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Nell Nicholas (b.1995) Green House Signed Nell (lower right) Oil on canvas 100 x 150cm Horatio's Garden will receive 100% of the hammer price on this lot. Nell Nicholas is a painter and furniture designer. She is from Salisbury, and currently lives and works in East London. Nell works with galleries and collectors around the world. Her solo exhibition, "Treasure" is currently on show at Monti8 Gallery in Italy. In early 2021, Nell opened her shop and studio off Brick Lane in Shoreditch. This painting was made during the first Covid-19 lockdown and was inspired by Nell's residency at Horatio's Garden Salisbury.

DOLLS HOUSE FURNITURE including bedroom furniture and bed, brass tripod table, 2 piece suite, garden table and bench, beds etc. Also with with bathroom items, miniature dolls, kitchen accessories etc.

A PLASTIC GARDEN FURNITURE SET TO INCLUDE 5 STACKING CHAIRS AND A TABLE

LINLEY; a pair of oak astragal glazed bookcase cabinets125cm wide; 244 high; (2)These bookcases were designed by David Linley and Matthew Rice circa 1986 and made a few years later. They are constructed from quartersawn English oak and finished with an oil.Condition report:There are three adjustable shelves to each glazed section of these bookcases.  The cupboards below contain one adjustable shelf each. Overall depth 53cm, top and bottom cupboards 40cm deep internal. Two handles loose. A few minor scuffs, minor marks, scratches and knocks commensurate with age and use. One small split to the top of the side return of one (see additional photograph). A few scratches to the surface below the one astragal door of the same bookcase. Very minor water mark to ledge of the second bookcase (see photograph).These are not stamped. Overall, very well constructed and in good condition.  ProvenanceThe2nd Earl of Snowdon.Thesesuperb quality bookcases were designed by David Linley and Matthew Rice. They were made in 1990 to furnish David Linley’s artist studio inBurlington Lodge House.  A similar pair were earlier exhibited by DavidLinley Furniture at the House and Garden Fair.Constructedfrom quarter-sawn English oak, with ebony handles and Cedar of Lebanon backs,they are of the highest quality.  The construction of the glazed doorsallowed for no tolerance in their manufacture with the highest precisionrequired for the glazing bars.

A Child's metal garden furniture comprising a bench, two chairs and a table

A 20th Century white painted metal garden furniture, comprising: a table, the circular pierced top decorated with palmette above a triple column and scroll supports, 71 x 81cms diameter; together with four spoon-back chairs with pierced backs and seats, raised on acanthus clasp outswept legs with scroll feet.

