We found 68548 price guide item(s) matching your search

Four Continental porcelain figures of Seasons, probably Meissen and for mounting on furniture, approx 10cm high

The Red-blue or the Rietveld chair, made of beech wood with the typical red, blue, yellow and black colours, produced by Italian furniture maker Cassina, design Gerrit Rietveld, numbered 7414 and markedDe Rood-blauwe of de Rietveld stoel, gemaakt uit beukenhout met de typische rood, blauw, geel en zwarte kleuren, geproduceerd door Italiaans meubelmaker Cassina, design Gerrit Rietveld, genummerd 7414 en gemerkt88 x 83 x 66 cm

Documentation folder with folders about lighting and furniture from 1958 to 1960Documentatiemap met folders over verlichtingen en meubilair van 1958 tot 1960

A pair of 19th century percussion holster pistols with 7" Damascus barrels, plain steel locks, chequered walnut stocks with steel furniture and ramrods in later baize lined mahogany fitted case

An unusual 19th century small bore percussion ladies musket by Griffiths & Worsley of Manchester, 27½" damascus barrel, figured chequered stock with steel furniture and ram rod

A 19th century Enfield Percussion rifle by George Gibbs of Bristol with 33" steel barrel, engraved steel lock with polished walnut stock and steel furniture

A 19th century percussion single barrel sporting gun by Tate and Willis with 32½" barrel, chequered walnut stock with steel furniture and ramrod

An old copy flintlock Brown Bess musket with 46" steel barrel, engraved lock with walnut stock, brass furniture and leather sling

A 19th century 12 bore percussion single barrel sporting gun with 36" Damascus barrel and chequered walnut stock with steel furniture

A good quality 19th century Swiss percussion military Sharp Shooter rifle by M Burri of Lucerne with 31½" octagonal steel barrel, plain steel lock, figured walnut stock with steel furniture and accessories

A Martini Henry .577/450 military rifle with 32" steel barrel, Martini action with short lever and polished walnut stock with steel furniture

Various art and antique related volumes including The Doulton Lambeth wares, Directory of Antique Furniture, Antique Rugs and others etc

A late 18th / early 19th century India pattern Brown Bess flintlock musket by Leigh with East India Company markings, 39" steel barrel with polished walnut stock with brass furniture, steel ramrod, accompanying Brown Bess socket bayonet and leather sling

A late 18th / early 19th century flintlock military musket with 42" steel barrel, engraved steel lock marked "Tower" with walnut full stock, brass furniture and steel ramrod

A 19th Century 12 bore double barrelled percussion sporting gun by Holland and Burford with 30" Damascus steel barrels, engraved steel locks with chequered walnut stock and steel furniture

A 19th century percussion double barrelled sporting gun with 31" Damascus barrels, plain steel locks and Continental carved walnut stock with steel furniture and ramrod

Max Guther Print After Max Guther "....." colour limited edition print No'd 2/25, framed 72cm x60cm -Max is a Berlin based illustrator and designer using a unique 3d. Donated by Keith at The Old Foundry Furniture Warehouse, Cirencester.

A group of Edwardian furniture items, to include; a single wardrobe H196cm, W116cm, D45cm, a mahogany inlaid bureau, a mahogany corner washstand 86x60cm and a mahogany display cabinet H120cm, W56cm, D35cm. (4)

A collection of Edwardian furniture items, to include carved oak condor cabinets, a mahogany inlaid display cabinet, 103x66cm, an open bookshelf unit, a side table, a fall front filing cabinet, 74x75cm, a hall table and a mahogany serpentine shaped sideboard. W107cm, D51cm, H78cm

A collection of small furniture items, to include an oak jardinière stand, a wine table, a smokers stand, carver chair and a modern side table, 74x38cm. (6)

Modern pine furniture items, to include a tallboy chest, H104, W79, D43cm, a pine chest of drawers, H75, W81, D43cm, a twin pedestal desk and a sideboard, H80, W100, D35cm. (4)

A 20TH CENTURY CHINESE HARDWOOD WEDDING CABINET  with carved pierced frieze over pair of cabinet doors decorated with brass moth door furniture which slide back to reveal shelved interior over two drawers on square supports joined by shaped aprons, 179cm high x 106cm wide x 58cm deep Condition Report:Available upon request

MARGARET GILMOUR (1860-1942) A Glasgow School white metal mirror, of oval shape with Celtic knotwork roundels and interlacing scrolls, MG monogram to bottom right, 76cm long The mirror was owned by by William Davidson (1866 – 1945) Davidson commissioned Charles Rennie Mackintosh to design furniture and interior designs for Gladsmuir House,Kilmacolm The mirror was passed down by family descent to our client. Condition Report:Please see images on condition report. The glass has no chips or cracks visible or discolouration. There are some scratches. The frame has a few small dents, some discolouration and scratches. In the main the detail is fresh. Please see images for joints around the mirror

Contains 311 pages with more than 400 illustrations of fine furniture made in Great Britain and American colonies in the seventeenth, eighteenth, and early nineteenth century. Artist: Herbert Cescinsky George L. HunterIssued: 1929Dimensions: 7.25"W x 10.25"HCondition: Age related wear.

