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Dawsons Auctioneers
Lot 159

A late Victorian writing table, circa 1890, the rectangular top with moulded edge, a single drawer to the frieze, with carved corner brackets, supported on tapering turned legs united by turned stretchers, 101.5cm wide, 72.5cm high, 58.5cm deep

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Dawsons Auctioneers
Lot 468

A Secessionist wrought iron table lamp with hand worked metal base, signed Pierre Maynadier, with a frosted glass shade signed ‘Daum, Nancy’, 37.5 cm high.Footnote: Lamp in current working order.

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Dawsons Auctioneers
Lot 182

An early 20th century Eastern hardwood, marquetry and mother of pearl inlaid octagonal table, typically formed with arch legs and repeating geometric patterns, 50 cm high x 46 cm diameter.

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Dawsons Auctioneers
Lot 242

A Japanese carved ivory tusk, Meiji period, circa 1890/1900, imaginatively carved as a flock of quail feasting upon millet and entwined in its stems, the quail picked out in black, the three feet formed as two quail and millet, with two loose quail on millet, 36.5cmCondition report: Previously mounted as a table lamp, a pierced hole in the side, remnants of glued to the top. some losses to stems but not excessive. A 6cm age split near the base.

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Dawsons Auctioneers
Lot 135

A 19th century rosewood work table, the rectangular top with canted corners, with compartmentalised interior, with fixed bag on reeded support and circular base with scroll feet, 46.5cm wide, 70cm highCondition report: Some veneer losses to the edge.

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Dawsons Auctioneers
Lot 164

A Victorian mahogany writing table, with later stained pine top, with two drawers, supported on turned legs, 1118.5cm wide, 72cm high, 54cm deep

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Dawsons Auctioneers
Lot 187

A 19th century Continental mahogany console table with marble top, serpentine fronted with pierced and carved foliate scroll decoration, united by conforming x-stretcher, 82 cm high , 131 cm x 58 cm.Condition report: Marble intact, some wear throughout but generally good.

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Ewbank's
Lot 1143

Antique ruby and diamond circular cluster ring, central octagonal cut ruby encompassed by a double halo of old cut diamonds, the outer border interspersed with round faceted rubies, pierced under gallery, marked for 18 ct, ring size P Gross weight 2.8 grams.Rubies have abraded facet edges, two diamonds have small chips on the table

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Ewbank's
Lot 1130

Early 20th C diamond full eternity ring, comprising of twenty-six old cut diamonds, estimated 0.03 carats each, total diamond weight estimated 0.78 carats, testing as platinum, ring size M 1/2 Gross weight 4.1 gramsEstimated diamond colour: H/IEstimated diamond clarity: VS/SIChip to one diamond on table facet Some diamonds sit prouder in the setting Fine scratches on both metal sides of the ring

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Ewbank's
Lot 1117

1920's blue sapphire full eternity ring, square step cut sapphires in channel setting, mount testing as 18 ct, ring size P Gross weight 3.4 grams.Abrasion to all facet edges, chips to some table facet edges

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Ewbank's
Lot 1089

Contemporary rectangular step cut blue topaz and diamond pendant, in 9 ct, 1.9 x 1.2cm, three loose old cut diamonds, estimated weights 0.23 carat, 0.10 carat and 0.08 carat, with a rope necklace, fancy link bracelet with heart clasp and a pair of sapphire and paste floral cluster stud earrings, all testing as 9 ct, Diamond 1: estimated 0.08 carats, estimated colour H/I, estimated clarity I.Diamond 2: estimated 0.10 carats, estimated colour I/J, estimated clarity I. Girdle damaged, part missing to create uneven outlineDiamond 3: estimated 0.23 carats, estimated colour L/M, estimated clarity I. Dark inclusions visible in table, uneven outline, abrasion to facet edges9 ct gross weight 18.9 grams

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Ewbank's
Lot 1060

1930's sapphire and diamond full eternity ring, set with twelve square cut sapphires and twelve round brilliant cut diamonds, estimated total diamond weight 0.48 carats, mounted in platinum, ring size M Gross weight 4.2 gramssapphires all have abraded facet junctions, three are chippedOne diamond has natural on table facet and one to side facetside engraving detail has worn

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Warrington & Northwich Auction
Lot 440

Mixed metal items including circular garden table and metal galvanised bucket, table D: 60 cm. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 375

Embroidered top suit of card felt topped card table. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 376

Pine table and four matching chairs, 120 x 75 cm. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 378

Oak antique two short over two long drawers mirror back dressing table, 110 x 50 x 80 cm. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 214A

Pair of vintage candlesticks converted to electric table lamps. Not available for in-house P&PCondition Report: All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order.

