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Lyme Bay Auctions
Lot 273

Modernist Industrial table with steel plated top and matching chairs. By 'The One'

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Stephan Welz & Co
Lot 102

A CAPE YELLOWWOOD AND STINKWOOD TABLE The moulded rectangular top above a plain frieze, on six turned tapering legs76cm high, 121cm wide, 282cm long

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Stephan Welz & Co
Lot 105

A MERANTI COFFEE TABLE, DESIGNED BY JOHN TABRAHAM FOR KALLENBACHS The rectangular top above a recessed frieze, on square-section legs joined by side stretchers42cm high, 137cm wide, 52,5cm deep

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Stephan Welz & Co
Lot 109

AN OAK REFECTORY TABLE, MODERN, MANUFACTURED BY PIERRE CRONJE The rectangular four-plank top above a shaped frieze, on turned tapering legs on flat bun feet, joined by an H-stretcher78cm high, 108cm wide, 270cm long

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Stephan Welz & Co
Lot 111

A REGENCY STYLE MAHOGANY DINING TABLE, MANUFACTURED BY PIERRE CRONJE The reeded rectangular top on gadrooned supports, on three outswept legs terminating in lion-paw caps, on castors77cm high, 119,5cm wide, 320cm long

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Stephan Welz & Co
Lot 177

A CHINESE CANTON CARVED IVORY TABLE-CLAMP PINCUSHION, QING DYNASTY, 19TH CENTURY NOT SUITABLE FOR EXPORTThe domed top carved and undercut with figures amongst trees, the front decorated with a floral pattern, fitted with a pale-blue silk padded cushion, the turn screw carved from bone; and A Gaming Counter Container, similarly carved, with two mother-of-pearl counters6,5cm high (4)

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Stephan Welz & Co
Lot 192

A CHINESE GRISAILLE AND IRON RED PLATE, LATE REPUBLIC PERIOD, 1912 - 1949 Painted to the centre in black and iron-red with figures gathered around a table, the cavetto decorated with a gilt spearhead border, the rim enamelled with floral sprays in cobalt and white enclosed by a scrolling gilt border22,7 cm diameter

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Stephan Welz & Co
Lot 231

A PAIR OF WILLIAM IV SILVER FIDDLE-PATTERN TABLE SPOONS, WILLIAM CHAWNER II, LONDON 1833 150g; and A Silver Silent Butler, Birmingham 1961, retailed by John H. Lunn, the cover engraved with a sailing ship within a wreath and inscribed Senior Service, with opposing openwork handles, the base with beaded rim, 11cm wide over handles,128g (3)

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Stephan Welz & Co
Lot 247

A VICTORIAN SILVER TABLE MIRROR, CHARLES HENRY DUMENIL, LONDON, 1901 The bevelled glass within a conforming frame pierced and decorated with C-scrolls and acanthus, headed by a vacant cartouche, easel-back support51,5cm high

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Stephan Welz & Co
Lot 255

A GEORGE V SET OF LILY PATTERN SILVER CUTLERY, JOHN ROUND AND SONS, SHEFFIELD, 1923 Comprising: twelve table knives, twelve table forks, twelve fish knives, twelve fish forks, twelve dessert knives, twelve dessert forks, twelve fruit knives, twelve fruit forks, twelve soup spoons, twelve dessert spoons, twelve tea spoons, twelve coffee spoons, two sauce ladles, one serving spoon, one ladle, two salt spoons and two mustard spoons7275g all in (152)

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Stephan Welz & Co
Lot 423

A VICTORIAN MAHOGANY, BEECH AND WALNUT METAMORPHIC GAMES TABLE, LATE 19TH CENTURY The hinged, square moulded top centred by a swivelling playing surface ,one side checker board, the other with an inset baize playing surface, above a curved frieze, each centred with a counter slide, on ring-turned tapering legs, restorations74cm high, 79cm square

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Stephan Welz & Co
Lot 434

A BEECH AND TEAK AX TABLE, DESIGNED IN 1951 BY PETER HVIDT AND ORLA MOLGAARD-NIELSEN The rounded rectangular top on Y-shaped supports, on tapering legs, joined by side-stretchers57cm high, 78cm wide, 42cm deep

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Stephan Welz & Co
Lot 505

Lady Anne Barnard (British 1750-1825) KHOI WOMAN provenance and artist's name inscribed on the reverse watercolour on paper 20,5 by 16,5cmIt is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots  505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts.  Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour  on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape.  The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive.  Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes.  The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis  (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library)  and others for  their inspirational information, ideas  and assistance with the presentation of Lady Anne Barnard’s  watercolours.

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Stephan Welz & Co
Lot 506

Lady Anne Barnard (British 1750-1825) BLACK MADONNA provenance and artist's name inscribed on the reverse watercolour on paper 18 by 14cm It is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots  505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts.  Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour  on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape.  The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive.  Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes.  The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis  (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library)  and others for  their inspirational information, ideas  and assistance with the presentation of Lady Anne Barnard’s  watercolours.