A FINE AND RARE CHARLES II OLIVEWOOD OYSTER VENEERED SMALL LONGCASE CLOCK OF ONE MONTH DURATION THOMAS TOMPION, LONDON, NO. 136 CIRCA 1688/89The substantial six finned and latched pillar movement with five-wheel trains and plates measuring 8 by 5.5 inches, the going train with bolt-and-shutter maintaining power and anchor escapement regulated by seconds pendulum with long crutch, the strike train with external countwheel set on a pivot-post driven by a pinion-of-report applied to the second wheel arbor and sounding the hours on a bell mounted above the plates, the 'type 1' latched 10.25 inch square gilt brass dial with shuttered winding holes, subsidiary seconds dial and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and small Arabic five minutes beyond the outer minute track, with sculpted scroll pierced steel hands and applied winged cherub mask spandrels to angles within a 'double herringbone' engraved outer interrupted by the engraved signature Tho: Tompion Londini Fecit to lower margin, in an oyster olive wood veneered case with rising hood incorporating architectural ogee moulded cornice and oyster veneered frieze over glazed dial aperture flanked opposing Solomonic twist columns, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 40 inch rectangular door veneered with three linked boxwood outlined architectural break-arch panels populated by oyster cut veneers incorporating geometric radial design to the central panel, with half-round cross grain edge mouldings and crossbanded surround, the sides veneered with repeating oysters with a conforming crossbanded border, the base with stepped ogee top moulding over conforming architectural panel veneered crossbanded front and moulded skirt.186.5cm (73.5ins) high, 43cm (17ins) wide, 25cm (9.75ins) deep. Provenance:The Leonard Fuller Collection, purchased from G.H. Bell, Winchester, 6th September 1966 for £6,170. Purchased by G.H. Bell from Sotheby's, London, sale of FINE ENGLISH AND CONTINENTAL FURNITURE, RUGS AND CARPETS, TAPESTRIES AND CLOCKS 21st May 1965 (Lot 55) 'The Property of a Gentleman' for £1,600 hammer. Thomas Tompion has often been referred to as the 'father of English clock and watchmaking'. When considering the legacy of his work and influence on subsequent generations, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and was working in the clock and watchmaking trade. Although there is no record of his apprenticeship or whether he received any formal training prior to moving to London, he quickly became established and obtained his freedom of the Clockmaker's Company in late 1671. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with eminent mathematicians and scientists such as Robert Hooke and Jonas Moore - perhaps the most progressive and inventive minds of the day. Such associations lead to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676 and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his watches and clocks from around 1681/2. This, as well as maintaining a high degree of refinement in both the design and construction of his clocks and watches, ensured the highest level of exclusivity for clients purchasing from him. In around 1701 Thomas Tompion took a former apprentice, Edward Banger, into partnership. Banger was originally apprenticed to Thomas Ashby in 1687 but was transferred over to Tompion and gained his freedom of the Clockmaker's Company in 1695. He was clearly a talented maker (when considering the few examples signed by Banger alone) however a serious problem between him and his former master caused the partnership to come to an abrupt end in 1707-8 for reasons unknown. On Banger's departure Tompion reverted to working alone until he found confidence in George Graham who had been engaged as a journeyman for Tompion since 1696. Graham's character had already been given the seal of approval by Tompion who allowed him to marry his niece, Elizabeth, in 1704; however it still would be a few years before Tompion would take Graham into partnership which he eventually did in 1711.Thomas Tompion died in November 1713 leaving the business to George Graham who maintained the same exacting standards and became famous in his own right with notable achievements including the development of the deadbeat escapement for pendulum clocks and the cylinder escapement for watches. Edward Banger outlived Tompion by six years, his abilities as a highly skilled watchmaker are demonstrated within a fine jewelled movement dating to around 1715 by him illustrated by him in Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 54, Fig. 97. The movement and dial of the present lot conform to the 'type 1' phase of Tompion longcase clock development as set-out in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS pages 197-217. The dial is indeed a 'textbook' example of its type and can be directly compared to that of another month longcase (number 14) with double wheat-ear border by Tompion, illustrated in Symonds, R.W. THOMAS TOMPION on page 78 (Figure 54). The movement conforms to Tompion's standard layout for a month duration longcase clock with another of near identical design (number 223) illustrated by Evans, Carter and Wright on page 204. Indeed, the only real variances between these movements are that the present lot has taller plates and no pallet-shaped cut-out to the backplate; both of these features are due to current movement being an earlier example. Tompion's work is characterised by an exceptional approach to the finishing of his movements; the present lot does not disappoint with finely cut graded wheelwork and superb shaping to the steelwork most notably to the hammer spring tail, bell stand foot and barrel click springs.Although the case is not original to the movement and dial it is 'of the period' and a comfortable match benefitting from not having a lenticle (Tompion's preference) and pleasing detailing on the panelling of the veneers. Indeed, the case fulfils the list of criteria listed by Evans, Carter and Wright, with regards to features expected in a 'Type 1', case on page 197.  

A MAHOGANY QUARTER CHIMING LONGCASE CLOCK WITH MOONPHASEBENJAMIN PEERS, CHESTER, CIRCA 1780 AND LATERThe four-pillar rack striking movement with anchor escapement regulated by seconds pendulum and now sounding the hours on a tubular gong suspended within the case, now fitted with a third separate quarter chiming train sounding on a graduated next of eight bells set to the right hand side, the 13 inch brass break-arch dial with subsidiary seconds dial to foliate scroll engraved centre within applied Roman numeral chapter ring with concentric calendar inner track and Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, a third brass hand for the concentric calendar and rococo scroll cast spandrels to angles, beneath arch with rolling moonphase incorporating lunettes engraved with longitude and latitude lines and disc calibrated with the lunar month to the circumference, below engraved silvered signature BENJAMIN PEEERS, CHESTER following the curvature of the arch, the case with swan beck pediment incorporating gilt scroll decorated simulated verre-eglomise frieze over hinged glazed dial flanked by fluted Doric columns, the sides applied with vertical bargeboards at the rear, the trunk with concave throat moulding and plain frieze over shaped-top caddy moulded door faced in book-matched flame-figured veneers flanked by quarter columns, the plinth base with stepped ogee top mouldings over shaped raised panel to front flanked by canted angles, on ogee bracket feet.236cm (93ins) high, 53cm (21ins) wide, 25.5cm (10ins) deep. Provenance:The Leonard Fuller collection, purchased from G. Lord and W. Fisher (antique furniture dealers), Folkstone, 30th May 1965 for £95. Benjamin Peers is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chester 1773-84. Condition Report: Condition overview:As catalogued the movement has a separate quarter chiming train (set between its own plates) added in the 19th century. The core eight-day movement is in sound original condition but the hour hammer has been converted to sound on a tubular gong. Clock is complete and will most likely run but a gentle clean service is advised. Movement retains original seatboard but with some damage/losses but rests at the correct level in the case with no visible adjustment to the cheek uprights of the trunk hence movement and dial are most likely original to the case. Case is in good condition with damage limited to a few minor historic veneer patch repairs, shrinkage, bumps, scuffs and other age-related blemishes.Clock has pendulum, weights, case key but no winder. Condition Report Disclaimer

