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Lot 743

A mahogany magazine rack, matching wine table and a corner what not stand

Lot 744

A contemporary rectangular dining table and six high back wicker dining chairs

Lot 746

A mahogany glass top coffee table and matching lamp table

Lot 747

A pair of wrought metal painted patio chairs and circular coffee table

Lot 749

A painted Victorian mahogany tilt topped pedestal breakfast table

Lot 760

A contemporary G-plan seven piece dining room suite comprising of four drawer cabinet, circular pedestal dining table and four chairs with corner stand

Lot 761

A Victorian mahogany tilt topped breakfast table

Lot 763

A Victorian pedestal occasional table

Lot 770

A contemporary oak topped pull out table on painted legs

Lot 803

A contemporary mirrored dressing table with matching stool, width 105 cm

Lot 808

A Barker and Stonehouse Grecian style coffee table, with glass top, width

Lot 810

A Barker and Stonehouse Grecian style console table, width 140 cm with matching mirror (2)

Lot 811

A classical style gilded cream mirrored dressing table, width 159 cm

Lot 819

A Laura Ashley cream dressing table, width 111 cm with matching stool

Lot 826

A contemporary glass coffee table foo dog supports with 154 cm x 93 cm

Lot 828

A George III inlaid mahogany tea table, width 90 cm

Lot 831

A sheesham wood dining room table and five chairs, 180 cm x 91 cm

Lot 834

An oak snooker dining table, by Riley Limited, Ackrington, together with oak score board, five cues, a set of balls with triangle, Diploma billiard chalk, table heat cover, and set of six oak Windsor style dining room chairs. Width of table 104 cm.

Lot 248C

A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baskets of flowers, Satyrs, , grotesque masks each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.