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Warrington & Northwich Auction
Lot 253

Two boxes of mixed items including silver plated photo frame and a pair of table lamps. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 475

Two mirrors, one gilt edge 65 x 55 cm and cheval type dressing table mirror. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 395

Glass topped table with wrought iron decoration. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 237

Anglo Indian campaign table with carved top and tripod base, D: 45 cm. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 544

Titan 8" electric table saw. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 377

Mexican style pine coffee table, 100 x 70 cm. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 233

Boxed Royal Doulton vintage orchard fourteen piece table set. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 399

Georgian mahogany demi-lune fold over tea table for restoration. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 401

Painted pine three drawer bedside table. Not available for in-house P&P

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Warrington & Northwich Auction
Lot 421

Modern two drawer bedside cabinet and an Ornate gilded metal base circular marble top table. Not available for in-house P&P

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Criterion Auctioneers Ltd
Lot 10

A pair of relief hand painted ceramic urn and flower table lamps on square bases. H.65x45cm

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Criterion Auctioneers Ltd
Lot 15

A retro style elm topped dining table on metal hairpin supports. H.73x150x76cm

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Criterion Auctioneers Ltd
Lot 61

A large pair of deep red glazed table lamps of bulbous form with cream shades. H.80cm (inc. shade)

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Criterion Auctioneers Ltd
Lot 59

A pair of metal double gourd shaped table lamps. H.60cm

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Criterion Auctioneers Ltd
Lot 20

A 19th century mahogany console table with grey marble top on reeded tapering supports. H.75x82x43cm (repair to marble top)

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Criterion Auctioneers Ltd
Lot 83

A mid 20th century vintage teak extending dining table with swivel leaves fitted to the underside. H.76x117cm (ext.166cm)

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Criterion Auctioneers Ltd
Lot 58

An Eastern brass topped table on folding hardwood stand. H.45xDia.90cm

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Criterion Auctioneers Ltd
Lot 119

A 19th century mahogany writing table fitted with an arrangement of drawers on turned tapering supports terminating in brass cup casters. H.76x93x49cm

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Criterion Auctioneers Ltd
Lot 111

An oak topped conservatory table with cast iron pedestal base formed of entwined dolphins. H.73x100cm