Ɵ&nbspGENERAL HOROLOGICAL REFERENCE BOOKS MAINLY RELATING TO EARLY CLOCKMAKINGTWENTY PUBLICATIONS:Dawson, P.G., Drover, C.B. and Parkes D.W. Early English Clocks Antique Collectors Club, Woodbridge 1982, dj; Dawson, Percy G. THE IDEN CLOCK COLLECTION limited edition numbered 298 out of 1,000 copies, Antique Collectors Club, Woodbridge 1987, dj; Bromley, John The Clockmakers' Library Sotheby Parke Bernet Publications, London 1977, dj; Baillie, G.H., Lloyd, H. A. and Ward F.A.B, THE PLANETARIUM OF GIOVANNI DE DONDI The Antiquarian Horological Society, London 1974, dj; Clutton, Cecil and Daniels, George Clocks & Watches IN THE COLLECTION OF THE WORSHIPFUL COMPANY OF CLOCKMAKERS Sotheby Parke Bernet Publications, London; Edwardes, Ernest L. The Story of the Pendulum Clock John Sherratt and Son Limited, London 1977, dj; Beeson, C.F.C. PERPIGNAN 1356, The Making of a Clock and Bell for the King's Castle The Antiquarian Horological Society, London 1977, dj; Beeson, C.F.C. ENGLISH CHURCH CLOCKS 1280-1850 Limited first edition numbered 81, Bright Wright Associates Limited, Ashford 1977, gilt embossed blue cloth; Basserman-Jordan, Ernst Von and Bertele, Hans Von THE BOOK OF OLD CLOCKS AND WATCHES translated from German by H. Alan Lloyd, George Allen and Unwin Limited, London 1964, dj; Edwardes, Ernest L. Weight-driven Chamber Clocks John Sherratt and Son Limited, London 1976, dj; Tait, Hugh, CLOCKS in the British Museum Trustees of the British Museum, London 1968, dj; Jagger, Cedric Royal Clocks... Robert Hale Limited, London 1983, dj and with blue slipcase; Britten, F.J. OLD ENGLISH CLOCKS, THE WETHERFIELD COLLECTION limited edition numbered 530 out of 1,000 copies, Antique Collectors' Club, Woodbridge 1980, gilt tooled faux hide, Cescinsky, Herbert and Webster, Malcolm R. ENGLISH DOMESTIC CLOCKS Spring Books, London 1969, dj; Symonds, R.W, MASTERPIECES OF ENGLISH FURNITURE AND CLOCKS B.T. Batsford Limited, London 1940, gilt tooled blue cloth; Baillie, G.H., Clutton, C. and Ilbert, C.A. BRITTEN'S OLD CLOCKS AND WATCHES AND THEIR MAKERS seventh edition, Eyre and Spottiswoode in association with E. and F.N. Spon Limited, London 1969, dj; Britten, F.J. OLD CLOCKS AND WATCHES & THEIR MAKERS fourth edition, B.T. Batsford Limited, London 1919, embossed red cloth; Britten, F.J. Old Clocks & Watches AND THEIR MAKERS facsimile reprint of the 1932 sixth edition, S.R. Publishing Limited, Wakefield 1971, dj; Baillie, G.H. WATCHMAKERS & CLOCKMAKERS OF THE WORLD N.A.G. Press Limited, London 1963, dj; Loomes, Brian Watchmakers & Clockmakers of the World N.A.G. Press, London 1976, dj; Shenton, Rita CHRISTOPHER PINCHBECK and his Family limited first edition numbered 93 and signed by the author, Brant Wright Associates Limited, Ashford 1976; together with a small bundle of related supplemental publications, (qty). Provenance:The Leonard Fuller Collection.

Stephen Willats,  British b.1943 -  Coree Design, 1965;  gouache and pencil on paper, signed and dated lower right 'Willats 1965' and titled upper right, 56 x 76 cm (ARR)  Provenance:  with Gimpel Fils, London, no.3500 (according to the label attached to the reverse of the frame)  Note: Stephen Willats is a seminal figure in British conceptual art. His work focuses on the intersection of art, sociology, and science. Through a diverse range of media including sculpture, photography, installation, furniture and clothing, Willats investigates how societal structures influence individual behavior, often inviting audience participation to blur the boundaries between observer and observed. Through these interdisciplinary approaches and community collaboration, Willats continues to challenge perceptions of art's role in shaping our understanding of the world. In 1965 Willats founded the magazine 'Control', encouraging discussions surrounding artist practices. The magazine has documented the works and ideas of many artists including Helen Chadwick, Tony Cragg and Anish Kapoor. The magazine is still in publication today. Earlier this year Victoria Miro exhibited ‘Stephen Willats: Time Tumbler’ which brought important works from the 1970s together with more recent works, celebrating Willats' eightieth birthday and his long-standing relationship with the gallery.  His works are held in the collections of the Tate, the National Portrait Gallery, and the Henry Moore Institute. 

Stephen Willats, British b.1943 - Doppelganger Suit, 1985; gouache and pen on paper, signed with initials and dated lower right 'SW 85', 63 x 51.7 cm (ARR)Note:Stephen Willats is a seminal figure in British conceptual art. His work focuses on the intersection of art, sociology, and science. Through a diverse range of media including sculpture, photography, installation, furniture and clothing, Willats investigates how societal structures influence individual behavior, often inviting audience participation to blur the boundaries between observer and observed. Through these interdisciplinary approaches and community collaboration, Willats continues to challenge perceptions of art's role in shaping our understanding of the world. In 1965 Willats founded the magazine 'Control', encouraging discussions surrounding artist practices. The magazine has documented the works and ideas of many artists including Helen Chadwick, Tony Cragg and Anish Kapoor. The magazine is still in publication today. Earlier this year Victoria Miro exhibited ‘Stephen Willats: Time Tumbler’ which brought important works from the 1970s together with more recent works, celebrating Willats' eightieth birthday and his long-standing relationship with the gallery.  His works are held in the collections of the Tate, the National Portrait Gallery, and the Henry Moore Institute. 

A doll's house together with a doll's shop, furniture and accessories

A SET OF AMERICAN STERLING SILVER DOLLS HOUSE FURNITURE marked "Sterling", consisting of three chairs, one rocking chair table, and settee, 6.2 tr.ozs combined weight (6)

Garden furniture - A cast iron table and set of four chairs, the table having a rounded-rectangular fret-work top, scroll feet, 70.5cm high x 114cm x 59cm. The chairs comprising pair of carvers and two chairs, (5).

