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A selection of hand forged horse shoe out side furniture

Laura Ashley Furniture - a single wardrobe the base with single drawer below, approx 185cm (h) x 84cm (w) x 62cm (d)

Laura Ashley Furniture - a chest of drawers, approx 90cm (h) x 120cm (w) x 45cm (d) Condition - there are marks where drawers slide and knock marks by the base, also a 10 cm x 1 cm sliced chip to the base.

Laura Ashley Furniture - a double gentleman's wardrobe over six drawers of varying sizes approx 193cm (h) x 120cm (w) x 61cm (d) Condition - slight damage to the catch inside of right door, surface scratches shallow and minor throughout. There are a couple of scuff marks to the base, scratches where the door closes and scratch marks to outer lips.

A Tempus Fugit grandmother clock with pendulum and three weights, with bevel edged glass fronted display, door marked verso with maker's mark sticker Furniture Makers Danish, Pallesgaard Clock Copenhagen purchased 1976

Laura Ashley Furniture - two matched bedside cabinets, approx 70cm (h)

Laura Ashley Furniture - a chest of four small drawers over four larger drawers, approx 148cm (h) x 70cm (w) x 50cm (d) Condition - there are minor surface scratches to the top and front and marks where the drawers slide. there are scuff marks to the base 2 mm x 20 cm and a 1 mm x 3 cm shallow surface scratch above the top right drawer.

A selection of early 20th Century oak furniture including a desk

A collection of hand crafted miniature furniture including drum table, console tables etc (20)

A collection of floral cloth and wirework dolls house furniture

A collection of floral cloth and wirework dolls house furniture

A collection of dolls house furniture

A collection of floral cloth and wirework dolls house furniture

A collection of handcrafted miniature furniture including pedestal tables, chest on stand etc (10)

A collection of hand crafted miniature country oak furniture including refectory tables, court cupboards etc (20)

A box of doll's house furniture

A mixed lot including furniture knobs, flasks and a circular slide rule etc

Assorted old door furniture, glass and china finger plates and doorknobs

Assorted toys and dolls including dolls furniture, composition dolls and doll parts, assorted teddy bears and other dolls etc (four boxes)

A group of mahogany furniture comprising two coffee tables, a pedestal table, a wine table, and a standard lamp

A Tri-Ang dolls house with furniture

Horizontal table timepiece with alarm, German, circa 1700, 3.25" pewter chapter ring with single hand, central alarm disc and set on a flower engraved surround, the gilt-brass movement signed Albrecht Berlin with standing barrel for the alarm, fusee and chain for the going train with verge escapement, pierced and engraved cock and original regulator, the back plate applied with similarly decorated furniture, the case with winged corner mounts and applied on all sides with gilt-brass panels depicting scenes from the life of Christ, 3.25" high *This timepiece was purchased from Sotheby's on 6/6/1996 for £4200

Books - Five books relating to English Furniture comprising: volumes 1-2 (Early English Furniture and Woodwork) Herbert - Cescinsky and Ernest.R. Gribble and three books by M. Jourdain and Francis Lengyon

Books - The Dictionary of English Furniture volumes 1-3 (Ralph Edwards, CBE, FSA)

FIVE ITEMS OF VARIOUS BEDROOM FURNITURE

A retro Stewart Griffiths furniture teak two-tier trolley, circa 1960's, 72cm wide x 47cm deep x 65cm high.

