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Lyon & Turnbull
Lot 442

ALESSANDRO MAZZUCOTELLI (1865- 1938) TABLE LAMP, CIRCA 1910 wrought iron, stamped maker's mark to base MAZZUCOTELLI(75cm high)Footnote: Provenance: A Private European Collection of Design

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Lyon & Turnbull
Lot 457

AUSTRIAN SCHOOL SECESSIONIST TABLE RUNNER, CIRCA 1910 coloured threads on an unbleached linen ground, with tassel fringe(154cm long (excluding tassels), 42.5cm wide)

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Lyon & Turnbull
Lot 465

CONTINENTAL SCHOOL ART NOUVEAU TABLE LAMP, CIRCA 1910 bronze and patinated spelter, with a glazed pottery base mounted base(76cm high)

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Lyon & Turnbull
Lot 475

TIFFANY STUDIOS, NEW YORK TABLE LAMP, CIRCA 1920 patinated bronze, stamped maker's marks to base TIFFANY STUDIOS/ NEW YORK/ 424(44.5cm high)Footnote: Literature: Duncan, Alastair Tiffany Lamps and Metalware, ACC 2007, p.88, pl. 351

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Cheffins
Lot 115

A Still life of a chalice, with a knife on a table signed lower right 'Felix Clouet / 1861' oil on panel 21.5 x 16cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London

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Cheffins
Lot 278

with later brass gallery, on turned column and tripod base 66 x 91cmFootnote: Provenance: An Oxfordshire country houseCondition report: This table has had a lot of restoration to include a brass gallery edge to the top, new platform and collar, stretchers have numerous screws added, castors missing

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Cheffins
Lot 28

A Dinner given by the Grand Vizier in honour of an Ambassador in the Topkapi Palace, Constantinople oil on canvas 98 x 125cmFootnote: Provenance: According to Thuillier (see below) acquired in Turkey in the early 20th century, A descendant's sale, Christie's, London, 5th July 1996, lot 72, Private Collection, Gloucestershire, Their Sale, Sotheby's, London, 7th December 2005, lot 60; With William Thuillier, 14 Old Bond Street, Private collection, Kensington, London Born in Valenciennes in 1671, Jean-Baptiste Vanmour left for Constantinople in 1699 with the French ambassador, the Marquis Charles de Ferriol (1652-1722). He remained there for 38 years until his death in 1737 painting scenes of Ottoman life, views of Constantinople and as in the present work, depictions of diplomatic events. Whilst de Ferriol returned to France in 1711, Vanmour chose to stay and continued working for various patrons. The most famous series of paintings by Vanmour and his studio was undertaken for Cornelis Calkoen, the Dutch ambassador to the Sublime Porte from 1727 to 1743 (see All the paintings of the Rijksmuseum in Amsterdam, 1976, pp. 741-9, nos. A1996-A2039). Among Calkoen's pictures is a depiction of a feast offered in his honour by the Grand Vizier, which is very similar to the present picture scene. The scene depicted which was repeated, but with varying differences in detail by Vanmour of various European ambassadors at the Ottoman court, is closest to his painting in the Bordeaux Museum, which is known to be of the French ambassador, the Vicomte d'Andrezel (see A. Boppe, Les Peintres du Bosphore au XVIIIe Siècle, Paris, 1989, p. 28). That painting is known to have been executed in 1724, in which, though seen from behind, the figure of the ambassador and his clothes would seem to be very close indeed to the present work. As the carpets on the floor in the present painting would appear to be French Savonnerie carpets, in all probability the present painting represents the same French ambassador, or possibly his successor Louis Sauveur, Marquis de Villeneuve, who followed him in 1728. On an ambassador's arrival at court, a dinner was held by the Grand Vizier and then with the exchange of gifts, he would be presented to the Sultan. In the present painting, the ambassador is seated at the central table opposite the Grand Vizier. On either side of them are their interpreters, the Dragoman of the Sublime Porte and the First Dragoman of the French Embassy. The ornate grilled window, known as 'The Eye of the Sultan' above them, occupies an important position compositionally since it is behind this window that the Sultan, before the presentation, would stand, unseen but observing the ceremony below.Condition report: Oil on canvas which has been lined. The picture is in plane with good tension and the paint layer is stable overall. There are small retouchings across the surface which appear slightly milky on close inspection but acceptable from a normal viewing distance. The varnish is clear and even. Along the lower edge there is some scuffing and fine, opaque cracking to the varnish. The gilding is slightly worn but in a good condition overall.