A 1950s E Gomme Furniture Wycombe oval gilt framed wall mirror, bacchanalian cherubs and scrolling foliate, 67cm x 46cm, another arched topped mahogany 61cm x 77cm; after Hayes-Williams, A Merry Christmas To You All, print etc (4)

A SET OF FOURTEEN GEORGE IV OAK DINING CHAIRS IN THE MANNER OF GEORGE SMITH, IN GOTHIC REVIVAL TASTE, CIRCA 1830 To include a pair of armchairs incorporating lion mask terminals, each with a buttoned red leather seat, outswept rear legs Each armchair 96cm high, 58cm wide, 61cm deep overall, each side chair 96cm high, 51cm wide, 54cm deep For an identical set of fourteen or quite likely the ones shown here, see Christie's, London, 17th March 2011, 500 Years: Decorative Arts Europe, Lot 142 (£18,750). For another set of ten chairs of related design, see Christie's, London, 23rd November 2006, Important English Furniture, Lot 185 (£14,400). Closely related designs to these chairs were published by George Smith in 1826, see George Smith's Cabinet-Maker and Upholsterer's Guide, (pl.43). For earlier designs by George Smith from 1808, see Pictorial Dictionary of British 19th Century Furniture Design, Antique Collectors' Club, 1977, page 176. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old chips, splits, losses and old repairs. Some minor evidence of old worm, most notably to some of the blocks to the underside Some of the leather seats with marks, stains and small areas of wear and abrasion (see all images). The chairs overall of solid, stable structure Pleasing colour and figuring to the oak. The chairs overall of generous proportions. Some of the carved finials with old glued repairs Please see all additional images for a visual reference to condition. Condition Report Disclaimer

A GEORGE III FIGURED MAHOGANY SECRETAIRE SERPENTINE COMMODE ATTRIBUTED TO HENRY HILL OF MARLBOROUGH, CIRCA 1770 The upper section with concave serpentine doors enclosing pigeon holes, fiddleback mahogany fronted drawers and a sliding tray, the commode with a sliding top 109cm high, 103cm wide, 55cm deep Provenance: Sotheby's London, 30th April 2013, Lot 446 Private Collection, UKLiterature: Illustrated in Mackinnon Fine Furniture, 2022, pp.114-115 For two closely related commodes attributed to Henry Hill and incorporating the same shaped apron, see Christie's, London, English Furniture (6648), 28th November 2002, Lot 120 (£43,020 incl. BP) and Bonhams, London, Fine English and Continental Furniture, 20th November 2007, Lot 87 (£24,000 incl. BP) Condition Report: Marks, scratches and abrasions, splits and chips comensurate with age and use. Some additional scratches and abrasions t the outer corners of the commode as expected. Fair colour and patina overall but with some fading overall. Some old repairs. Some additional wear in some areas (including front outer corners of commode) and some minor losses. Some ink spots and ink/ dark stains to areas throughout including areas of drawer interiors (see all additional images available via email) Some old splits to the floors of drawer linings as expected. Some have been filled with slender fillets of timber. The veneers of the drawer fronts and the cupboard doors in particular are well selected figured veneers. The sliding top section of the commode incorporates 'fiddle back' figuring. The lock to the doors appears to be a period replacement. There are some adjacent marks and two small screw holes from an alternate fitting. A key is present to operate the lock. The drawers to the interior of the upper cupboard element are all solid mahogany lined and finely constructed. There are additional dark scratches, 'ring' marks to the top of the cupboard element and to the sliding top of the commode element. There the section of the sliding element is revealed from beneath the cupboard element when it is slid forward there is a a fairly high concentration of dark scratches The handles to the drawers of the commode section appear original. There are no alternate holes or marks suggesting they have been changed. The steel locks to the commode drawers are of the period. A key is present that operates the top two locks only . The same key does not operate the lower two locks. The lower two locks are very similar to the top two and of period but are slightly varying so are very likely period replacements. Some screws to the drawer locks are later replacements/ later associated. The rear panels are original and of panelled construction (see additional images) Please refer to all additional images available via email for visual reference to condition. Condition Report Disclaimer

A PAIR OF RÉGENCE CARVED GILTWOOD STOOLS CIRCA 1720 52cm high, 64cm wide, 48cm deep Provenance: Property of a Lady of Title For related pairs of carved giltwood stools (or tabourets) from the Regence period, see Christie's, London, Important European Furniture, 21st June 2000, Lot 179 (£25,85), and Christie's, London, European Furniture & Works of Art, 6th July 2016, Lot 58 (£27,500).

A PAIR OF WILLIAM III WALNUT STOOLS CIRCA 1700 Upholstered in 17th century style needlework each 43cm high, 52cm wide, 41cm deep Provenance: Christie's, London, Important European Furniture, Sculpture and Tapestries, Including Three Private European Collections (7272), 9th November 2006, Lot 251 (Sold £4,200 incl. BP) Condition Report: Both stools in generally good presentable order overall. Both with the marks, knocks, scratches and abrasions commensurate with age and use. Some minor chips and splits. Upholstery with the expected minor wear in places The tapestry elements with some tears and stitching opening in places. Some evidence of old worm and fragmentary losses to the feet. Dreweatts cannot guarantee the originality of elements beneath upholstery. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A SET OF EIGHT GEORGE III CREAM PAINTED AND PARCEL GILT CHAIRS CIRCA 1800, IN THE MANNER OF HENRY HOLLAND 89.5cm high, 47cm wide, 53cm deep Provenance: Property of a Lady of Title Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use. The caning of various dates, some painted, some unpainted, some in need of repair, some seat rails not supporting the caning, one with later sections of wood to the seat and rails, some later blocks The paintwork with various wear, surface losses and discoloration aged and of various dates. There is some evidence of old worm. Some of the legs are re-tipped. Whilst the condition is in line with painted beech furniture of this date, the design and quality of carving exceeds that of most painted beech furniture of this date. Features such as the crisp carved reeded borders and the acroteria are particularly pleasing to the eye. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition.Condition Report Disclaimer