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Kunsthaus Lempertz
Lot 20

Eglon van der NeerLaute spielende junge Frau Öl auf Holz. 33,5 x 25,5 cm.Signiert oben rechts: E. van der Neer fe.ProvenienzGerard Hoet II. (1698-1760). - Auktion seiner Sammlung, Den Haag, 25.8.1760, Lot 65. - Möglicherweise Sammlung Blankensee, Berlin, 1856 (nach Parthey). - Francis Palmer, Paris (verso auf der Tafel Klebezettel mit dessen Wappen). - Max Flersheim (1849-1922), Paris. - Emil Glückstadt (1875-1923), Kopenhagen. - Auktion seiner Sammlung, Winkel, Magnussen, Kopenhagen, 2.6.1924, Lot 680. - Galerie M. & G. Segal, Basel, 1989. - Galerie Edel, Köln, 1990 (ausgestellt auf der TEFAF, Maastricht, 1990). - Dort erworben.AusstellungenKöln, Wallraf-Richartz-Museum (Leihgabe von ca. 1993-2002).LiteraturWohl Pieter Terwesten: Catalogus of naamlyst van schilderyen […], Den Haag 1770, S. 226. - Möglicherweise Gustav Parthey: Deutscher Bildersaal. Verzeichniss der in Deutschland vorhandenen Oelbilder verstorbener Maler, Bd. II, Berlin 1864, S. 186. - Wohl Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, 10 Bde., Esslingen und Paris, 1910-28, Bd. 5, Esslingen und Paris 1912, S. 526, Nr. 75a oder S. 527, Nr. 81a. - Corinna Klein, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Köln 1993, S. 193, Nr. 77, mit Abb. - Everhard Korthals Altes: Philip van Dijk, een achttiende-eeuwse Haagse schilder-kunsthandelaar met een lokale en internationale clientèle, in: Oud Holland 116, 2003, S. 172. - Eddy Schavemaker: Eglon van der Neer (1635/36-1703). Zijn leven en werk (=Diss. Utrecht), Utrecht 2009, S. 437, Nr. 109, Abb. S. 436. - Eddy Schavemaker: Eglon van der Neer (1635/36-1703). His Life and Work (=Aetas aurea 22), Doornspijk 2010, S. 497, Nr. 104, Farbtafel XXXVI.Eglon van der Neer schuf zahlreiche Darstellungen eleganter junger Frauen, die zumeist in einem vornehmen Interieur des gehobenen Bürgertums einer alltäglichen Beschäftigung nachgehen. Ein vom Künstler bevorzugtes und im Verlauf seiner Karriere immer wieder aufgegriffenes Motiv ist die Lautenspielerin. In unserem mit feinmalerischer Präzision ausgeführten Gemälde sitzt eine musizierende Frau annähernd frontal zum Betrachter gewandt, wobei die Beine leicht nach links gerichtet sind und der Oberkörper ein wenig nach rechts gewandt ist. Mit graziösen Bewegungen zupft sie die Seiten der Laute und greift die Bünde am Steg des Instruments, während der leicht geöffnete Mund vermuten lässt, dass sich die Musikerin mit der Laute selber beim Gesang begleitet. Am rechten Bildrand dürften die entsprechenden Notenblätter auf einem mit einer roten Samtdecke bedeckten Tisch stehen.Das von links einfallende Licht modelliert die Figur der jungen Dame und lässt den Schatten des Instrumentenhalses auf ihren linken Unterarm fallen. Das Licht sorgt zudem für das virtuos wiedergegebene Schimmern der kostbaren, apricotfarbenen Seide beim Rock der Lautenspielerin. Eglon van der Neer konkurrierte bei der effektvollen Wiedergabe der stofflichen Textur von Seide und anderen pretiösen Stoffen mit Gerard ter Borch. Zum schimmernden Seidenrock trägt die junge Frau eine weiße, mit weitgebauschten Ärmeln versehene Leinenbluse, die jedoch schon leicht lasziv von der Schulter gerutscht ist. Neben dem strahlenden Weiß der Bluse und dem hellen Inkarnat wird das Kolorit unseres Gemäldes von einem delikaten Farbakkord bestimmt, der aus dem Apricot des Rocks, dem tiefdunklen Rot der samtenen Tischdecke und dem warmen Braun des Lautenkörpers gebildet wird.Eddy Schavemaker hat unser Gemälde auf die erste Hälfte der 1680er Jahre datiert, als Eglon van der Neer in Brüssel lebte. Geboren wurde der Künstler in Amsterdam als Sohn des Landschaftsmalers Aert van der Neer. Nach seiner Ausbildung arbeitet er zunächst von 1654 bis 1659 im südfranzösischen Orange, danach abwechselnd in Rotterdam und Amsterdam, bevor er 1679 nach Brüssel übersiedelt, wo er bis 1695 lebt. 1687 wird van der Neer zum Hofmaler des spanischen Königs Karl II. ernannt, elf Jahre später zum Hofmaler des Pfälzer Kurfürsten, in dessen Residenzstadt Düsseldorf er 1703 gestorben ist. Neben eleganten Genredarstellungen wie dem vorliegenden Gemälde führte van der Neer Portraitaufträge aus und schuf darüber hinaus einige religiöse und mythologische Gemälde sowie in seinen späteren Lebensjahren vermehrt Landschaftsansichten. Zusammen mit Adriaen van der Werff, seinem bedeutendsten Schüler, und Godefridus Schalcken gilt Eglon van der Neer als einer der Vollender der Leidener Feinmalerei. Eglon van der NeerA young woman, playing the lute Oil on panel. 33.5 x 25.5 cm.Signed upper right: E. van der Neer. fe.ProvenanceGerard Hoet II. (1698-1760);His sale, The Hague, 25 August 1760, lot 65;Possibly Blankensee collection, Berlin, 1856 (according to Parthey);Francis Palmer, Paris (label on the reverse with his coat-of-arms);Max Flersheim (1849-1922), Paris;Emil Glückstadt (1875-1923), Copenhagen;His sale, Copenhagen, Winkel, Magnussen, 2.6.1924, lot 680;M. & G. Segal, Basel, 1989;Klaus Edel, Cologne, 1990.ExhibitionsCologne, Wallraf-Richartz-Museum (on loan ca. 1993-2002).LiteraturePossibly Pieter Terwesten: Catalogus of naamlyst van schilderyen […], The Hague 1770, p. 226;Possibly Gustav Parthey: Deutscher Bildersaal. Verzeichniss der in Deutschland vorhandenen Oelbilder verstorbener Maler, vol. 2, Berlin 1864, p. 186;Possibly Cornelis Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, Esslingen and Paris 1912, vol. 5, p. 526, no. 75a or p. 527, no. 81a;Corinna Klein, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, p. 193, no. 77, ill. p. 194;Everhard Korthals Altes: Philip van Dijk, een achttiende-eeuwse Haagse schilder-kunsthandelaar met een lokale en internationale clientèle, in: Oud Holland, CXVI (2003), p. 172;Eddy Schavemaker: Eglon van der Neer (1635/36-1703). Zijn leven en werk (=Diss. Utrecht), Utrecht 2009, p. 437, no. 109, ill. p. 436;Eddy Schavemaker: Eglon van der Neer (1635/36-1703). His Life and Work (=Aetas aurea 22), Doornspijk 2010, p. 497, no. 104, colour plate XXXVI.Eglon van der Neer created several depictions of elegant young ladies, most of whom pursue an everyday activity in a distinguished interior of the haute bourgeoisie. One of the artist's preferred motifs, taken up time and again throughout his career, is the lute player. In our painting, executed with fine painterly precision, a lady playing music is seated almost directly facing the viewer with her legs pointing slightly to the left and her upper body turned slightly to the right. She plucks at the lute with graceful movements and grasps the frets on the bridge of the instrument, while her slightly open mouth suggests that the musician is accompanying her with the lute while singing. The likely corresponding sheets of music can be seen on a table covered with a red velvet cloth on the right edge of the picture. The light coming from the left models the figure of the young lady so the shadow of the neck of the instrument falls on her left forearm. The light also generates the virtuoso shimmer of the precious, apricot-coloured silk on the lute player's skirt. Eglon van der Neer competed witFull description on lot-tissimo.com