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Cheffins
Lot 64

A Still life of books, art and ephemera, featuring an image Raphael's Madonna of the Meadow, laid on a table draped with a rug signed lower right "Idrányi M. V." oil on canvas 73 x 99cmFootnote: Provenance: Acquired by the grandfather of the present owner for his villa in Budapest in the late 1930s, thence by descentCondition report: Oil on a coarse weave canvas support which is unlined. The canvas tension is slightly slack with minor undulations and stretcher bar marks forming in the paint layers. The paint layers are in a good condition overall. Small drying cracks have formed in localised areas. The frame has scattered losses to the decorative moulding and gilding.

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Cheffins
Lot 77

A Woman seated by her dressing table signed lower left 'Alf. B.' oil on canvas 47 x 39.5cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, LondonCondition report: Unidentified sale label to the frame - 7th July 198

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Lyon & Turnbull
Lot 509

ENGLISH SCHOOL ART DECO TABLE LAMP, CIRCA 1930 cast and patinated spelter with glass shade and turned marble plinth(69.5cm high)

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Lyon & Turnbull
Lot 51

ATTRIBUTED TO JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT CENTRE TABLE, CIRCA 1870 calamander and ebonised wood(91cm across, 74.5cm high)

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Lyon & Turnbull
Lot 510

JOHN MONCRIEFF LTD., PERTH 'MONART' TABLE LAMP AND SHADE, CIRCA 1930 mottled pink and blue glass with aventurine inclusions, bears paper maker's label inscribed VII.P/23.455(35cm high)Footnote: Provenance: The Late Dr Helen E C Cargill Thompson

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Lyon & Turnbull
Lot 522

ATTRIBUTED TO MAISON BAGUÈS TABLE LAMP, CIRCA 1950 gilt metal, simulated bamboo supports(the stand 40.5cm high (16in high))

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Lyon & Turnbull
Lot 525

DAUM FRÈRES, NANCY, MANNER OF EDGAR BRANDT ART NOUVEAU TABLE LAMP, CIRCA 1925 cast iron, with mottled red glass shades, the shades with etched maker's mark and Cross of Lorraine(43.5cm high)

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Lyon & Turnbull
Lot 547

Y ARNE JACOBSEN (1902-1971) FOR FRITZ HANSEN, DENMARK 3501 COFFEE TABLE, CIRCA 1960 rosewood with polished steel frame, bears maker’s label(150cm wide, 48cm high, 64cm deep)Footnote: Note: The 3501 model was believed to have been produced by Fritz Hansen for only 5-7 years from around 1956-1963. Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 594577/01. Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

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Lyon & Turnbull
Lot 548

ARNE JACOBSEN (1902-1971) & PIET HEIN (1905-1996) FOR FRITZ HANSEN SERIES 7 DINING TABLE, DESIGNED aluminium, laminate, bears maker's label, 120cm diameter; 73cm high; together with a SET OF SIX SERIES 7 CHAIRS, designed by ARNE JACOBSEN FOR FRITZ HANSEN, patinated ply, chromed steel frame, bears makers' mark

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Lyon & Turnbull
Lot 549

ARNE JACOBSEN (1902-1971) & PIET HEIN (1905-1996) FOR FRITZ HANSEN SERIES 7 DINING TABLE, DESIGNED aluminium, laminate, bears maker's label, 120cm diameter; 73cm high; together with a SET OF SIX SERIES 7 CHAIRS, designed by ARNE JACOBSEN FOR FRITZ HANSEN, patinated ply, chromed steel frame, bears makers' mark

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Lyon & Turnbull
Lot 567

ALDO TURA (1909-1963) ITALIAN SCHOOL TABLE LAMP, CIRCA 1950 patinated parchment, brass, raised on a hardwood base(80.5cm high)Footnote: Note: Aldo Tura was one of Italy’s most prominent mid-century designers. His unique designs were typified by rich materials and highly-sculptural forms that featured more unusual and exotic materials such as eggshell, goatskin and parchment. A stylistic fusion of Art Deco and Modernism, Tura’s decorative works favoured the use of coloured and lacquered parchment, richly coloured with hues of red, green and yellow. Whilst many of his contemporaries turned towards industrial machinery and methods of mass-production, throughout his career Tura remained faithful to traditional hand-craftsmanship, choosing intricate forms and labour-intensive processes that celebrated the skill of both the designer and craftsman.