Lot 89

A Fine George II carved mahogany, dressing commode, circa 1735, possibly by John Boson and Cornelius Martin or Benjamin Goodison, now with an eared rectangular green marble slab top, the four long graduated drawers with original gilt-brass handles and escutcheons, flanked by a pair of guilloche-carved corbel pilasters headed by acanthus leaves and lion masks holding brass rings, the panelled sides with further conforming pilasters, on paterae-carved bracket feet, 80cm high, 123cm wide, 54cm deep, the drawer retaining a label with ducal coronet above a monogram contained within roundel bearing the motto `honi soit qui mal y pense', the back bearing a small paper label 'LADY LEVER COLLECTION' together with the inventory number 'X3933' and another paper manuscript label 'KENT ROOM S. RIGHT', the back also with chalk inscriptions `518 NX' and 'C185', originally with a fold-over top and pull-out supporting front pilasters; the top drawer probably originally fitted. Provenance: 'M. Harris & Sons, sold 17 June 1920 (£350) to William Lever, 1st Viscount Leverhulme (1851-1925) The Leverhulme Collection.The Lady Lever Art Gallery, Port Sunlight.Sold Christie's London, 27 May 1965, Lot 74 (£472.10s) The architectural form of the present lot, featuring distinctive lion mask pilasters with brass ring handles, relates to a group of documented 18th furniture associated with the furniture makers John Boson (d.1743) and Benjamin Goodison or Cornelius Martin (d.1767). Both makers were associated with the celebrated Royal architect designer William Kent (d.1745) who was the protégé of Richard Boyle, 3rd Earl of Burlington. The group includes the 'Owl' tables supplied by Boson for the Summer Parlour at Chiswick House in 1735 (See. T. Rosoman, 'The decoration and use of the principal apartments at Chiswick House 1727-7-`, Burlington Magazine, October 1985). Another related desk from Viscount Downe's collection at Wynham Abbey, Yorkshire, is illustrated in F. L. Hinckley, Metropolitan Furniture of the Georgian Years, New York, 1988, p. 78, pl. 44, fig. 93. A further library table supplied to 2nd Duke of Montague for Montague House, Northamptonshire, circa 1737-41 has been traditionally attributed to Goodison on the basis of invoices supporting the assertion that Goodison was the principal cabinet-maker to the Duke. However the discovery of payments in the Montagu accounts to John BosonSummer Exhibition Catalogue, 1987) calls this into question. A George II gilt-brass mounted and marble topped commode attributed to either Boson or Goodison, with provenance from the Dukes of Northumberland, sold Sotheby's, London, 'Treasures including selected works from the collections of the Dukes of Northumberland', 9 July 2014, lot 7. Shortly prior to the sale of this lot, a much anticipated exhibition William Kent: Designing Georgian Britain, was held at the Bard Graduate Center, New York in September 2013. This gave rise to certain key items being conserved before being loaned to either the Bard Graduate Center or the Victoria& Albert Museum where the exhibitions were staged consecutively first in New York and followed by London. Included in the conservation was the aforementioned Owl Suite, by John Boson, comprising a pair of mahogany and parcel-gilt dressing commodes and companion gilt pier glasses. The evidence for the suite's attribution to Boson is based on a receipt dated 11 September 1735, made out to Lady Burlington who had commissioned the complete furnishing of her Garden Room (later referred to as the Summer Parlour) at Chiswick House. During the course of the 'Owl' dressing commodes conservation, their Victorian leather-lined tops were removed in order to reveal the original top surfaces of the commodes. Interestingly this revealed fragments of a green textile, likely to have been a silk velvet fabric matching that of the green silk damask decorating the walls of the Garden Room at Chiswick during the 1730s. However the most exciting discovery lay to the underside of one of the commodes in the form of faint pencil signatures with the inscriptions 'W. Kent', 'B' standing for John Boson and lastly that of 'Cornelius Martin / 1735'. The latter may be the same Cornelius Martin who was recorded at Dover Street in 1763 (See Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660-1840, 1986, p. 580). Hence the 'Owl' commodes would represent the first documented examples of his work. The geographical proximity of Dover Street to Savile Row where Boson had taken a lease for a plot since 1733/1734 (from his patron Lord Burlington), makes this collaboration appear highly feasible. (see Matthew Hirst 'Conservation Discoveries: New Insights into Lady Burlington's 'Owl' tables for her Garden Room at Chiswick, Furniture History, 2014, pp. 205-215). John Boson's career was relatively short (See Virtue Note Book, III, Walpole Society, 22, Oxford, 1934, for an obituary recording Boson's death in 1743) dying at 'an age not considerably above middle age'. It was also noted that he was 'a man of great ingenuity and undertook great works in his way for the prime people of quality and made his fortune well in the world'. Tradition has it that Boson's first apprenticeship was as a ship's carver, possibly at Deptford, prior to acquiring his own yard at Greenwich in the early 1720s. His earliest known documented work was for the Duke of Kent in 1727 when he undertook carving at 4 St. James's Square. Significantly the majority of Boson's known commissions were for carved work in wood and marble rather than cabinet-work. His documented furniture is limited to a small group seven surviving pieces. These include the aforementioned 'Owl Suite', now at Chatsworth, and a pair of candle-stands with 'Boys heads' also commissioned by the Burlingtons.

Lot 151

A Regency mahogany extending dining table, circa 1810, by Thomas Butler, the rounded rectangular tilting top with a reeded edge, the telescopic extending action with an arrangement of loper bearers fitted with detachable threaded turned legs, the central turned pedestal support with four reeded downswept legs ending in brass paw feet with castors, bearing the brass trade label of Thomas Butler etc..., 243 cm long including two leaf insertions, 140cm deep Thomas Butler (1787-1814) specialised in the manufacture of patent furniture, including dining tables and bedsteads. He is operated from premises at 13/14 Catherine Street which was close to his leading rival Morgan and Sanders (see G. Beard and C. Gilbert, The Dictionary of English Furniture Makers 1660-1840, Leeds 1986). A table bearing a similar brass trade label is illustrated in C. Gilbert, The Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds 1996, p. 131, figs, 179-180. Please note, this table should be dated as 'circa 1815 and later' and not as originally catalogued.