Y&nbspA FINE REGENCY ROSEWOOD AND GILT BRASS MOUNTED FOUR TIER ETAGERE CIRCA 1815 Incorporating stylised acorn finials and a pierced Greek key frieze 114cm high, 57cm wide, 40cm deep Condition Report: Marks, scratches and abrasions, splits and chips comensurate with age and use. Some mounts to the edges of tiers loose in part, a small number of the original nails/tacks securing the 'gallery' mounts are lacking. One has been historically replaced by a very small screw. No significant cracks or repairs visible to the tops of the tiers. There are a small number of fine straight splits or hairline cracks as expected for age that could be even further disguised as required by careful polishing by a qualified restorer. We do not feel that the cracks are significant enough to detract from the piece overall. See all additional images available via email. Various wear to the metal surfaces throughout as expected for age and use with resultant wear and loss to gilding. The drawer has solid mahogany lining throughout. The lock to the drawer appears original, it is lacking the key. The etagere is finished on all sides. The reverse of the drawer section is veneered and finished, so the etagere is equally as presentable if placed to free-stand in a room. The outer corners of the drawer front are cut to shape in order to git in with the 'column' elements immediately adjacent. Some minor tightening to joints may be required although the etagere stands solidly throughout with very minor movement. Please refer to all additional images available via email for visual reference to condition. A high quality piece of furniture adopting the use of high quality materials together less often seen in this form. This item of furniture exudes quality. Condition Report Disclaimer

A PAIR OF REGENCY CALAMANDER AND BURR YEW CROSSBANDED CARD TABLES CIRCA 1815 73cm high, 90.5cm wide, 45cm deep Provenance: Property of the Late Mrs Michael Behrens Christie's, London, Important English Furniture (6601), 4th July 2002, Lot 61 (£17,925 incl. BP) A copy of the original invoice from Christie's is available with this lot For a closely related pair of card tables see, Christie's New York, The Schieszler Collection, 21st October 1999, Lot 117 ($32,200). Another similar pair of calamander card tables was sold, Sotheby's New York, 1st February 1992, Lot 215 ($13,200). Condition Report: Both tables with the marks, knocks, scratches and abrasions commensurate with age and use. The expected old splits, chips and some losses - see images. Various lifting, cracking and small losses to veneers in places. Simple attention from a restorer would greatly improve appearance of tables. Old veneer repairs - see images. Both with some movement or 'wobble' within frames. Timber surface with a slightly faded appearance in areas. Inset baize surfaces are later replacements. Some minor evidence of old worm in places. The legs to one table appear to be old 'honest' replacements (likely over 100 years old). One of these legs has some looseness where it joins the stem. The legs to the other table with various old repairs - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

Y&nbspA DUTCH COLONIAL HARDWOOD AND EBONY BUREAU PROBABLY CAPE DUTCH (SOUTH AFRICA), LATE 18TH CENTURY The fall enclosing drawers, pigeon holes, doors and a well 109cm high, 101cm wide, 57cm deepFor Cape case furniture of similar form and 'linenfold' outline, see M. G. Atmore, Cape Furniture, published by Howard Timms 1965, page 128. Condition Report: Marks, scratches and abrasions, old chips and splits comensurate with age and use. Some old repairs, including some old filled repairs to the frieze above the top drawer. Some areas of fading and staining as expected for age, this could be resolved/ improved with careful polishing by a qualified restorer if required. The dark/ black coloured moulding to the bureau, upon close inspection, has stripes of slightly paler colour within it, so could be a type of rosewood or ebony, possibly macassar ebony. There have previously been very small knob handles to the lopers that have since been removed and small holes filled. The small handle to the interior cupboard door is lacking. The locks to the drawers and fall appear original. A key is present to operate the drawer locks. The key would appear to operate the lock to the fall also however the lock to the fall needs some attention/ repair in order to operate. It is not engaged currently. The feet are later replacements conforming to the style. Lignum vitae bowling balls have been cleverly turned suitably to fit. They generally match the appearance of the bureau well overall. Where any feet/ areas of feet are slightly lighter they could be coloured more darkly by a qualified restorer if required. They are not currently glued into position but could easily be. Please refer to all additional images available via email for visual reference to conditionCondition Report Disclaimer

A GEORGE II MAHOGANY WING ARMCHAIR CIRCA 1750 107cm high, 79cm wide, 66cm deep Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.It could be that some of the frame parts are replaced, though they all bear holes from previous upholstery tacks.There is little evidence of old worm.The frame is robust with some small movement to the arms when pressure applied.The front casters are brass, the back leg casters are horn.The underside of the frame has a partial printed paper label 'G G*DNER, Antique Furniture Warehouses, 209 & 211 B**PTON (Brompton?) R* L* (London?).The back legs add a pleasing dimension to this chair.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

Y&nbspA GEORGE III MAHOGANY CLOTHES PRESS BY GILLOWS, CIRCA 1770 The top edge of one drawer stamped GILLOWS LANCASTER 193cm high, 128.5cm wide, 64cm deep Please note, Dreweatts have applied for a de minimis exemption certificate for the ivory in this lot (Ref: 96XST3CA)Please note, additional to the printed catalogue description, this press is stamped GILLOWS LANCASTER (to the top edge of one drawer) It can therefore be conformed that this press is by Gillows. Condition Report: Please note, additional to the printed catalogue description, this press is stamped GILLOWS LANCASTER (to the top edge of one drawer) It can therefore be conformed that this press is by Gillows. Marks, scratches and abrasions comensurate with age and use. Minor old chips and splits comensurate with age. some small losses including some small leaf details of the upper frieze. (these could be re-carved and very well matched by a restorer as required.)Fading overall. The colour could be made darker if required by attention from a qualified restorer. Lacking keys. The locks and handles are all original. The handles are a model known to have been used by Gillows and seen on a number of items of furniture known to be by the firm. There is no key to lock the drawers currently. The slides to the interior of the cupboard have been removed and are not present. A modern hanging rail has been fitted into the cupboard section.The feet are original and a sophisticated tapering shape. Other features such as very fine banding to the panelling of the doors and carved elements to the cornice further demonstrate the overall high standard of craftsmanship. The drawers are oak lined. The rear panels are original throughout. Some very minor evidence of old worm int he form of a small number of worm holes to the upper frieze (these could be disguised by a restorer. Little or no other evidence of worm to the remainder of the exterior of the piece. Please refer to all additional images available via email for visual reference to condition. Condition Report Disclaimer