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Lyon & Turnbull
Lot 573

PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screen-printed and painted linen, to include FOURTEEN TEST/ UNFINISHED TABLE LINENS, designed by Roger Hilton; Denis Mitchell; Michael Snow; John Forrester; Robert Adams; Roger Leigh (three hemmed and unsigned, 29.5cm x 44cm, and eleven unhemmed, approx. 32cm x 47cm)Footnote: Provenance: From the Estate of an important St. Ives artist

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Lyon & Turnbull
Lot 574

PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screen-printed linen, to include FIFTEEN TABLE LINENS, designed by Roger Hilton (six unhemmed and unsigned, approx 32cm x 44cm, Denis Mitchell (one hemmed and with printed signature, 32cm x 44cm), Michael Snow (two hemmed and unsigned, 29cm x 44cm), Barbara Hepworth (one hemmed and with printed initials, 31cm x 42.5cm), Stanley Dorfman (two unhemmed and with printed signatures, approx. 32cm x 46.5cm) and John Forrester (three hemmed and with printed signatures, 28cm x 42cm)Footnote: Provenance: From the Estate of an important St. Ives artist

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Lyon & Turnbull
Lot 575

PORTHIA PRINTS, ST. IVES GROUP OF TABLE LINENS, CIRCA 1955-60 screen-printed linen, to include SIXTEEN TABLE LINENS, designed by Roger Hilton (four unhemmed and unsigned, approx 32cm x 45cm, Denis Mitchell (one hemmed and with printed signature, (29.5cm x 42cm), Michael Snow (one hemmed and unsigned, 29.5cm x 43.5cm), Barbara Hepworth (two hemmed and with printed initials, 29.5cm x 42.5cm), Stanley Dorfman (four unhemmed and with printed signatures, approx. 32cm x 47cm) and John Forrester (three hemmed and with printed signatures, 30cm x 41.5cm, and one unhemmed and with printed signature, 33cm x 45cm)Footnote: Provenance: From the Estate of an important St. Ives artist Note: In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints. They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976, Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get anyone to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. This collection, from an important St. Ives artist’s estate, includes a number of original designs and represents an important moment in the St. Ives artistic movement; a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

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Lyon & Turnbull
Lot 584

LINLEY CENTRE TABLE, CONTEMPORARY inlaid sycamore(120cm across, 75cm high)

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Golding Young & Mawer
Lot 1589

A vintage table top croquet set, in pine box, 46cm wide, to include mallets, ball and hoops, (a quantity, AF).

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Golding Young & Mawer
Lot 336

A collection of continental porcelain figurines, to include a figure of a lady beside a table with flowers, impressed stylised beehive mark to underside, a crinoline lady, a pair of German figures, etc.

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Golding Young & Mawer
Lot 390

A pair of ecclesiastical brass candlesticks, of plain form, a bronze two handled urn, a pestle and mortar, miniature table with marble top, a bell, etc.

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Golding Young & Mawer
Lot 416

A red variegated marble and gilt metal table lamp base, (AF), 48 cm high.

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Golding Young & Mawer
Lot 543

A pair of square section moulded glass table lamps with shades, the bases 48cm high to the top of the fitting.

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Golding Young & Mawer
Lot 573

A three branch gilt metal table lamp in 19thC French style, and two chandeliers. (3) (AF)

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Golding Young & Mawer
Lot 574

A late 19th/early 20thC continental fruit wood dressing table mirror, with circular plate and marble inset to the base, 31cm diameter.

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Golding Young & Mawer
Lot 605

A G Plan E. Gomme design bedroom suite, comprising oak chest of drawers, wardrobe, dressing table and stool, each with cream painted embellishment. 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.

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Golding Young & Mawer
Lot 621

A small early 20thC walnut Sutherland type tea table, the rectangular top with rounded corners on turned legs, 57cm wide.

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Golding Young & Mawer
Lot 625

A 19thC oak occasional table, the rectangular top with rounded corners, on a turned column and tripod base, 71cm high, the top 72cm x 65cm.

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Golding Young & Mawer
Lot 628

An early 19thC mahogany occasional table, the circular tilt top on a turned column and tripod base, 78cm diameter.

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Golding Young & Mawer
Lot 638

A French walnut extending dining table, the rectangular top with a moulded edge, on two pairs of turned end supports with flat stretcher, on bun feet, two loose leaves, 72cm high, 110cm wide, 225cm extended.

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Golding Young & Mawer
Lot 642

An early 19thC mahogany occasional table, with a circular top on a turned column and tripod base with pad feet, 77cm diameter.