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Stephan Welz & Co
Lot 513

Pablo Picasso (Spanish 1881-1973) NATURE MORTE AU CHARLOTT signed and editioned 136/350 with pencil in the margin; label on the reverse bears the artist's name and title screenprint printed in colours PROVENANCEFrom: Wolpe Gallery 68,5 by 57cm Using enticing colour combinations of soft sky-blues, rich browns and sombre greys, Pablo Picasso draws the viewer into a delectable still-life of a table set with a glass, a plate and a popular European dessert, a charlotte or icebox cake. The white highlight at the centre of the composition hints at a curtain being partially drawn back to illuminate the table setting. This particular image is derived from an original painting by the artist, Nature Morte à la Charlotte (1924), which is currently housed in the collection of the Centre Pompidou, Paris1. The style of the print speaks to synthetic Cubism, of which Picasso was one of the pioneers. This entails 3-dimensional objects being depicted from multiple viewpoints while simultaneously flattening the depth of the image, inspired by Paul Cezanne’s words in 1907, “You must see in nature the cylinder, the sphere, and the coneâ€2 . Although staying true to its conventions, Picasso has also introduced more organic shapes and lines in this work, adding subtlety to the striking disjointedness that Cubism may convey. 1 Centre Pompidou, “Nature Morte à la Charlotte.†2 Robert Fisher, Picasso (New York: Tudor Publishing, 1967), 6-7- LD

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Stephan Welz & Co
Lot 94

A WALNUT AND INLAID OCCASIONAL TABLE, 19TH CENTURY The hinged rectangular top enclosing a mirror and compartments, in sizes, raised on turned tapering legs joined by a shelf stretcher, distress76cm high, 55cm wide, 38cm deep

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Stephan Welz & Co
Lot 99

A CAPE YELLOWWOOD AND STINKWOOD NEO CLASSICAL CONSOLE TABLE, CIRCA 1800 The later rectangular marble top above a shaped frieze, on notched, fluted and tapering square-section legs67cm high, 123cm wide, 54cm deep

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Mulberry Bank Auctions
Lot 129

TEAK EXTENDING DINING TABLE the pull apart top revealing a fold out leaf, standing on turned tapering supports, 183cm extended, together with six beech dining chairs with shaped top rails above slatted backs and stuffover seats, standing on shaped supports

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Mulberry Bank Auctions
Lot 158

STAG MAHOGANY BEDROOM SUITE comprising a large triple door wardrobe 224cm x 174cm, a two door wardrobe 204cm x 118cm, a chest of drawers with a moulded top above three frieze drawers and two long drawers, a dressing table with a triple mirror back above an arrangement of five drawers with a matching stool, a shaped headboard 163cm wide and a pair of bedside tables, each with a single drawer

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Mulberry Bank Auctions
Lot 51

SELECTION OF DECORATIVE AND OTHER BRASSWARE including two skimming spoons, a table bell, a decorative axe, a horse head on shield, chamber sticks and other items

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Warrington & Northwich Auction
Lot 356

Mid Century table lamp and oval gilt mirror and magazine rack

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Warrington & Northwich Auction
Lot 575

Lyre table with leatherette covered top

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Warrington & Northwich Auction
Lot 590

Oak dropleaf table with barleytwist legs

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Warrington & Northwich Auction
Lot 770

Unusual heavily carved side table / sewing table with lower central drawer and glazed upper compartment three side drawers and a single cupboard to the opposite side with a heavily carved circular folding side table 61 cm both in the Oriental style and an Oriental standard lamp with carved spiral

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Lots Road Auctions
Lot 1

CATTELAN ITALIA CARIOCA DINING TABLE, retails in excess if £4000, 74cm H x 140cm diam.

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Lots Road Auctions
Lot 129

TABLE LAMPS, a pair, contemporary, with black shades, 68cm H. (2)

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Lots Road Auctions
Lot 130

RV ASTLEY BRISA TABLE LAMPS, a pair, with shades, 70cm H. (2)

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Lots Road Auctions
Lot 147

TABLE LAMPS, a pair, in the English country house style, 66cm H. (2)

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Lots Road Auctions
Lot 18

TABLE CENTRE PIECE, contemporary foliate design, with purple pillar candles, 80cm W.

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Lots Road Auctions
Lot 192

AFTER TOMASSO BARBI, GINKGO LEAF TABLE LAMP, 80cm H.

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Lots Road Auctions
Lot 196

TABLE LAMPS, a pair, contemporary lead crystal, with shades, 88cm H. (2)

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Lots Road Auctions
Lot 207

CONSOLE TABLE, 1950's, French inspired gilt finish, 80cm H.