AN EMPIRE MAHOGANY AND BRECCIA MARBLE CONSOLE TABLE BY JEAN-BAPTISTE BERNARD DEMAY, FRENCH, CIRCA 1810 Stamped 'DEMAY RUE.DE.CLERY', the frieze drawer with a retailer's stamp 'T. WILLSON 68 GREAT QUEEN STREET LONDON' 95.5cm high, 130cm wide, 55cm deepJean-Baptiste Bernard Demay, maître in 1784, supplied furniture to Napoleon I. Demay specialised in high quality carving in mahogany in preference to the use of gilt metal mounts.A pair of Demay chairs and a settee, Victoria & Albert Museum, accession number W.9A/1,2-1987, have closely related carved winged sphinx monopodia. Bought by Stuart de Rothesay, British ambassador to Paris 1815-24 and 1828-30, de Rothesay later brought back this and other French furniture to Britain to use both in his London home and Highcliffe Castle, the house in Dorset that he built in 1830-1834. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The marble is as seen and might not be Breccia, it is later, but has a matt (rather than high shine) appearance and fits well with the design.There are some restorations and losses: a crack to one wing; some veneer cracks to the platform.There are no obviously visible signs of old worm, the underside of the table has not been inspected.The frieze drawer has oak drawer linings and there are signs of a previous fitting or catch to the base of the frieze aperture, and a corresponding groove to the underside of the drawer.Overall this is well designed, stamped, quality table in good usable condition.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

Y&nbspA MATCHED SUITE OF RED TORTOISESHELL AND BRASS BOULLE WORK DESK FURNITURE FRENCH AND ENGLISH, LATE 19TH OR EARLY 20TH CENTURY Comprising: A rosewood perpetual calendar of arched form, 15cm high; A rosewood framed inkstand/standish, 35cm wide; A casket with hinged domed top, 22cm wide; A stamp box, 9.7cm wide; A blotter, 28 x 22.5cm; A set of postal scales on serpentine base, stamped S MORDAN & CO, gilt brass weights, 21cm wide (6)Provenance: From a Private Collection Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The brass work throughout retaining little or no gilding- quite dull, matt greyish in colour. Tortoiseshell quite dry and showing some effects of sunlight and general dulling A rosewood perpetual calendar of arched form, 15cm high; lacking small elements of brass to edges, reverse strut repaired, splits to back- later papers A rosewood framed inkstand/standish, 35cm wide; 1 glass well with small chips to glass- lid loose, the other with damaged lid (visible inside) gilding very rubbed, shrinkage faults to frame and old polish deposits, base lining lifting A casket with hinged domed top, 22cm wide; interior leather marked and rubbed- slightly tired A stamp box, 9.7cm wide;- probably a pounce grinder- section of brass detached- some missing tortoiseshell, end slide panel stuck A blotter, 28 x 22.5cm; samll losses to veneers to edge- interior fairly good, reverse and spine showing sunlight and contact wear damages (slightly musty) A set of postal scales on serpentine base "S MORDAN & CO London", 6 gilt metal weights to drawer which is slightly warped replacement base lining Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

AN EMPIRE MAHOGANY AND ORMOLU MOUNTED COMMODE IN THE MANNER OF BERNARD MOLITOR, CIRCA 1810 With a fossilised black marble top 84.5cm high, 132.5cm wide, 63.5cm deep Provenance: Purchased from Jeremy Ltd, 12th March 2002 (£18,500) A copy of the original invoice is available with this lotBernard Molitor (1755-1833) was born in Luxembourg, joining his cabinet making family in Paris in 1777. Molitor became a Master Cabinetmaker in 1788, and was one of the last ébénistes to work for the for the monarchy. Molitor's furniture is characterised by the use of mahogany veneers embellished with finely cast gilt bronze mounts.For a related commode see Ulrich Leben, Molitor, Ebéniste from the Ancien Régime to the Bourbon Restoration, Philip Wilson Publishers, 1990, p46, pl 32, 'commode in...mahogany veneer with ormolu mounts. The large base, the flanking detached columns and the high frieze are characteristic of Empire furniture. Such high quality veneer and mounts were reserved for the most luxurious pieces'. See also p. 183, pl. 33A for a commode with related ormolu mounts and form.For a related commode stamped B. Molitor see Sotheby's, Important Furniture, Paris, 22nd October 2008, lot 136. This type of plinth commode with outset columns and inset drawers was produced in several ways by Bernard Molitor. Similarities include the above form, ivy leaf motifs to some mounts and the use of bleu Turquin marble. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There is a 2002 invoice from Jeremy Ltd - see additional condition report photographs.There are some small losses and repairs including flaking and later painting to the ebonised feet, the locks are later, there are some indentations to the mahogany where the wreath handles move, the carcase drawer apertures have small wear to the edge veneers with one section missing.The ormolu mounts, handles and escutcheons are of higher than ordinary quality, some minor rubbing to the gilding.The drawers all have high quality oak drawer linings. The top drawer has a slight indented bow, and has three interior divisions.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition.``Condition Report Disclaimer

Y&nbspA REGENCY SATINWOOD AND ROSEWOOD SECRETAIRE BOOKCASE CIRCA 1815, IN THE MANNER OF GEORGE SIMSON The secretaire drawer enclosing a baize inset, drawers and pigeon holes, above an arched drawer 163cm high, 78.5cm wide, 46cm deep For a very closely related bookcase in the manner of George Simson, see Sotheby's London, Collections & Collectors (L16304), 28th April 2016, Lot 11 (£3,125 incl. BP) and Christie's London, Important English Furniture (5081), 18th November 1993, Lot 134 (£13,800 incl. BP). For another bookcase of similar form, by George Simson, see Adams Dublin, At Home, 4th September 2022, Lot 399 (€1,400 excl. BP). Please note, an additional footnote for this lot has been added to our website, and it does not appear in the printed catalogue. Condition Report: Marks, scratches and abrasions comensurate with age and use. some minor old repairs. Good colour and patina to the original surface. Some signs of slightly more fading to the lower part of the item, this could be easily resolved by a qualified restorer without significant expense if required. Generally in very good presentable condition. It is a very pleasing well made piece of compact and practical proportions. All main elements appear original including the locks (to glazed doors, secretaire fall and concealed drawer (beneath the secretaire drawer appear original. There is a key to operate the glazed door lock but not for the other two locks. The glass to the doors appears mainly original but a small number of panes have likely been replaced including one larger pain which does not display the shimmer of older glass and the colour of the well applied putty to the reverse varies in colour. Of solid useable structure, the legs are solid. Please refer to all additional images available via email for visual reference to conditionCondition Report Disclaimer

