland Aborigines, 24 lithographed plates (4 colour), 1 folding table, compliments slip from the Home Secretary pasted to front pastedown, original cloth, gilt, lightly sunned spine, lower joint beginning to split but holding firm, bumping to corners, 8vo, Brisbane & London, 1897.

Lot 216

A Machrihanish Niblick, Old Scotch hourglass decanter, two Galileo thermometers, a decorated globe table lamp, nightlight holders and other items Condition Report: Not available for this lot

Lot 241

Three large pottery cats, pottery dogs figures and a wooden elephant table lamp Condition Report: Not available for this lot

Lot 255

A large hat box/case, together with two rolls of material, assorted doilies, table linen etc Condition Report: Not available for this lot

Lot 256

Assorted table linen, some embroidered Condition Report: Not available for this lot

Lot 258

Printed cotton material with glitter, silk dressing gown, table linen etc Condition Report: Not available for this lot

Lot 264

A stone glazed model of a barn owl, a chromed table lighter/candlestick etc Condition Report: Available upon request

Lot 276

A collection of Mason's Mandalay pattern items including vase, jug, ginger jar, two table lamps, teapot, and clock Condition Report: Available upon request

Lot 290

A Poole pottery table lamp, two models of ducks and other items Condition Report: Available upon request

Lot 320

A Moorcroft Freesia pattern lamp base, a Hibiscus flower bowl and a Magnolia flower table lamp Condition Report: Available upon request

Lot 361

A internally painted table lamp of hexagonal form Condition Report: Available upon request

Lot 367

A cut glass table lamp, two pottery models of cockerels and a Old Tupton Ware jug Condition Report: Available upon request

Lot 388

Two graduated table lamps Condition Report: Available upon request

Lot 389

A Bishop and Stonier rose decorated dinners service, T R & Co table wares and a boxed set of Coalport coffee cans and saucers Condition Report: Available upon request

Lot 492

Four bronze medallions, brass horn and table bell (3) Condition Report: Available upon request

Lot 522

A tray lot including table cannon, ebony cane handle modelled as a elephant, folding camera etc` The estate of The late Robert and Lyndsay Brydon, Edinburgh Condition Report: Available upon request

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