William Scott CBE RA (1913-1989)Two Pears (1977)Oil on canvas, 25 x 35cm (9¾ x 13¾)Exhibited: Dublin, Twelve Recent Paintings, The Dawson Gallery, July 1977, Cat. No.12; Banbridge, William Scott in Ireland, F.E.McWilliam Gallery and Studio March - September 2009, Cat No. 34. Literature: William Scott, Catalogue Raisonne of the Oil Paintings, Vol 4, Cat No. 830, illus. p.217. Denise Ferran, William Scott in Ireland, F.E.McWilliam Gallery and Studio, 2009, illus p.31Although William Scott did make several forays into what might be termed ‘pure abstraction’ (as demonstrated by his exquisite ‘Berlin Blues’ series from the 1960s) he always returned to the recognisable subjects arranged in still life scenes. This painting from the mid 1970s exemplifies the artists preoccupation with the stuff of domestic life; fruit, eggs or fish arranged amongst pots, saucepans and cooking utensils upon a kitchen table. A preoccupation with these ubiquitous subjects remained consistent throughout Scott’s career because they provided him with ideal vehicles to carry out an exploration of form. However the artist was also drawn to familiar and quotidien subjects, such as pears, because they are universal, timeless and loaded with symbolic resonance.In 1973, the art critic Hilton Kramer wrote of William Scott’s still life paintings that although ‘the forms are highly simplified, they nonetheless boast a remarkable poetic resonance. They breathe and suggest a very personal emotional atmosphere ’. The coupling of two pears is a motif that possessed a personal significance for Scott. Variations on this theme in his work can be dated back to 1950 but he seems to have had a renewed interest in the subject throughout from the 1970s. In 1977 an exhibition organised by Edward Lucie-Smith took place at the Walker Art Gallery in Liverpool in which Scott exhibited a series of 17 small paintings titled An Orchard of Pears. This renewed predilection for the pear as a subject can be partly attributed to Scott’s move to a farmhouse in Coleford, England in 1967. An impressive pear tree stood in the garden of this house in front of which Scott was photographed on several occasions. Referring to his youth in Scotland and Northern Ireland, Scott once recalled ‘I was brought up in a grey world: the garden I knew was a cemetery and we had no fine furniture. The objects I painted were the symbols of the life I knew best and the pictures which looked most like mine were painted on walls a thousand years ago .’ Works such as Two Pears certainly highlights Scott’s admiration for ancient art, the elegant simplicity of which he became fascinated by following a visit to the Lascaux caves in France in the 1950s. However, the stark immediacy of Scott’s forms combined with his unique palette also make his work distinctly modern. Moreover, Scott imbues minimal and austere compositions such as Two Pears this with a deeply sensuous quality. Pádraic E. Moore, July 2019

Patrick Collins HRHA (1911-1994)Pony Running Wild on ErrisbegOil on board, 60 x 75cm (23¾ x 29¾)SignedExhibited: Tom Caldwell Gallery, Dublin, solo exhibition; Arts Council of Ireland, 'The Delighted Eye', Catalogue No.13; Sligo Art Gallery, 'Patrick Collins Retrospective', 1985; David Hendriks Gallery, Dublin June 1970, Catalogue No. 1; Cork Arts Society, March 1973, Catalogue No. 28; Belltable Gallery, Limerick, April 1981, Catalogue No. 36.Literature: 'Contemporary Irish Art' by Roderic Knowles, 1982, colour plate p.107; Frances Ruane, 'The Delighted Eye', Arts Councils of Ireland, 1980, illustrated; Frances Ruane, 'Patrick Collins', Arts Councils of Ireland, 1982, pp. 55, 57 (illus), 59, 110.Like most of his works, Ponies Running Wild on Errisbeg was painted from the artist’s memory because he wanted the physical appearance of the subject to give way to his poetic interpretation, distilled over time. The initial subject is the starting point for a semi-abstract composition that is an independent entity with an internal logic and meaning all its own. Ponies, buildings, boundary walls and mountaintop are fragments of the environment that float on the surface. They are nearly abstract, crusty, staccato surface notations set against an unbounded space. Collins is drawn to subdued colours, with edges softened by the diffused light of an overcast Irish day. The dominant earth tones of this painting are electrified by shafts of pink and yellow-green and by a large patch of watery blue that reflects the sky. In true Collins style, light emanates from somewhere deep under the translucent surface. While some shapes are aligned with the perimeter, others seem to be pulled towards an imaginary central magnetic point. This opposition between edge and centre gives the composition a dynamic rotating movement. Collins is a rare artist who has combined a desire to paint something truly indigenous, romantic subjects at the very heart of rural Ireland, with a sophisticated international approach to abstract picture making. Unlike most Irish landscape painters, Collins consciously avoided depicting the picturesque. Rather than ‘landscape’, works like this one are more about ‘the land’, with implicit references to use and ownership. Here we can see in the defined edges of the painting, the familiar boundary walls that define a rural ‘holding’. This ‘frame within a frame’ also serves to separate the scene from the observed world, reminding us that Collins has brought it into the timeless realm of poetic imagination. He takes all the intimate furniture of the landscape, all those walls and sheds, and obscures them with mist and light. They become nearly forgotten images from his memory, lost through time in a lonely and desolate landscape.Dr Frances Ruane HRHA, July 2019