Lot 299

A large George II style carved giltwood side table, circa 1900, in the manner of William Kent, the glass inset simulated green marble top above fluted frieze above a central lion mask flanked by swags, the imbricated scrolling supports, 86cm high, 245cm wide, 99cm deep Provenance: Christie's London, 16 March 1967 The present table is identical to one almost certainly supplied to Sir John Frecheville Ramsden, 6th Bt. (1877-1958) for Bulstrode Park, Buckinghamshire. Following the house contents sale at Bulstrode Park, the table entered the collection at Pitshill, West Sussex. It was then most recently at Dunecth House, Aberdeenshire until sold at Cowdray Park, Christie's house sale, 13-15 September 2011, lot 363. An almost identical table with reputed provenance from Cecil Boyd Rochfort, Middleton Park, Co. Westmeath, Ireland, sold Sotheby's London, 22nd November 2006, lot 183. Bulstrode Park Bulstrode Park was owned by the Dukes of Somerset from circa 1809, being rebuilt in its present form by Edward Adolphus Seymour, 12th Duke of Somerset, (circa 1804-1885). When the 12th Duke died there was no male heir so the house, its contents and the estate passed to his eldest daughter, Lady Helen Guendolen Ramsden, who in turn passed it to her son Sir John Frecheville Ramsden.Sir John sold many of the contents of the house at a two day sale held onsite by Christie's in 1932 but retained the house.

Lot 31

A French Empire burr elm marble topped pier table, the rectangular fossil marble slab above a frieze drawer, on columnar supports with engine-turned mounts and an inverted breakfront plinth, 89cm high, 100cm wide, 46cm deep This lot is to be sold without reserve

Lot 248

A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baldechins and goats heads each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm; together with a pair of architectural spandrels, with some losses to carving, 196cm high, 180cm wide Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.

Lot 1

A pair of French spelter models of the Townley Vase fitted as table lamps, after the Antique, circa 1890 and later adapted, each ovoid body relief cast with figural scenes and with twin scrolled handles, above black marble bases, 36cm high overall including later electrical fitments; presented with fabric shades This lot is to be sold without reserve

Lot 95

A George III green japanned quarter chiming table clock, Markwick, Markham, Perigal, London, circa 1770, The seven pillar triple fusee movement with verge escapement regulated by short bob pendulum, quarter chime on a graduated nest of eight bells and hour strike on a further larger bell, the backplate with fine asymmetric foliate scroll engraved decoration around a central cartouche signed Markwick, Markham, Perigal, London, the 8 inch brass break-arch dial with calendar and false bob apertures beneath recessed signature plate Markwick Markham Perigal, LONDON to the matted centre within applied silvered Roman numeral chapter ring, with pierced steel hands and rococo scroll cast spandrels to angles beneath star-centred subsidiary STRIKE/SILENT selection dial flanked by conforming mounts to arch, the green japanned bell-top case with brass carrying handle to the smooth bell-top superstructure decorated in raised polychrome and gilt with chinoiserie garden landscape panels within lattice borders over break-arch glazed front door with conforming decoration to surround, the sides with circular over concave-topped glazed apertures and the rear with further break-arched glazed door set within the frame of the case, on generous cavetto moulded base incorporating bracket feet with shaped apron between, 60cm (23.5ins) high, 36cm (14ins) wide, 23cm (9ins) deep James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with his son in Law Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors with the firm forming partnerships with other fine makers including Francis Perigal in 1751.

Lot 384

A Victorian carved mahogany easel dressing table mirror, late 19th century, the cartouche-shaped frame with a bevelled plate and shell cresting, 90cm high, 61cm wide This lot is to be sold without reserve

Lot 334

A French gilt bronze Campana urn in Neoclassical taste, third quarter 19th century, with everted and pierced rim and twin rams' mask handles, above a waisted circular socle and stepped square section base, 38cm high overall; a gilt metal columnar table lamp in Regency style, later 19th century and refitted, the fluted stem cast with stylised acanthus and scrolls, above a stepped square section base, on paw feet, 60cm high; and another columnar table lamp This lot is to be sold without reserve

Lot 81

A pair of Breccia and gilt metal mounted obelisk table lamps, modern, the tapered stems descending to stepped square section bases mounted with masks, 71cm high overall including fitments This lot is to be sold without reserve

Lot 109

Ï’A William IV amboyna library table, circa 1830, the rounded rectangular top above a frieze drawer, on solid vase-shaped end supports with platform bases, on lobed turned feet, 73cm high, 115cm wide, 61cm deep Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. 