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Kunsthaus Lempertz
Lot 5

Meister der Lille Anbetung, zugeschriebenAnna Selbdritt Öl auf Eichenholz. 20,5 x 17,5 cm.LiteraturPetra Müller, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 34-36, Kat.-Nr. 14 mit Abb. (als Meister von 1518 i.e. Jan van Dornicke). - Zu dem Meister von 1518 (i. e. Jan Dornicke) siehe Georges Marlier: La Renaissance flamande. Pierre Coeck d´Alost, Brüssel 1966, S. 112-115. - Zu dem Meister der Lille Anbetung siehe Ellen Konowitz: Dirk Vellert and the Master of the Lille Adoration. Some Antwerp mannerist paintings reconsidered, in: Oud Holland 109, 1995, S. 177-188.Das kleinformatige und reizvolle, für die private Andacht geschaffene Gemälde zeigt in Halbfiguren die Muttergottes mit dem Christuskind sowie mit der matronenhaft gekleideten Heiligen Anna die Mutter Mariens, die sich ebenfalls mit einer auf den zukünftigen Erlöser weisenden Geste ihrer rechten Hand dem Kind zuwendet und mit ihrer linken Hand ein Buch hält. Darüber schwebt die Taube des Heiligen Geistes. Die Gruppe, hinter einem in den Bildraum hineinführenden Tisch positioniert, wird von einem häuslichen Innenraum mit einem zur Seite geöffneten Fenster umgeben, wobei Maria von einem Brokatvorhang hinterfangen wird.Das Gemälde ist bei seiner erstmaligen Publikation 1993 (Müller 1993, op. cit.) dem sogenannten "Meister von 1518" zugeschrieben worden, der durch Georges Marlier (Marlier 1966, op. cit.) als Jan van Dornicke - tätig in Antwerpen im ersten Viertel des 16. Jahrhunderts - identifiziert worden ist. Zuletzt ist jedoch mit dem "Meister der Lille Anbetung" ein anderer Künstler als Urheber unseres Gemäldes vorgeschlagen worden, der wie Jan van Dornicke ebenfalls zu den Antwerpener Manieristen zu zählen ist und um 1510-1530 in derselben Stadt tätig war. Benannt ist er nach einem 1512 datierten Gemälde mit der Darstellung der "Anbetung der Hirten" in Lille (Palais des Beaux-Arts de Lille, Inv.-Nr. P 739), das wie die weiteren ihm zugeschriebenen ca. zwanzig Werke offenbar unter dem direkten Einfluss des Antwerpener Meisters Dirk Jakobsz Vellert steht.Wir danken Peter van den Brink, Aachen, für seine Hinweise und Unterstützung bei der Katalogisierung dieses Gemäldes. Master of the Lille Adoration, attributed toThe Virgin and Child with Saint Anne Oil on oak panel. 20.5 x 17.5 cm.LiteraturePetra Müller, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 34-36, no. 14, reproduced (as Master of 1518 i.e. Jan van Dornicke);Concerning the Master of 1518 (i. e. Jan van Dornicke) cf. Georges Marlier: La Renaissance flamande. Pierre Coeck d´Alost, Brussels 1966, pp. 112-115;Concerning the Master of the Lille Adoration cf. Ellen Konowitz: Dirk Vellert and the Master of the Lille Adoration. Some Antwerp Mannerist Paintings Reconsidered, in: Oud Holland CIX (1995), pp. 177-188.The small-format charming painting, made for private devotion, shows the half-length figures of the Madonna and the Christ Child as well as the matronly clad St. Anna, who also gestures towards the future redeemer with her right hand whilst holding a book in her left. The dove of the Holy Ghost soars above. Positioned behind a table which pushes into the pictorial space, the group is surrounded by a domestic interior with an open window to one side with Mary framed by a brocade curtain. When first published in 1993 (Müller 1993, op. cit.), the painting was attributed to the so-called Master of 1518, identified by Georges Marlier (Marlier 1966, op. cit.) as Jan van Dornicke, active in Antwerp in the first quarter of the 16th century. Most recently, the Master of the Lille Adoration has been suggested as the author of our painting, who, like Jan van Dornicke, belonged to the Antwerp mannerists and was active in the city around 1510-1530. He was named after a painting from 1512 depicting the Adoration of the Shepherds in Lille (Palais des Beaux-Arts de Lille, inv. no. P 739), which, like the other circa twenty works attributed to him, is obviously directly influenced by the Antwerp master Dirk Jakobsz Vellert.We would like to thank Peter van den Brink, Aachen, for his advice and support with the cataloguing of this painting.