A late 20th century scratch built dolls house having only one large room with contents of a Victorian and later era to include wooden, ceramic and metal furniture and accessories

Mixed furniture to include a pine wall shelf, oak gate leg table and an oak side table

A large white painted dolls house 27 x 23 x 12, having a roof terrace above with metal and wooden furniture and accessories, the back of the house having a sliding Perspex panel to reveal a Georgian household and figures and a substantial amount of accessories

A late 20th century doll house 13 x 16 x10 with sliding front panel to include dolls house furniture of the vintage to 1970s era and four wire and cotton figures

A quantity of metal dolls house furniture and accessories to include a sewing machine, a vacuum cleaner, bicycle and pram, four figures and wooden chairs

Four pieces of composition garden furniture to include a bird bath, and three planters to include a trough shaped planter

A Nathan Furniture retro teak cabinet, four short drawers over two door cupboard; An Alfred Cox retro teak sideboard, fall front cupboard and shelving to top, three drawers and adjacent two door cupboard to base

CHARLES RENNIE MACKINTOSH (1868-1928) BEECH HIGH STOOL, CIRCA 1894 the circular seat raised above three turned legs linked by stretchers (Dimensions: 32cm wide, 69cm high)(32cm wide, 69cm high)Footnote: Literature: Billcliffe, Roger, Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs, Moffatt 2009, page 32, illus. D1894-96.1 Note: Made for Queen Margaret Medical College, Glasgow, the treatment of the stretchers appear to echo those of the domino table designed by Mackintosh in 1898 for the Argyle Street Tea Rooms.

ATTRIBUTED TO CHRISTOPHER DRESSER FOR THE COALBROOKDALE COMPANY AESTHETIC MOVEMENT CAST IRON FENDER, cast and pierced with stylised foliate motifs and with a frieze of pierced roundels below, with Victorian registration cast lozenge and serial number 230922/ no 235/ 4ft 6" (incised) (Dimensions: 138.5cm wide, 22cm high, 37cm deep)(138.5cm wide, 22cm high, 37cm deep)Footnote: Literature: Lyons, Harry Christopher Dresser: The People's Designer , Woodbridge 2005, pp. 152-3. Note: The National Archives at Kew record this piece at 10th July 1869 as 'Design for a Fender/ The Coalbrookdale Co./ Coalbrookdale/ Shropshire'. Dresser is first documented as working for the firm circa 1870 however stylistic evidence and designs such as the 'Water Plant' garden furniture were registered at an earlier date, pointing to his designing for the firm from the mid-1860s.

GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & COMPANY ARTS & CRAFTS MAHOGANY OCCASIONAL TABLE, the shaped and moulded circular top raised on slightly curved legs with leaf carving and linked by stretchers centred with a carved sunflower (Dimensions: 76cm diameter, 69cm high)(76cm diameter, 69cm high)Footnote: Literature: J. Andrews, John Arts & Crafts Furniture , Woodbridge, 2004 p. 54, fig. 52 (similar example illustrated). Cooper, Jeremy Victorian & Edwardian Furniture & Interiors , London, 1987, p. 173, fig. 450 (similar example illustrated).

ERNEST GIMSON (1864-1919) LARGE COLLECTION OF PHOTOGRAPHS OF HIS WORK, EARLY 20TH CENTURY to include images of interiors, furniture and metalwork and including views and interiors of The Leasowes and Daneway House, Sapperton, Gloucestershire; Cottages at Kelmscott (for May Morris), workshop etc., silver gelatin prints, between 200 x 150mm and 105 x 135mm, some bearing inscriptions verso in pencil with clients' names, photographer's initials, locations etc. (Qty: (220))Footnote: Note: Rather than produce extensive illustrated catalogues to promote his designs, Gimson employed Dennis Moss of Cirencester to capture high quality photographs of his work. Many of these were sent to potential clients, often with Gimson’s own handwritten details including prices and instructions for their return. Similar photographs exist in the De Montfort University Archives and Special Collections, GB 3071 D/038/A