Y A REGENCY ROSEWOOD SIDE CABINET RETAILED BY JAMES WINTER & SON, CIRCA 1815 Stamped 'JAMES WINTER & SON 101 WARDOUR ST SOHO LONDON', the interior with adjustable shelves 99.5cm high, 138cm wide, 43cm deepJames Winter & Son (fl 1823-82), were furniture brokers, appraisers, cabinet makers, upholsterers, retailers and undertakers. Their trade card states 'A Liberal Price for Second hand Furniture in Large or Small quantities'. Condition Report: Overall there are some minor scratches, marks, knocks and abrasions consistent with age and use.The later pleated fabric to the grille doors is moire taffeta.The backboards are ebonised and of panelled form.There is some slightly different colouration to the keyhole area of the left door into which the lock engages, with small pins corresponding to this area suggesting a discreet repair. The lock possibly later, there is one key.The interior is ochre painted with two adjustable shelves.Good clean 'ready to use' condition.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

A GEORGE III SABICU, AMBOYNA AND SPECIMEN MARQUETRY PEMBROKE TABLE ATTRIBUTED TO HENRY HILL OF MARLBOROUGH, CIRCA 1780 72cm high, 53.5cm wide (leaves closed), 83cm deep Hill was active as a cabinet-maker, coach-maker and auctioneer among other things in Marlborough from around 1740 until his death in 1778. Between 1760 and 1778, he supplied over £1,300 in furniture for Lord Methuen at Corsham Court, Wiltshire. Another marquetry table of similar design was at Burderop House, Wiltshire (L. Wood, 'Furniture for Lord Delaval: Metropolitan and Provincial', Furniture History, 1990, p. 205, figs. 17 & 18). There is much to suggest that these tables are by Hill of Marlborough, in that they are found within the geographical confines of Hill's clientele in and around Marlborough. For a closely related Pembroke table, with very similar design elements overall and use of specimen timbers, see Christie's, Julian's Park, Herfordshire, 8th June 2021, Lot 32 ( £5,625) Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, splits, losses and repairs Of elegant form - a sophisticated and high quality example of its type. The top of polished appearance and with some slight undulation and warp (see images) - some fading and difference in colour between the top and sides. Some evidence of old worm to the legs and to the underside. The hinges to the underside appear to be original and follow the craftsman's score marks to the underside (see images) Please see all images as a visual reference to condition.Condition Report Disclaimer

A SUITE OF CAST METAL GARDEN SEAT FURNITURE IN THE COALBROOKDALE LILY OF THE VALLEY PATTERN LATE 20TH CENTURY Comprising bench 152cm wide, 81cm high, and set of four chairs, 64cm wide, 78cm high

AN ASH AND OAK 'COMB-BACK' ARMCHAIR 18TH CENTURY 96cm high, 64cm wide, 53cm deep overall Condition Report: Overall there are scratches, marks, chips, cracks and abrasions consistent with age and use.There is evidence of old worm in particular to the legs. There is some small movement of the legs within their recesses.As is often the case with rustic furniture of this period there are almost certainly some indiscernible later elements and repairs including some visible nails.At 37cm high, the chair height is lower than a standard chair and the chair is more comfortable to sit in than the design might suggest.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

A SET OF SIX GEORGE III PALE GREY AND GREEN PAINTED ARMCHAIRS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1775 Four chairs with check woven fabric; two with a geometric cell and dot fabric Each 91cm high, 61cm wide, 45cm deep overall The present chairs relate strongly to Thomas Chippendale's 1770s designs popularising the neo-classical revival. Similarities to Chippendale's commissions for David Garrick include key features of the present chairs. Chippendale's chairs for Garrick's Royal Adelphi Terrace London home and a Chippendale four poster bed for Garrick's Thames-side villa both display Chippendale's new use of the fashionable 'japan'd' or painted furniture in a distinctive white and green colour palette. The Adelphi saloon chairs stood on a matching white and green carpet designed by Robert Adam and made by Moorfields. Painted decorative motifs shared by the present chairs and the Garrick bed include patera with a star shaped outer border. The use of painted trompe l'oeil fluting to the seat rail, oval backs and stop fluted legs also relate to these Chippendale pieces. Somewhat similar notches to those seen on Chippendale chairs are carved to the seat rails, created to hold the glue cramps when the chairs were being assembled. For related Garrick Chippendale 'Japan'd' armchairs, see Christies, The Ann & Gordon Getty Collection, English Furniture, New York, 23rd October 2022, lot 510, (USD107,100). See Victoria and Albert Museum Collection, The Garrick bed, Accession number W.70-1916.  