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Kunsthaus Lempertz
Lot 12

Cornelis KickStillleben mit Römerglas, Orange und Zitronen Öl auf Holz. 43 x 31,5 cm.Signiert Mitte rechts: Corn. Kick.ProvenienzAuktion Sotheby-Mak van Waay, Amsterdam, 30.11.1981, Lot 54.AusstellungenHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie Staatliche Museen Preußischer Kulturbesitz, 1984, Nr. 31.LiteraturJan Kelch: Ausst.-Kat. „Holländische Malerei aus Berliner Privatbesitz“, Berlin 1984, S. 66-67, Nr. 31, mit Abb. – Susanne Rütten, in Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 144-145, Nr. 56, mit Abb.Vor tiefdunklem Hintergrund präsentiert uns der Amsterdamer Stilllebenmaler Cornelis Kick genau sieben Objekte, eng aneinander und nahe an den Rand einer Steinplatte gerückt: ein mit Weißwein halb gefülltes Römerglas, eine Orange, eine Zitrone, ein aufgeschnittenes Zitronenachtel, eine dünne Zitronenscheibe, ein kleiner Zitronenkern und ein Messer, dessen elfenbeinerner Griff leicht über die Tischkante hervorragt. Mit diesen wenigen Gegenständen - hinzu kommen noch einige Wassertropfen - schafft Cornelis Kick eine spannungsreich leicht aus der Mittelachse gerückte Komposition, die insbesondere durch den starken Kontrast der strahlend hell wiedergegebenen Früchte zur dunklen Steinplatte und zum tiefdunklen Hintergrund die Aufmerksamkeit des Betrachters auf sich zieht. Das prachtvolle Römerglas hebt sich vom dunklen Hintergrund vor allem durch die meisterhaft gesetzten Lichtreflexe und -spiegelungen ab: Die obere Hälfte des Kelchs wird lediglich durch linienförmige Lichtreflexe am Rand sowie eine flächige Spiegelung an der Wandung wahrnehmbar, im unteren Teil des Kelchs sind es gelbliche Reflexe, die den Eindruck von Weißwein evozieren, und am Schaft wiederum unzählige winzige, punktförmige Lichtreflexe, die die Darstellung der himbeerförmigen Verzierungen erzeugen.Schon Arnold Houbraken rühmte in seiner 1718/19 erschienenen „De groote schouburgh“ die detaillierte Wiedergabe der Objekte in den Stillleben Kicks. Dennoch gibt der Künstler bis heute Rätsel auf: So wird schon sein Geburtsdatum in der Literatur unterschiedlich mit 1634 oder 1635 angegeben. Neben seiner Tätigkeit als Maler hat Kick möglicherweise einen Laden geführt, sicher erscheint nur, dass er zeitlebens in bzw. vor den Toren der Stadt Amsterdam lebte und zu seinen Schülern die bedeutenden Stilllebenmaler Jacob van Walscapelle und Elias van den Broeck gehörten. Houbraken berichtete in seiner „groote schouburgh“ auch von Portraitdarstellungen des Cornelis Kick („Hy zelf schilderde ook Beelden en Pourtretten“), allerdings sind Bildnisse aus seiner Hand heute nicht mehr nachweisbar. So sind es nunmehr ausschließlich Stillleben, insbesondere Blumenstücke, für die der Künstler bekannt ist, und die wegen ihrer genauen Naturbeobachtung und der brillanten Wiedergabe der Oberflächentexturen und Lichtreflexe geschätzt werden. Insgesamt sind Werke des Künstlers ausgesprochen rar - noch rarer sind seine Stillleben mit Früchten oder kostbaren Gegenständen wie unser vorliegendes Gemälde, das sowohl durch die Monumentalisierung alltäglicher Gegenstände als auch die Atmosphäre der Stille bis heute fasziniert. Cornelis KickStill life with a Roemer, an Orange and Lemons Oil on panel. 43 x 31.5 cm.Signed centre right: Corn. Kick.ProvenanceAnonymous sale, Sotheby-Mak van Waay, Amsterdam, 30 November 1981, lot 54.ExhibitionsHolländische Malerei aus Berliner Privatbesitz, Berlin, Gemäldegalerie, 1984, no. 31.LiteratureJan Kelch: Holländische Malerei aus Berliner Privatbesitz, Berlin 1984, exhib. cat., pp. 66-7, no. 31, reproduced;Susanne Rütten, in Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 144-145, no. 56, reproduced.The Amsterdam still life painter Cornelis Kick presents exactly seven objects in front of a dark background, placed close together and towards the edge of a stone slab: a Roemer glass half filled with white wine, an orange, lemon, a lemon wedge, a thin slice of lemon, a small lemon pip and a knife with its ivory handle protruding slightly over the edge of the table. With these few objects, as well as a few drops of water, Cornelis Kick creates an exciting composition that is slightly off-centre, and attracts the observer especially through the strong contrast of the bright fruits against the dark stone slab and the deep dark background. The splendid Roemer glass stands out against the dark background particularly through the masterfully placed light reflections and mirroring: The upper half of the goblet is only noticeable by the linear light reflections on its edge as well as a flat mirroring on its side. In the lower part of the goblet, yellow reflections evoke the impression of white wine and countless tiny, dot-shaped points of light on the stem evoke the raspberry-shaped decorations. Arnold Houbraken had already praised the detailed reproduction of the objects in Kick's still life in his De groote schouburgh published in 1718/19. The artist nevertheless poses riddles to this day: His date of birth is listed in the literature as 1634 or 1635; aside his activity as a painter, Kick may have had a shop. The only thing that seems certain is that he lived all his life in or just outside the city of Amsterdam and that his students included the important still life painter Jacob van Walscapelle and Elias van den Broeck. In his De groote schouburgh, Houbraken also reported on Cornelis Kick's portraits (Hy zelf schilderde ook Beelden en Pourtretten), although none are identifiable as by him today. It is therefore exclusively still lifes, especially flowers, for which the artist is known, and which are appreciated for their precise observation of nature and the brilliant reproduction of surface textures and light reflections. On the whole, works by the artist are extremely rare - rarer still are his still lifes with fruits or precious objects such as the present painting which continue to fascinate today through the monumentalising of everyday items and the atmosphere of stillness.