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Lots Road Auctions
Lot 212

WRITING TABLE, faux rosewood and vellum, with three drawers, 76cm H x 130cm W x 70cm D.

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Lots Road Auctions
Lot 221

GARDEN TABLE, Victorian design white painted cast iron with circular hardwood top, 74cm H x 61cm D, and a pair of painted metal chairs. (3)

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Lots Road Auctions
Lot 265

TABLE LAMPS, a pair, Art Deco inspired design, 45cm H. (2)

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Lots Road Auctions
Lot 280

CONSOLE TABLE, 1980's Maison Jansen style rectangular faux bamboo brass and glass, 72cm H x 118cm W x 39cm D.

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Lots Road Auctions
Lot 284

TABLE LAMPS, a pair of green glass urns with oatmeal shades, overall 69cm H.

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Lots Road Auctions
Lot 296

SIDE TABLE, Art Deco style, circular mirrored top on mirrored base, 50cm diam. x 56cm H.

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Lots Road Auctions
Lot 3

OCCASIONAL TABLE, with glass top and glass undershelf supported by four lions on a square gilded base, 130cm x 130cm x 42cm H.

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Lots Road Auctions
Lot 33

OCCASIONAL TABLE, oval glass top on red metal supports, 109cm W x 89cm D x 31cm H.

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Lots Road Auctions
Lot 477

A FINE CHINESE PORCELAIN VASE, later converted to a table lamp, purchased from the Antique Dept at Aspreys in the 1970's, 47cm H.

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Lots Road Auctions
Lot 516

CARD TABLE, Regency, burr yewwood and satinwood banded, with foldover baize lined top, canted corners and square supports, 74cm H x 92cm W x 45cm D.

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Lots Road Auctions
Lot 534

GARDEN ARMCHAIRS, a pair, weathered slatted teak, together with a conforming small table by Lister, 48cm H x 46cm D. (2)

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Lots Road Auctions
Lot 548

CARD TABLE, George III, D shaped, flame mahogany and rosewood crossbanded, and baize lined, on turned supports, 75cm H x 92cm W x 45cm D.

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Lots Road Auctions
Lot 551

DUTCH SIDE TABLE, 19th century mahogany and satinwood foliate marquetry with frieze drawer, pillars and undertier, 41cm x 35cm x 75cm H.

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Lots Road Auctions
Lot 574

OCCASIONAL TABLE, with a circular bevelled glass top on a raised square marble platform base, 39cm diam x 66cm H.

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Lots Road Auctions
Lot 578

CENTRE WRITING TABLE, Empire Revival style, burr walnut and gilt metal mounted, with three frieze drawers, winged supports and tooled leather top, 154cm x 78cm x 79cm H.

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Lots Road Auctions
Lot 592

WORK TABLE, early 20th century black lacquered and gilt Chinoiserie with rising lid and silk fitted interior, 50cm x 37cm x 72cm H.

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Lots Road Auctions
Lot 597

CARD TABLE, George III, satinwood and rosewood crossbanded, D shaped baize foldover top, 92cm x 46cm D x 73cm H.

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Lots Road Auctions
Lot 620

CARD TABLE, early 19th century mahogany and string inlaid with a 'D' end foldover top, 91.5cm W x 74.5cm H x 45cm D. (with faults)

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Lots Road Auctions
Lot 621

BREAKFAST TABLE, Regency mahogany with a rectangular rounded tilt top on a turned pedestal with swept feet and castors, 130cm x 74cm H x 91.5cm D. (with faults)

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Lots Road Auctions
Lot 622

SIDE TABLE, 19th century mahogany and inlaid with three drawers on brass castors, 78cm H x 137cm W x 50cm D.

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Lots Road Auctions
Lot 65

CONSERVATORY CORNER SOFA BY BRIDGEMAN, in rattan finish with cushions, 272cm x 218cm, plus a matching table with glass top, 180cm x 101cm x 64cm H. (with faults)

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Lots Road Auctions
Lot 678

TABLE LAMPS, a pair, in the English country house style, 64cm H. (2)

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Lots Road Auctions
Lot 680

CONSOLE TABLE, Louis XVI inspired gilt frame with white marble top, 86cm H x 58cm x 31cm. (minor fault)

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Lots Road Auctions
Lot 69

DINING TABLE, extending in oak on square supports, 159cm to 249cm x 90cm x 77cm H.

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Lots Road Auctions
Lot 71

CENTRE TABLE, 50 rings Italian design circular by Marcello Pozzi, 122cm diam x 74cm H, original cost £2500.

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Lots Road Auctions
Lot 77

PAOLO MOSCHINO FOR NICHOLAS HASLAM, Sussex wicker coffee table, 50cm H.

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Lots Road Auctions
Lot 78

PAOLO MOSCHINO FOR NICHOLAS HASLAM, Sussex wicker coffee table, 50cm H.

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