Lot 255

A Totara Knot occasional table, second quarter 19th century, possibly by Johan Martin Levien, New Zealand, the rounded rectangular tilt-top above a faceted baluster support, on a concave-sided base with carved paw feet and castors, 71cm high, 65cm wide, 51cm deep, restoration to the pedestal support

Lot 286

Ï’A William IV amboyna library table, circa 1830, the rounded rectangular top above a pair of real and opposing dummy frieze drawers, on a pylon shaped pillar and a tricorn-shaped plinth with gadrooned bun feet, 71cm high, 107cm wide, 82cm deep, the remaining lock stamped 'J. Child' Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

Lot 396

A pair of modern dry-bodied stoneware black basalt table lamps, modelled in the Wedgwood style with caryatid handles, 44cm high This lot is to be sold without reserve.

Lot 153

A George III mahogany tripod table, late 18th century, the circular dish-moulded tilt-top above a turned stem and tripod supports, 66cm high, 58cm diameter This lot is to be sold without reserve

Lot 114

A George II style carved mahogany, marble-topped side table, 1st half 20th century, the mottled green marble top above an acanthus-carved, pierced apron centred by a scallop shell, on conformingly carved cabriole legs with scroll feet, 85cm high, 79cm wide, 48cm deep

Lot 234

A George II carved mahogany supper table, 18th century, later carved, the multi-dished, tilt-top with elaborate acanthus and spandrel carving, on a columnar-turned stem with tripod cabriole legs, 71cm high, 92cm diameter This lot is to be sold without reserve

Lot 220

Ï’ A Regency amboyna, rosewood crossbanded and gilt-brass mounted pier table, circa 1815, the raised mirror panel back with a pierced anthemion gallery above and open shelf and pierced, scrolling supports, the top above a cut brass-inlaid frieze with a drawer, on scrolled front supports headed by palmette lappets and with paw feet resting on an inverted breakfront plinth, 137cm high, 97cm wide, 41cm deep Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. 

Lot 290

A Regency mahogany side table, circa 1815 with alterations, the rectangular hinged top with a reeded edge and revealing a well, the dummy frieze drawer above reeded, turned legs, 73cm high, 75cm wide, 54cm deep This lot is to be sold without reserve

Lot 332

A Victorian Gothic oak table cabinet, circa 1860 of arched form, enclosed by a pair of doors, 92cm high, 50cm wide, 21cm deep This lot is to be sold without reserve.

Lot 309

A George I carved and gilt-gesso centre table, circa 1720, in the manner of James Moore, the rectangular top with a central panel decorated with a sunflower amongst acanthus and further flowers within a scrolling acanthus and strapwork border and leafy moulded edge, the conforming frieze centred on each side by pierced and carved ornament, the hipped cabriole legs on square pad feet, the underside bearing a the trade label of 'LENYGON & MORANT, Ltd., 31, OLD BURLINGTON STREET, LONDON, W.1.' with the manuscript '23/2/39 Property of HRH The Duke of Kent KG, a carved and gilt gesso centre table (one of a pair); together with another trade label of 'FRANK PARTRIDGE & SONS LTD., WORKS OF ART, 26 KING STREET, St James's SW and at New York', Also bearing the chalk number '3759'. n74cm high, 111cm wide, 59cm deep, re-gilt and some re-gessoing, the angle brackets to the legs replaced Provenance: Property of HRH Prince George, Duke of Kent KG Lenygon and Morant, Ltd. Frank Partridge & Sons Ltd. Prince George, Duke of Kent, KG, KT, GCMG, GCVO According to the Lenygon and Morrant paper label on the underside, the present lot was the property of Prince George, Duke of Kent, the fourth son of King George V and Queen Mary and the younger brother of Edward VIII and George VI. Prince George served in the Royal Navy in the 1920s and then briefly as a civil servant. He became Duke of Kent in 1934 following his marriage to Princess Marina of Greece and Denmark. Like his mother, Queen Mary, Prince George had a keen eye for period furniture and decorative arts, building an impressive collection to furnish his home. In the late 1930s he served as an RAF officer, but was killed in a military air-crash on 25 August 1942. The property of Prince George and his wife Princess Marina was sold at Christie's in 2009 , however the present lot was sold with its counterpart earlier in the 1930s.The Table Elements in the design of the present table have marked affinities with documented examples of early 18th century giltwood furniture by the Royal cabinet-maker James Moore. In particular the strapwork decorated top relate to tables in the Royal collection recorded at Hampton Court Palace, and Kensington Palace, both by the same maker. A possible influence on Moore and his predecessors' designs was a French engraving for a side table by Pierre Le Pautre, published in his Lievre de tables qui sont dans les apartmments du Roy, c. 1700, pl. 4, which in common with the offered lot features a diaper trellis pattern to part of its frieze (see Adam Bowett, Early Georgian Furniture, 1715-1740, 2009, pp. 300-201, pls. 5:1-5:3). The unusual broken cabriole form to the legs is also seen in a set of giltwood chairs at Blenheim, a pair of tables formerly in the collection of the Duke of Newcastle, both firmly attributed to James Moore, and a pair of giltwood torcheres at Treasurer's House, York possibly commissioned by 1st Duke of Marlborough for Blenheim Palace from James Moore Snr. (1670-1726). Lenygon and Morant Francis Lenygon opened Lenygon & Co., in 1904, and in 1909 merged with Morant & Co., to become Lenygon & Morant, with premises at 31 Old Burlington Street. Francis published his seminal book 'Decoration and Furniture of English Mansions during the Seventeenth and Eighteenth Centuries' in 1909 and featured a series of illustrations showing several pieces acquired by the firm in situ at their Burlington Street studio. He made a name for himself by acquiring complete period rooms, including a Dutch Painted Room from Groningen, Holland and others, which were described as 'the most interesting and important complete room[s] - both historically and artistically - which has ever been exhibited (Lenygon & Morant, Description of the Painted Room in the Collection of Messrs Lenygon & Co. Ltd, 1910). The firm received commissions from many prominent patrons, including industrialists, aristocrats and the Royal family. The firm held royal warrants under four successive kings: Edward VII, George V, Edward VIII, and George VI.