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Bonhams
Lot 142

Robert 'Mouseman' ThompsonCoffee tableOak, with octagonal top.48 by 55 cmMaker's signature carved mouse.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 321

PEL (Practical Equipment Ltd)Low occasional table, model no. HT5, 1931-1932Chromium-plated tubular steel, glass.51 cm high, 61 cm diameter Manufactured by PEL, Oldbury, Birmingham, United Kingdom. Frame with manufacturer's metal roundel embossed PEL.Footnotes:ProvenanceMr & Mrs Blackstone, Bridlington, United Kingdom, 1932Thence by descentAcquired from the above by the present owner, 2000LiteratureDesign For To-day, December 1935, n.p. for an advertisementPel, Birmingham, 1936, front coverDennis Sharp, Tim Benton and Barbie Campbell Cole, Pel and Tubular Steel Furniture of the Thirties, London, 1977, p. 44This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 323

PEL (Practical Equipment Ltd)Table, model no. HT2, 1931-1932Chromium-plated steel, glass.71 x 114 x 60.5 cmManufactured by PEL, Oldbury, Birmingham, United Kingdom. Frame with manufacturer's metal roundel embossed PEL.Footnotes:ProvenanceMr & Mrs Blackstone, Bridlington, United Kingdom, 1932Thence by descentAcquired from the above by the present owner, 2000LiteraturePel Steel Furniture, Birmingham, 1932, front coverDennis Sharp, Tim Benton and Barbie Campbell Cole, Pel and Tubular Steel Furniture of the Thirties, London, 1977, p. 43This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 349

Bernard LeachTiled table, circa 1945Glazed ceramic tiles, mounted in a wrought iron trivet, central tile with bird motif; together with two additional tiles.Central pictorial tile - 10 x 10 cmTable - 19.5 x 39 x 26.5 cmThis 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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Bellmans
Lot 431

BERTHOUD, Ferdinand (1727-1807). Essai sur l' Horlogerie; dans lequel on Traite de cet Art Relativement a l' Usage Civil, a l' Astronomie et a la Navigation. Paris: J. Cl. Jombert, Musier [and] Ch. J. Panckoucke, 1763. 3 volumes including plate volume, 4to (258 x 195mm). 38 engraved plates (lacks 2 leaves [iii-vi] of the "Table" at the front of vol. II, some marginal staining to a few leaves in vol. II and to the margins of a few plates). Contemporary tree calf, flat spines decorated in gilt, dark green morocco lettering-pieces (rebacked preserving old spines). Provenance: G. [?]Cuffier (old signature dated 1865 on front free endpapers of all 3 vols.). FIRST EDITION. Brunet I, 365: "Ouvrage le plus estimé que l' on ait sur cet art" (citing the second edition of 1786); Tardy 51. (3)

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Bellmans
Lot 496

SANTORIO, Santorius (1561-1636). De statica medicina aphorismorum sectiones septem: Accedunt in hoc opus commentarii Martini Lister et Georgii Baglivi. Padua: Typis Jo. Baptistae Conzatti, 1710. 12mo (131 x 76mm). Engraved frontispiece, woodcut ornament on title (lower corner of title torn away without loss [?to remove an old signature], margin of *7 repaired affecting a few letters, some mainly marginal staining to a few leaves at the front, occasional light spotting and staining). Contemporary half calf and marbled boards (rubbed). The intriguing frontispiece portrays the author, engaged in one of his experiments on the metabolism, dining at a table while seated in a weighing chair suspended from a pulley. The work was first published in 1642. Bib. Osleriana 3914.