ATTRIBUTED TO JOHN POLLARD SEDDON PAIR OF GOTHIC REVIVAL INLAID ASH ARMCHAIRS, CIRCA 1870 each with later buttoned upholstery, the arms with inlaid panelled sides, the rails and turned front legs with incised dentil decoration, later castors (Dimensions: 68cm wide, 96cm high, 89cm deep) (Qty: (2))(68cm wide, 96cm high, 89cm deep)Footnote: Literature: Cooper, J. Victorian & Edwardian Furniture & Interiors , Thames & Hudson, 1998, p.104, pl.220 where a drawing by Seddon showing a chair with similar panelling is illustrated

JOHN PEARSON (BRITISH FL. 1885 - 1910) FOR LIBERTY & CO., LONDON ARTS & CRAFTS 'MEDIAEVAL' COPPER repoussé- decorated with opposed birds on a beaten ground above a single sconce (Dimensions: 29cm high)(29cm high)Footnote: Literature: Bennett, Daryl L iberty's Furniture , Woodbridge 2012, p. 179, pl. 5.51 where this sconce is illustrated in the Liberty & Co. Yuletide Gifts catalogue of 1901

WILLIAM BURGES INTEREST VICTORIAN GOTHIC REVIVAL SIDE CABINET, CIRCA 1880, WITH LATER DECORATION the pitched roof cornice with single open compartment above twin doors, opening to reveal a fitted interior with shelves and pigeon-holes, the base with two further doors enclosing a fitted shelf, the whole later painted to the interior and exterior by Peter Farlow Decoration, London to the designs of William Burges (Dimensions: 103cm wide, 234cm high, 48cm deep)(103cm wide, 234cm high, 48cm deep)Footnote: Literature: The Strange Genius of William Burges, South Western Printers, 1981, p.72-85 Note: This cabinet demonstrates stylistic characteristics of furniture produced by John Starling Chapple and The Cardiff Workshops of Lord Bute. The top of this cabinet has a pitched roof with a gable, and includes other architectural arrangements observed on Burges’ Great Bookcase, with carved columns as seen on Burges’ Yatman' Cabinet and Writing Cabinet, the latter a collaboration between Burges and W. Gaulbert Saunders. Originally plain the cabinet has been decorated, circa 2000, as a homage to the work of William Burges and the decorative schemes for his home, the Tower House, in London. The sides of the cabinet bear later painted panels celebrating the two elements of Burges’ career, set under depictions of heavenly gardeners. In one, after Burges as Architect by Frederick Weekes, Burges works alongside a model of his Holland Park home, The Tower House. In the second, Burges is shown in his capacity as a builder. Centrally, five painted scenes represent the trades of carpentry, pottery, metalwork, stone-masonry and leather-work, in the style of Henry Stacy Marks RA, who completed a number of murals and tiles for The Tower House. Four designs on the inside of the cabinet doors show craftsmen's tools and materials within gold borders, referencing those found within the library's bookcases in the Tower House. The feet of the cabinet are further decorated with armed mice and toads, in battle: such characters are seen on beams in the Butterfly Room at The Tower House. Somewhat an homage to Burges, painted borders include porcupine motifs and gold branches set against red ground, found on Burges’ Architecture Cabinet and Sideboard respectively. Further details include five-petal floral motifs and quatrefoils, as well as depictions of the Green Man.

BOMBAY SCHOOL OF ART FURNITURE AESTHETIC MOVEMENT HARDWOOD WALL CABINET, CIRCA 1880 the mirrored back with embossed leather panels and open shelves (Dimensions: 83cm wide, 136cm high, 22cm deep)(83cm wide, 136cm high, 22cm deep)

MANNER OF AUGUSTUS WELBY NORTHMORE PUGIN GOTHIC REVIVAL OAK SIDE TABLE, CIRCA 1890 with elaborate pierced upstand, the rectangular top above an arcaded frieze, raised on moulded legs (Dimensions: 185cm wide, 138cm high, 51cm deep)(185cm wide, 138cm high, 51cm deep)Footnote: Literature: Cooper, J 'Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, p.98, pl. 100 Note: A variant of a serving table designed by Pugin for Abney Hall, Cheshire

ALFRED WATERHOUSE (1830-1905) FOR HENRY CAPEL, LONDON PAIR OF SPINDLE-BACKED MAHOGANY SIDE CHAIRS, each with radiating spindle backs above associated period upholstery on ring-turned and tapering legs (Dimensions: 43cm wide, 91cm high, 47cm deep) (Qty: (2))(43cm wide, 91cm high, 47cm deep)Footnote: Literature: Cooper, Jeremy Victorian & Edwardian Furniture & Interiors , Thames & Hudson 1998, p.106, pl. 229 Note: This chair was first designed by Alfred Waterhouse for Roundell Palmer (1812–1895), 1st Earl of Selborne, Blackmoor House, Hampshire.