Lot 359

A Victorian Thuyawood ebonised and parcel-gilt collapsible occasional table, circa 1870 in the manner of Holland and Sons, the octagonal top with a geometric inlaid border, on turned and fluted supports with brass beaded stretchers and brass castors, 64cm high, 60cm wide, 60cm deep, the underside bearing the impressed serial number `S14064' This lot is to be sold without reserve.

Lot 217

A Louis XVI style cast-iron console table, early 20th century, the rounded rectangular white marble top above an arcaded frieze and a pair of scrolling cabriole supports with gilt-decorated foliate knees, 91cm high, 120cm wide, 39cm deep This lot is to be sold without reserve

Lot 281

A pair of William IV gilt metal table lamps in Antique taste, circa 1840 and later, the stems with graduated tiers of foliage above panelled triform bases cast with lion masks, 73cm high overall including electrical fitments; presented with yellow silk shades This lot is to be sold without reserve

Lot 385

A George III mahogany and inlaid gentleman's dressing table, late 18th century, the divided hinged top revealing a folding mirror, the frieze with a baize-lined brushing slide above a dummy drawer, on tapered square legs with brass castors, 86cm high, 75cm wide, 56cm deep This lot is to be sold without reserve

Lot 105

An oak reading table, mid-19th century, the rounded rectangular top with a ledge and a pair of pivoted candle stands, the octagonal telescopic pillar on a shaped platform base with wooden castors, 102cm high, 56cm wide, 39cm deep This lot is to be sold without reserve

Lot 248B

A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, grotesque green man masks, goats heads and a dancing maiden in a central roundel, each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.

Lot 248A

A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, bearing strapwork framed cabochons inscribed 'MAECENATI SUO IDIBUS DECUMBRIS. 1864.' and 'ADDICTISIMUS' , each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.

Lot 302

Ï’ A French amboyna, ebonised and gilt-metal mounted jardinière table, in the Louis XVI style, circa 1870, the canted rectangular top with a removable panel, on tapered square legs, 77cm high, 88cm wide, 54cm deep This lot is to be sold without reserve Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

Lot 249

A pair of silver plated and green marble mounted columnar table lamps, second half 20th century, each with Corinthian order capital and stepped, beaded base, stamped AW EP to the bases, 52cm high overall including fitments This lot is to be sold without reserve

Lot 244

A George IV burr elm occasional table, circa 1825, the rounded rectangular top above a bead and reel moulded frieze, the square pillar support with a lotus leaf carved collar, on a concave-sided plinth with bun feet, 79cm high, 49cm wide, 35cm deep This lot is to be sold without reserve