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Golding Young & Mawer
Lot 644

A 19thC oak tilt top occasional table, the rectangular top on a turned column and tripod base, 69cm high, the top 51cm x 53cm.

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Golding Young & Mawer
Lot 650

A Victorian figured mahogany dressing table mirror, with an arched plate on scroll carved shaped supports, with rectangular modelled base, on bun feet, 75cm wide.

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Golding Young & Mawer
Lot 658

A late Victorian mahogany extending dining table, the rectangular top with a moulded edge above a plain frieze with ring turned legs and castors, two associated loose leaves and winding mechanism with handle, 75cm high, the top 235cm x 115cm extended.

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Golding Young & Mawer
Lot 659

A Victorian ash Gothic dressing table, the top with two trinket drawers to each support, holding a rectangular mirror plate, the base with a moulded edge above two frieze drawers, on turned end supports with concave under tier (AF), 122cm wide.

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Golding Young & Mawer
Lot 661

An oriental hardwood extending dining table, the circular panelled top above a carved frieze on tapering legs, 79cm high, 202cm extended, and six matching dining chairs, two with arms.

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Golding Young & Mawer
Lot 667

A modern pine kitchen table, the rectangular top with a moulded edge, above a painted base, with turned tapering legs, 77cm high the top, 91cm x 68cm.

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Golding Young & Mawer
Lot 673

A 19thC French farmhouse kitchen table, the planked top with cleated ends, on square tapering legs with stretcher, 78cm high, the top 180cm x 98cm.

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Golding Young & Mawer
Lot 1001

An Edwardian oak occasional table, with an Art Nouveau tile top, 76cm x 45cm.

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Golding Young & Mawer
Lot 1003

An 18thC oak side table, with later demi-lune carving having an arrangement of three frieze drawers, turned legs and pad feet, 82cm wide, 56cm deep.

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Golding Young & Mawer
Lot 1015

A 19thC scrub top pine gateleg kitchen table, with drop leaf.

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Golding Young & Mawer
Lot 1026

A Victorian mahogany tilt top table, with moulded square top, 44cm square.

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Golding Young & Mawer
Lot 1038

A 19thC mahogany spider leg table, with drop leaves and club feet, 64cm wide.

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Golding Young & Mawer
Lot 104

A retro teak low sideboard, with three central drawers, flanked by two doors on square tapering legs, labelled for Times Furnisher's, 208cm wide, a similar teak extending dining table on square tapering legs and a set of six Scandinavian style chairs, each with blue padded seat. 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.

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Golding Young & Mawer
Lot 1044

A 19thC tripod table, with dished top, 43cm diameter.

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Golding Young & Mawer
Lot 1049

A Victorian mahogany Pembroke sewing table, with fall flap, double depth drawer, with dividers and ebonised knob handles, pleated basket pull out, turned legs, with brass cup castors, 47cm deep, 88cm wide when opened.

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Golding Young & Mawer
Lot 1052

A George III mahogany occasional table, with circular tilt top, on gun barrel pillar and three outsplay legs, 80cm diameter, 60cm high.

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Golding Young & Mawer
Lot 1058

A 19thC Benares brass tray top occasional table, with chip carved hardwood folding base, 78cm diameter.

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Golding Young & Mawer
Lot 1059

A Georgian mahogany style occasional table, with a pie crust top and four out splay legs, with ball and claw feet, 46cm wide.

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Golding Young & Mawer
Lot 1066

A George III mahogany occasional table, with circular tilt top, reeded and fluted taper column on three out splay legs, with pad feet, 72cm diameter.

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Golding Young & Mawer
Lot 1070

A Victorian mahogany Pembroke table, with moulded top, reeded legs and brass cup castors, 107cm deep, 118cm long when opened.

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Golding Young & Mawer
Lot 1078

A George III mahogany dressing table mirror, with rectangular plate and three shaped frieze drawers, on bracket feet, 40cm wide.

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Golding Young & Mawer
Lot 1079

A 19thC mahogany night table, with folding top and another with single door and turned legs. (2)

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Golding Young & Mawer
Lot 1088

An oak side table, with moulded square taper legs and a mahogany revolving bookcase. (2)

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Golding Young & Mawer
Lot 1090

An Edwardian oak reading table, with lectern centre.

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Golding Young & Mawer
Lot 1095

A Victorian walnut and marquetry loo table, with oval top cross banded with amboyna and ebonised panels, turned supports and four sabre legs with acanthus scroll cap feet and castors, 115cm x 76cm.

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