MAY MORRIS (1862-1938) FOR MORRIS & COMPANY 'THE FRUIT GARDEN', ARTS & CRAFTS SILKWORK EMBROIDERED the green silk damask ground with silkwork embroidered design of fruiting apple, pomegranate and plum trees with scrolling foliate motifs and flowering shrubs, the embroidered banner with inscription ALL WROUGHT BY THE WORM IN THE PEASANT-CARLE'S COT ON THE MULBERRY LEAFAGE WHEN SUMMER WAS HOT, reserved on a later braided cotton backing and border (Dimensions: 274cm x 140cm)(274cm x 140cm)Footnote: Literature: Hulse, Lynn et. al, May Morris: Arts & Crafts Designer, Thames & Hudson, London, 2017, pl. 74-74, p.90-91 Note: May Morris’ achievements in design and embroidery have often been overlooked in light of the reputation of her father William, who is recognised as a pioneer of the Arts & Crafts movement. Yet it was May who, at the age of only 23, took charge of Morris & Co.’s textile department and, in doing so, established herself as one of the leading female exponents of Arts & Crafts embroideries. This portière , titled The Fruit Garden and executed towards the latter period of her career, exemplifies some of May’s finest work and signals an attempt to distinguish herself from her father, carving her own successful legacy. Growing up in the shadow of her father, with her mother working within the textile department of his firm, May was unsurprisingly immersed in an environment of intense craftwork. At the time, embroidery was not seen to have the same reputation as fine artistry in the form of beautifully crafted furniture or elaborate paintings. This was largely due to the Victorian preoccupation with Berlin work – a variation of cross-stitch which required little dexterity and little aesthetic awareness as it was provided in pattern form. At the core of May’s creative output however was an appreciation of the intellectual quality of English medieval embroidery, which was, to her mind, the pinnacle of achievement in needlework. In The Fruit Garden, this is demonstrated by the complex array of embroidery techniques as the piece is worked in stem, darning, satin and herringbone stitches, to name only a few. As a result, May is regarded as an instrumental figure in elevating needlework from a mere domestic craft to a serious art form. The composition shows a central tree, flanked by a colourful orchard of sinuous apple, pomegranate and cherry trees, The Fruit Garden successfully depicts naturalistic interlocking sprays of acanthus leaves and fruiting vines with delicacy, skill and creative invention. The inscription, an excerpt taken from her father’s poem The Flowering Orchard implies the portière was intended as a series, each with subtle differences in the composition and bearing another excerpt from the poem. Records from May’s inventory indicate that four separate orders were placed from 1892 to 1896 and a near identical and signed version of this portière exists in the collection of the Museum of Fine Arts in Boston. As strong coloured silks intertwine against a deep green damask ground, The Fruit Garden is a stunning visual delight, made to complement the simplicity and subtlety of Arts & Crafts furniture. After William Morris’ death in 1896, May devoted much of her life preserving his work and legacy, perhaps at a detriment to her own. In recent years, further academic research has driven a resurgence in interest in her textile designs, and in many ways her acclaim as a talented embroiderer has surpassed that of her father. The Fruit Garden portières are recognised as some of the most exceptional products of art embroidery and illustrate May at the peak of her career, representing her desire to produce “meaningful pieces that fill a purpose and satisfy individual interest.”