Lot 202

A George III `plum pudding' mahogany Pembroke table, circa 1790, the rectangular moulded drop-leaf top above a real drawer with divisions opposed by a dummy frieze drawer, on tapered square legs ending in brass castors, 72cm high, 110cm wide open, 105cm deep This lot is to be sold without reserve

Lot 259

Ï’A George IV mahogany and rosewood crossbanded tea table, circa 1820, in the manner of William Trotter, the rounded rectangular swivelling top with gadrooned beading and brass stringing, the four scrolled supports a platform with corresponding hipped and reeded splayed legs ending in brass paw feet and castors, 72cm high, 100cm wide, 50cm deep Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. 

Lot 52

A collection of twelve assorted items of specimen and curiosity interest, comprising; a rouge marble table top plinth, 24cm high; a pair of green serpentine marble plinths, 18cm high, a further veined grey stone plinth; a Marmo Portoro rectangular plaque, various spheres; a fossil; a possibly Medieval shard of green glass; and a lacquered nut or bean pod This lot is to be sold without reserve

Lot 253

A New Zealand Totara Knot and Hinan wood occasional table, by Johan Marti Levien, second quarter 19th century, the rounded rectangular tilt-top above a faceted baluster support with a foliate carved collar, on a concave-sided platform with scroll feet and castors, 71cm high, 61cm wide 48cm deep, the top of the block bearing a manuscript label 'this wood imported from Wellington - New Zealand - the native names are Totara with Hinan border and manufactured G.D.M Levene, New Zealand House, New Broad St .... London Johan Martin Levien (1811-1871) was born in Barth, a sea-port in Western Pomerania, Prussia where he undertook his cabinet-making apprenticeship, becoming a Master in 1831. He followed this with an extensive period of travel, visiting Norway, Denmark, Sweden, Russia and Hamburg. During his time in Europe he was not only able apply refine his skills but he also attended various schools of drawing and design prior to setting sail for Pernambuco in Brazil in 1837 to set up his own business. Unfortunately the climate did not suit his health, causing him to leave for Rio de Janeiro c. 1840. Here Levien devoted himself to sourcing exotic timber specimens amongst the interior forests. His appetite for collecting rare wood samples lead him to Wellington, New Zealand later the same year where he believed unknown timbers awaited his discovery. These were very early days for settlers which necessitated Levien building his own house with the assistance of local Maoris - a primitive rush construction secured by poles in ground. Once settled he began exploring the hinterland forests to identify suitable cabinet timbers, drawing on the experience he had gained in Brazil. Here he selected a range of native timbers including Hinau, Kauri, Mai, Matai, Rata, Rimu and Totara. This was heavy work as the newly hewn trees had to be carried back through the forest to the base camp before they could be sawn into planks. Some of the trees were over a hundred feet tall with boughs up to twelve feet in diameter. When Levien arrived in Wellington he could neither speak English or Maori but quickly assimilated both languages and built up a rapport with the native tribesmen. He built a beachside store and workshop on what is now known as Lambton Quay and shortly after married an English woman of high social standing. By 1843 he had built a flourishing business as a contemporary report recorded: 'Mr Levien...has been industriously employed in proving the value of our forests, by working native woods in all descriptions of furniture. His work is beautifully executed, and his prices moderate'. The report went on to state 'We are glad to find a considerable quantity of furniture wood being shipped by all the vessels now proceeding from this port to England. Mr Levien...proceeds in the brig Victoria to London, with a view of establishing a warehouse for the manufacture and sale of New Zealand wood ...Mr Levien takes with him a large quantity of choice specimens of our woods, carefully selected by himself, and well seasoned before embarked...'.However Levien was never to return to New Zealand, possibly for a combination of reasons including the unrest in that country arising over land rights and his rapid establishment of a business premises in London. This was located at the New Zealand Company, Broad Street and a letter from London, dated 17 October 1844 testifies to his success. It noted that 'Levien has an order from the Baron of Rothschild to fit up an entire room with totara and hinau; old Mr.Rothschild is about to do the same thing, and Gillow, Doubiggen, and some others of the cabinet-makers have purchased good quantities of his woods'. On 5 August 1846, Levien received a Royal Appointment, recorded in London Sun of 22 August under the heading MR. LEVIEN. HIS SPLENDID WORKMANSHIP FOR THE QUEEN, AND THE FURNITURE WOODS FROM NEW ZEALAND: 'We are happy to announce that her Majesty has been pleased to confer upon Mr Levien the appointment of cabinet-maker to her Majesty, in token of the very elegant specimens of workmanship made by him from the woods of New Zealand. Her Majesty the Queen was the first to patronise him. And he has secured great favour with her Majesty by his workmanship, his skill, and his woods'.One of Levien's most important early patrons was the Prussian Chevalier Bunson (later Baron Bunsen) who introduced him Frederick William IV, King of Prussia. In 1848 the King presented Levien with a gold medal, 'awarded by the Prussian Court to persons of distinguished merits in the arts' and conferred on him a Royal Appointment. This lead to a series of high profile commissions as recorded in the Morning Post 'Amongst the English nobility and gentry, whose patronage he is experiencing, we may also mention Lord Ingestre, Lord Ilchester, Baron Rothschild, John Abel Smith, Stewart Marjoribanks, G. Tomline...' Later in 1848 Levien married again to Mary Ann Willson and moved to new premises at 10 Davies Street, Grosvenor Square. Throughout the 1840s Levien succeeded in swimming against the tide of conservatism as English furniture was almost exclusively manufactured out of mahogany, walnut, rosewood and oak at this time. That Levien had tested each of his woods brought him public confidence and convinced his clientele of the suitability of his chosen New Zealand timbers. He recommended tawhero (Weinnannia sylvicola), for instance, as a substitute for mahogany, and suggested specific purposes for other particular veneers. However, above all Totara Knot was the most easily distinguishable. It was described in a contemporary periodical as 'of a colour something between bird maple and the walnut, bears a high polish, and displays an exquisite grain in fine and various lines of softening tint', and its durability is manifested by the fine condition of pieces of furniture made from it in existence today'.Levien continued to successfully promote his business throughout the following decades and this included his participation in a series of international exhibitions including The Great Exhibition, London 1851; The Dublin Exhibition, 1853, The Paris Exhibition, 1855 (where he received a medal) and The International Exhibition, London 1862. Few pieces of his furniture bear a label or signature, although many pieces are known through exhibition catalogue engravings and other puplications including 'Art Furniture'- Woods of New Zealand, and their adaptability to art furniture, James S. Virtue, London, 1861. Levien's work is recorded in the English Royal collection, and exhibited at The Museum of New Zealand. He continued trading until 1868 when he sold the business and died three years later in 1871. His Totara Knot sideboard, exhibited at The Great Exhibition 1851 sold for £380,000 at Sotheby's in 1998, one of the highest auction prices ever achieved for an item of 19th century furniture.