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Bellmans
Lot 435

BONNET, Charles (1720-93). Traité d' Insectologie; ou Observations sur les Pucerons. Paris: Chez Durand, 1745. 2 volumes, 8vo (163 x 98mm). Half titles, typographical ornament on titles, 8 folding engraved plates, tables, one folding (lacking one folding table, some very light mainly marginal spotting and staining). Contemporary mottled calf, spines gilt with red and tan morocco lettering-pieces (extremities rubbed). Provenance: L. [?]Minne (old signatures on front free endpapers). FIRST EDITION of this work on insects and aphids by an influential forerunner of evolutionary thought. Garrison & Morton 308: "This pioneering work on experimental entomology incorporates Bonnet's most important discovery - parthenogenetic reproduction - based on his study of aphids. Bonnet used the result of this and other discoveries as a basis for speculation about life on earth. This work presents in tabular form his version of the 'great chain of being'. Bonnet's concept of the essential continuity of life, a consequence of his discovery and pre-formationist interpretation of parthenogenesis, was a major force in the shaping of later evolutionary opinion ..." Nissen ZBI 462; not in Brunet. (2)

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Bellmans
Lot 459

HACHETTE, Jean Nicolas Pierre (1769-1834). Traité Elémentaire des Machines ... Seconde Edition, revue et eugmentée. Paris: Mme. Ve. Courcier, 1819. 4to (253 x 200mm). Half title, folding table, 32 engraved plates, all but one folding (variable, but mainly light, spotting, staining and browning, a few short tears to plates without loss). Attractively bound in contemporary calf gilt, spine gilt with green morocco lettering-piece, yellow edges (lightly rubbed). cf. Brunet II, 502 (citing only the fourth edition of 1828).

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Bellmans
Lot 457

GUYOT, Edmé-Gilles (1706-86). Nouvelles Récréations Physiques et Mathematiques ... Nouvelle Edition, Corrigée, & considérablement augmentée. Paris: chez Gueffier, 1772-75. 8 parts bound in 4 volumes, 8vo (199 x 125mm). Half titles, 98 engraved plates only (of 99, lacking plate 5 in the 8th part), almost all hand-coloured, 3 folding, one leaf [not numbered as a plate] engraved on both sides with a table and an alphabet (large pieces of blank margin of 2 leaves torn away in vol. IV, occasional mainly marginal spotting and staining). Unusual contemporary green-stained parchment, spines with red morocco lettering-pieces (lightly stained). (4)

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Bellmans
Lot 423

VERNON, John (dates unknown). The Compleat Comptinghouse: or, The Young Lad taken from the Writing-School, and fully instructed, by way of Dialogue, in all the Mysteries of a Merchant, from his first understanding of plain Arithmetic, to the highest Pitch of Trade: Whereby the Master is saved much labour, and the Lad is led by the Hand to all his Work and Business; which to Youth is accounted troublesome, but will here seem pleasant. A Work very necessary for all that are concerned in keeping Accompts of what Quality Soever. The Second Edition, Corrected and Amended. London: Printed by J. Richardson for Benj, Billingsley, 1683. 12mo (152 x 95mm). Tables (lacks L6-L7 [i.e. pages 227-230], section of text detached, large piece torn away from blank margin of E2, variable spotting, staining and browning, a few darker spots). Contemporary calf (heavily rubbed). Provenance: "William Griffiths, his Book. bo.t by Oxtion [sic, i.e. Auction] 1718" (inscription on front free endpaper); copious old annotation to front free endpaper; signature of another member of the Griffith family dated 1753 on verso of front free endpaper; later number in pencil on title. After the Table, the author places a curious, and possibly self-interested, Advertisement: "That rare Invention of Cake-Ink, so convenient for Carriage, as well by Land and Sea, already experienced by many Thousands in England, and Forreign[sic] Parts, to be the blackest, fluentist, and strongest Ink yet invented: and the more desirable, because he that hath the least bit of it in his Pocket, is possest of the best Ink: Is to be had at Mrs. Vernon's Coffee-House ..." Goldsmith's-Kress 2245; Wing V249; Woolf, A Short History of Accountants and Accountancy ... Bibliography (1912), p.214 (not citing this edition).

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Bellmans
Lot 426

Acta physico-medica Academiæ Caesareæ Leopoldino-Carolinæ naturae curiosorum exhibentia ephemerides sive observationes historias et experimenta. Nuremberg: Prostat in Officina W. M. Endteriana, 1727 [second part: 1725, with a further sectional title dated 1722]. 4to (205 x 168mm). Engraved allegorical frontispiece, title printed in red and black, 2 engraved portraits, folding table, initials, 17 folding engraved plates (a few plates torn with slight loss, some light soiling). Contemporary vellum (lightly stained). Provenance: unidentified armorial bookplate without name or motto; [?]L. Hurteriis (old signature on front pastedown). The work is often carelessly recorded as having just 16 plates, and it is true that the final plate is numbered XVI; this copy has 17 plates including plates numbered Xa and Xb which might be easy to miss in a hurried collation. Sold as a periodical, not subject to return.