A GEORGE III CARVED MAHOGANY AND NEEDLEWORK UPHOLSTERED ARMCHAIR CIRCA 1765 The back with embroidery in wool and silk on canvas, the central panel in petit point, the surrounding in gross point 100cm high, 68cm wide, 61cm deep overall Provenance: Private Collection, Wiltshire For an illustration of this chair or a remarkably similar example (including distinctive elements of carving), see Herbert Cescinksy, English Furniture of the Eighteenth Century, volume II, page 356, figure 385.A very similar set of 24 Gainsborough chairs were supplied to the Duke of Leeds, almost certainly by the Soho maker Paul Saunders (or Samuel Norman who inherited his clientele as part of a deal signed between the two men) c.1765. The chairs were eventually moved to Hornby Castle where they were photographed on multiple occasions. Pieces from the suite have appeared on the art market and one is illustrated when it was offered for sale as part of a pair by Norman Adams Ltd at the Grosvenor House Fair in 1973.Although the suite is parcel gilt and the pattern is not identical, the same fine, light proportions are evident and the serpentine front rail and finely-drawn back legs are also closely comparable. Paul Saunders was a major London cabinet maker and tapestry supplier, working in partnership with other famous makers such as William Bradshaw. He was appointed "Tapestry maker to his Majesty" in1757 and tapestries were supplied to the finest houses such as Petworth, Holkham and Alnwick Castle. Due to the firm's special interest in textiles, it is not surprising that many surviving records relating to their commissions relate to tapestries or upholstered seat furniture with Uppark being another house that was supplied with such items by the Saunders concern. It is also particularly appropriate that the current chair should have 18th century needlework upholstery of contemporary date to the chair. When Samuel Norman agreed to buy Saunders' stock in trade and goodwill in 1760, a list of the firm's previous clients appears to have been drawn up and it includes names such as the Duke of Cumberland, the Duke of Norfolk, the Duke of Northumberland, the Earl of Scarborough and Sir Orlando Bridgeman. Such a list is testament to Saunders' ability as a cabinetmaker and upholsterer of considerable skill and business acumen, and this chair is a fine example of the sort of pieces that he was able to produce.For a pair of armchairs of related period, form and incorporating needlework upholstery, see Sotheby's, New York, 16th October 2009, Important English Furniture, Lot 135 ($135,500). Please note, in addition to the notes in the printed catalogue this armchair has an additional detailed footnote regarding attribution and closely comparable chairs on our website. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use. The needlework with areas worn thin with age and some sections reworked, some edges later. The plain green wool fabric has some holes. There are some repairs to the arm joints, leg/seat rail joints, the back seat rail a later replacement. There is some evidence of old worm visible to the seat rails The chair frame under the upholstery has not been inspected and cannot therefore be guaranteed in terms of originality. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

A GEORGE III MAHOGANY CORNER ARMCHAIR CIRCA 1780 With fluted and stop-flued decoration to the supports 81cm high Provenance: John Bedford (d. 2019), sold Sothebys, London 12 November 2019, lot 49.John Bedford began trading in the early 1960s from a Kensington market stall, initially in glass but subsequently English furniture and over the next 35 years he became north London's pre-eminent dealer in antique furniture, serving a market with an increasing appreciation for the furniture of bygone ages. A love of books was borne out of his own father's collection of books on medicine and particularly cardiology and John amassed a remarkable library of books and manuscripts from the 17th century to the present day that chart prevailing fashions in furniture and decoration and demonstrate furniture history becoming a distinct discipline. John was well known among dealers, collectors and scholars for his generosity of time and knowledge. After his death in 2019 his furniture collection was sold at Sothebys while his library was gifted to the University of Leeds finding a permanent home in the University's Special Collections for the benefit of all. An exhibition entitled Part of the Furniture, The Library of John Bedford was held at the Brotherton Library, University of Leeds, 9 January 2024 - 21 December 2024.    Condition Report: Marks, scratches and abrasions comensurate with age and use. some old repairs. Good colour and patina in areas, also some areas of fading (see images)The carved splats are finely carved and with good colour and patina The central joint of the U shaped arm rail may possibly have had some honest old repair. There are also some old nails added from beneath the arm rail adjacent. There are some other small later nails to secure moulding elements of the 'shoe' pieces at the base of splats. There is one later 'fillet' joint added to secure the rear leg in position. It is visible only from the underside of the seat rail. Otherwise the seat rails are all original. From the underside of the central crossing of the cross stretchers there is a very fine later fillet that appears to be there to aid the joint there. There is also an old screw adjacent to aid securing an old break to the stretcher. which has been repaired well historically and is only visible on very close inspection. The chair is of solid useable structure overall. The leather seat replaced. The condition of the leather good overall but with fine lines of craqueleure throughout. Please refer to all additional images available via email for visual reference to conditionCondition Report Disclaimer

American 'Lenoir House' by Broyhill Furniture Ltd stained chest of five long drawers, the upper drawer with three brass knob handles, the other drawers with brass drop loop handles with shaped back plates, raised on double ogee bracket feet, 95cm wide x 48cm deep x 137cm high

Collection of three items of furniture including a 19th century mahogany drop-flap pot cupboard, raised on slender turned legs terminating in brass castors, 40cm wide x 76cm high, a 19th century circular tilt-top table, raised on turned column support and three splayed legs, 69cm diameter x 74cm high and an early 20th century mahogany square side table with single drawer and raised on square tapering legs, 52cm wide x 74cm high (3) 

Collection of four items of furniture including a mahogany dwarf bookcase, 76cm wide x 81cm high, an Edwardian mahogany swing dressing mirror, a pine hanging shelf with small drawer and a 19th century mahogany box stool commode (4) 

Collection of furniture including an Edwardian mahogany inlaid double-tier Sutherland table, a small oak gateleg table, a mahogany framed campaign bed, a nest of two walnut tables, a gilt framed triptych mirror and three mid century teak folding tables 

American Broyhill Furniture stained pine chest of five long drawers, the top drawer with three brass knob handles and the remaining drawers with two swan neck brass handles with shaped backplates, raised on bracket feet, 86cm wide x 43cm deep x 117cm high 

A bone and ivory-inlaid hardwood armchair, late 19th/early 20th century, Swahili, the arched back with geometric decoration, with a string seat, raised on square supports with an integral footrest, 70cm wide58cm deep 116cm highArmchairs, such as this example, were commonly found in the homes of wealthy merchants along the Swahili-speaking coast of East Africa until the early 20th century. They were crafted in workshops in Mombasa and the islands of Pate, Lamu, and Zanzibar. Known in Swahili as kiti cha enzi ('chair of power'), these chairs were typically displayed in pairs or larger sets, and were reserved for visiting dignitaries and important family members. The design resembles the Mudéjar-style armchairs from 16th- and 17th-century Spain and Portugal. However, there are also similarities to furniture from the earlier Mamluk period in Egypt, suggesting that Swahili artisans developed this style by blending southern European and North African influences.For a similar example, see The Art Institute of Chicago, accession no. 2004.476.IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018.Condition ReportThe 'tooth' decoration lacking in areas. The inlay rubbed and minor sections no longer present. One arm marked (possible water marks?), the other possibly a later element. Evidence of repairs, replacements and restorations to the chair, in particular to the back and finials. However in general the item is structually sound, with only a slight wobble. The back can be removed easily. The stringed seat and back in reasonable condition considering age. Please see additional images for reference.