Lot 424

A Charles I style oak refectory table, 20th century, the cleated rectangular top above a chanel-moulded frieze and columnar turned supports joined by H-shaped stretchers, 73cm high, 180cm wide, 85cm deep This lot is to be sold without reserve

Lot 402

A Set of Victorian burr and figured walnut quartetto tables, circa 1860, in the manner of Gillows, the largest table with a pierced fretwork gallery, the three further graduated tables each with a beaded top, the uppermost including an inlaid chessboard, on bobbin-turned and square legs joined by stretchers, 80cm high, 58cm wide, 40cm deep This lot is to be sold without reserve

Lot 199

A mahogany rectangular top occasional table, early 19th century, the rectangular top with turned stem on three downswept legs, brass caps and castors, 71cm high, 111cm wide, 78cm deep This lot is to be sold without reserve

Lot 48

A pair of Empire patinated bronze candle holders, circa 1810, with floral drip pans above engine milled socles, descending to triform bases and on bun feet, 13cm high overall; and a Regency gilt bronze mount refitted as a candle holder; circa 1820 and later, mounted to a rectangular marble base, approximately 28cm high overall including fitment This lot is to be sold without reserve Please note, the second component of this lot should be described as: ‘an Empire gilt bronze gryphon mount refitted as a table lamp’, and not as in the printed catalogue

Lot 378

A pair of white and amber veined black marble table lamps, modern, of rectangular form, 49cm high including electrical fitments; presented with pleated shades This lot is to be sold without reserve

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