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Bellmans
Lot 371

GOGUET, Antoine-Yves (1716-58). De l' Origine des Loix, des Arts, et des Sciences; et de leurs Progrès chez les Anciens Peuples. Paris: Chez Desaint & Saillant, 1758. 3 volumes, 4to (255 x 195mm). Half titles, titles printed in red and black, woodcut ornaments, 9 folding engraved plates, large folding table at the end of each vol. (some mainly marginal spotting, staining and browning). Contemporary calf, red edges (spines severely worn, heavily rubbed, joints split). FIRST EDITION of this social and cultural history of ancient civilizations seen through the prism of the French enlightenment. An impressive, but highly speculative, plate shows a pyramid under construction using wooden hoists and rollers. Barbier III, 746; Brunet II, 425: "Belle édition de cet ouvrage estimé ..." (3)

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Bellmans
Lot 429

BEGUIN, Jean (1550-1620). Tyrocinium chymicum. Geneva: Excudebat Blasius le Melais, 1659. 8vo (150 x 102mm). Additional engraved title, initials and ornaments, folding table (2 leaves adhering, stained, spotted and browned throughout, some worming. one signature detached, folding table detached and torn with slight loss at upper edge). Contemporary vellum, title in old manuscript on spine (lacking ties, stained). First published in 1610, the work is recognised as the first chemistry, as opposed to alchemical, textbook. Duveen 63; Ferguson I, 93. Sold not subject to return.

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Mallams Ltd. - Oxford
Lot 1020

A MATCHED PART SERVICE OF 18TH AND 19TH CENTURY SILVER OLD ENGLISH PATTERN FLATWARE, comprising five tablespoons, six table forks, seven dessert spoons, a bright-cut sauce ladle, another sauce ladle, and various teaspoons, various dates and makers, 38.5oz overall. (qty)

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Mallams Ltd. - Oxford
Lot 845

A COLLECTION OF SILVER, comprising an Art Deco perpetual desk calendar, by W.J. Myatt & Co. Birmingham 1936, 17cm wide, an easel watch holder, containing a plated keyless wind pocket watch, a rectangular cigarette box, a spill vase, a dressing table jar, and a clothes brush (6)

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Mallams Ltd. - Oxford
Lot 1063

A LATE 19TH CENTURY SILVER PLATED CIRCULAR SURTOUT-DE-TABLE, with mirrored top, relief decorated with flowers and scrolls, within gadrooned borders, 47cm wide

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Mallams Ltd. - Oxford
Lot 696

A COLLECTION OF SILVER FLATWARE, to include an early Georgian Old English pattern dessert spoon, maker's mark only for George Houston, circa 1740, four Georgian Old English pattern table forks, two similar tablespoons, two sets of six teaspoons (one cased), and other assorted spoons etc., 24oz overall

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Mallams Ltd. - Oxford
Lot 877

AN EXTENSIVE SERVICE OF GERMAN FLATWARE AND CUTLERY, with tapered handles, comprising a soup ladle, two gravy spoons, four serving spoons, two sauce ladles, two serving forks, two serving slices, four fish slices and two forks, various smaller serving knives and forks, sixteen table forks, sixteen tablespoons, two pairs of salad servers, seventeen dessert forks, seventeen fish knives and forks, sixteen ice-cream spoons, seventeen teaspoons, fifteen coffee spoons, and eleven cake knives and twelve forks, all stamped 800, 342 oz overall (excluding steel knives). Approx weight excluding pieces with hollow filled handles 207 oz,, together with the matching steel bladed table and dessert knives (qty)

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Mallams Ltd. - Oxford
Lot 695

A MATCHED PART SERVICE OF 19TH CENTURY SILVER FIDDLE PATTERN FLATWARE, comprising five tablespoons, five dessert spoons, three table forks, twelve dessert forks, and six teaspoons, various dates and makers, 50oz overall

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Mallams Ltd. - Oxford
Lot 720

A SERVICE OF MID VICTORIAN SILVER FIDDLE PATTERN FLATWARE, by Chawner & Co, London 1860, comprising six tablespoons, six table forks, six dessert spoons and six dessert forks, and twelve teaspoons by the same maker, mostly London 1857, 54oz overall

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Mallams Ltd. - Oxford
Lot 884

A MATCHED PART SERVICE OF VICTORIAN SILVER BRIGHT CUT FLATWARE, comprising three each of tablespoons, table forks, dessert spoons and dessert forks, various dates and makers, 19oz overall

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