LIBERTY & CO., LONDON ARTS & CRAFTS 'DOMESTIC GOTHIC' WALNUT CENTRE TABLE, CIRCA 1895 the octagonal moulded top on curved cross supports linked by stretchers (Dimensions: 92cm diameter, 74cm high)(92cm diameter, 74cm high)Footnote: Literature: Bennett, Daryl Liberty's Furniture , Woodbridge 2012, p.127, pl. 4.83 where a similar table is illustrated within an interior in a Liberty & Co. Handbook of Sketche s entitled Hall Domestic Gothic , dated 1894

HOLLAND & SONS, LONDON GOTHIC REVIVAL ASH WRITING TABLE, CIRCA 1880 the rectangular moulded top above two drawers, each with drop handles forming the letter M, raised on four octagonal section supports with overlapping leaves, on trestle ends carved with the letter M and linked by a stretcher, stamped maker's mark to drawer HOLLAND & SONS (Dimensions: 121.5cm wide, 73cm high, 67cm deep)(121.5cm wide, 73cm high, 67cm deep)Footnote: Provenance: Part of a suite of furniture made for the Duke of Marlborough circa 1880 Paul Reeves, London

AFTER CHARLES RENNIE MACKINTOSH NEAR PAIR OF ASH EASY CHAIRS, CONTEMPORARY manufactured by Bruce Hamilton, Glasgow, each with upholstered back and seat with broad tapered armrests and curved supports, bears maker's label (Dimensions: 75.5 and 68.5cm wide, 69cm high, 72cm deep) (Qty: (2))(75.5 and 68.5cm wide, 69cm high, 72cm deep)Footnote: Literature: Billcliffe, Roger 'Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs', Cameron & Hollis, 2009, p. 224, pl. D1905.21 and 21A Note: The design of this chair was taken from two Mackintosh drawings for chairs of around 1905, neither of which were commissioned. The drawings could possibly have been prototype sketches for the resulting 'Easy Chair' for the drawing room at the Hill House, Helensburgh (1905.20).

EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT AESTHETIC MOVEMENT DRAWING ROOM CABINET, CIRCA ebonised wood, with carved knopped finials above a staged mirror back, two glazed doors and original 'Dromore' leather panels, with a further mirrored shelf surmounting glazed doors flanked by open shelved sides, the whole raised on tapered turned legs (Dimensions: 111cm wide, 180.5cm high, 41cm deep)(111cm wide, 180.5cm high, 41cm deep)Footnote: Literature: Soros, Susan The Secular Furniture of E. W. Godwin , Yale 1999, pp. 93;126; 160 and 214, plates 112; 171; 225 and 341 Note: The embossed and gilded leather used in this drawing room cabinet was used exclusively by Godwin in his furniture designs. It was first used in the furniture he designed for the interiors at Dromore Castle, Co. Limerick, built for the 3 rd Earl of Limerick circa 1865-1870. Other features of this piece which are characteristic of Godwin’s furniture of the mid to late 1870s are the canted sides, the pierced and carved chrysanthemum motifs, reeded and fluted detailing and ebonised finish.

Set of four amber glass furniture rests, a pair of hob nail moulded amber glass cups, clear glass funnel etc. Together with a tray of glass friggers in the form of decorative bulbous ended pestles. (2) (B.P. 24% incl. VAT)

Reprodux traditional English furniture yew wood miniature chest on chest made by Bevan Funnell Ltd. (B.P. 24% incl. VAT) CONDITION REPORT: Approximate dimensions: 29 x 38 x 76 cm.

A SET OF FOUR TEAK MID-20TH CENTURY MODERN DANISH STRING-SEATED DINING CHAIRS, labelled 'DANISH FURNITURE MAKERS CONTROL'

Suite of bedroom furniture to include bedside cabinets and two chests of two short over three long drawers (6) 

Furniture to include narrow chest of blue painted drawers, two oak tea trolleys, nest of tables and walnut kidney-shaped dressing table (5) 

Early 1970's Heal furniture rosewood bedroom suite comprising chest of seven drawers, chest of six drawers and two bedside chests of three drawers (4) (Certificate number 585185/01)Condition ReportThe larger chest- There are some chips to the front and to the drawers.The medium chest- There is some wear to the top of the chest and there are a couple scratches to the front and to the top of some of the drawers.The smaller chests- There is some wear to the top of the top small chest and some white paint on one of the drawers.  There are some coffee stain marks to the top of the bottom small chest.Please see image of the label - Heals Furniture Production

Cream coloured bedroom furniture to include chest of drawers, dressing table, etc (5) 

Mid 20th century bedroom furniture comprising teak chest of six drawers, dressing table and two bedside chests (4) 

Edwardian matched set of lounge furniture to include two corner chairs, three armchairs and a two-seater settee, in mahogany, satinwood inlaid (6) 

Assorted furniture to include stickback chairs, formica-topped table, firescreen, towel rack, etc (7)