Garden furniture: A Victorian Crown chimney pot

A quantity of garden furniture AF to include a pair of bench ends and a parasol

A George III Silver Wine-Jug, by Thomas Heming, London, 1765, pear-shaped and on spiral-fluted conforming foot, the lower body with waved decoration below a band of chased fruiting grapevines, the upper-body spiral-fluted, with leaf-capped quilted handle and beak-form spout, engraved with initials, 28cm high, 36oz 8dwt, 1,133gr Provenance: Possibly Charles William Grenfell, M.P. (1823-1861) and by descent to his grandson Captain Edward Arthur Aylmer, D.S.C. (1892-1974), and by descent. While the early history of this jug is not entirely clear there is a strong possibility that it was acquired by Charles William Grenfell, M.P. (1823-1861), either as a gift or a purchase in the 19th century. Grenfell was the son of Charles Grenfell and his wife Lady Georgiana Frances, daughter of William Molyneux, 2nd Earl of Sefton. His brother Henry was, for a time, a director of the Bank of England. He was certainly acquiring items at auction, for example at least three lots from the celebrated sale of the collection of the Duke of Buckingham and Chandos at Stowe House. While in general shape the present jug most resembles a beer-jug, the ornament clearly suggests that it could only have originally been intended for wine. As such it would seem to be an unusual survival of an identifiable wine-jug dating to the 18th century. Michael Clayton notes that such jugs were nearly indistinguishable from ale-jugs during this period, though does illustrate a pair, also by Thomas Heming, which date to 1777 (M. Clayton, The Collector's Dictionary of the Silver and Gold of Great Britain and North America, London, 1971, p. 63, pl. 331). Unlike the present example that pair was decorated in the Neo Classical style as would have been the fashion by the time they were made. Arthur Grimwade also illustrates a number of jugs in his book Rococo Silver, though as noted above their form is virtually unchanged from earlier examples. One however, made by Philips Garden and hallmarked for 1754, stands out (A. Grimwade, Rococo Silver, London, 1974, p. 38, pl. 17b). Like the present example it is exuberantly decorated, through Grimwade suggests it may have been intended for beer. Most interestingly perhaps is a depiction on Thomas Heming's trade card of a jug which, while of a more baluster form, shows the same use of ornament as on the present example with the suggestion of a quilted lower body and a spiral-fluted upper body and with fruiting grapevines between. An example of the trade card, believed to date to the 1760s-1770s, is in the collection of the British Museum (Heal,67.204), having been donated by Sir Ambrose Heal, Chairman of Heal's furniture store along with a large collection of other trade cards in 1960. . Fully marked under base. The marks are clear. There is some overall surface scratching and wear, consistent with age and use. There is an area of unevenness on one side, visible inside. This may be a repair or it may be constructional. The wear is noticeable as a minor softening to the high points. There are some minor bruises.

Westminster modular Rattan garden furniture corner suite (240cm x 298cm x 86cm - see pic for measurements)

A quantity of garden gate/stable door furniture.

SET OF WEATHERED RUSTIC GARDEN FURNITURE, including driftwood type table and six (solid) elbow chairs (7)

Garden Seating: A teak garden suite of furniture comprising oval table, 203cm long by 148cm wide, together with nine teak armchairs, green umbrella and marble lazy susanFrom the personal collection of Tim Wonnacott. See lot 400 for further information.

Celluloid and other doll's house figures; dol's house plastic rockery garden with patio and furniture; part Patchcraft set; child's nursery tea ware; etc

Small furniture to include a bar back kitchen chair, a painted chair, a tea garden table on wheels and an oak occasional table

WILLS, complete (25), inc. large (9), Garden Flowers, British Castles, Old Inns, Old Furniture; Merchant Ships, floral, Arms etc., G to EX, Qty.

A suite of attractive Victorian Gothic style Garden Seat Furniture, comprising a two seater bench, and two armchairs, painted black. (3)

Garnitur Gartenmöbel 7-tlg.; Ausziehtisch und sechs Armlehnsessel. Teakholz, witterungsbedingt gegraut. Gestell aus gekanteten Pfosten, unterhalb durch schmale Stege verbunden. Weit überstehende Deckplatte. Korrespondierende Armlehnsessel. Tisch-H. 75 cm. 180/240 cm x 90 cm. Sitz-H. 45 cm.A 7-piece set of teakwood garden furniture.England. 20. Jh.

AN IMPORTANT AND EXCEEDINGLY RARE HUANGHUALI RECTANGULAR DAY-BED, TACirca 1550-1600The well-proportioned bed with a moulded frame of standard miter, mortise and tenon construction enclosing a soft-mat platform with five bowed stretchers underneath, above square-section corner legs ending in inward-turning hoof feet and joined by humpback stretchers. 213cm (83 7/8in) long x 63cm (24 7/8in) deep x 54cm high (21 2/in).Footnotes:約1550-1600年 黃花梨榻Provenance: Ming Furniture Ltd., New York, 1991David S. Utterberg (1947-2020) and Nayda Utterberg, Seattle Sotheby's New York, 16 March 2016, lot 227An important European private collectionPublished and Illustrated: S.Handler, 'Outstanding Pieces in Private Rooms: Chinese Classical Furniture in New American Collections', Orientations, January 1993, fig.4.S.Handler, Ming Furniture in the Light of Chinese Architecture, Berkeley, 2005, p.101.來源：1991年，前藏家購自紐約古董商明代家具有限公司美國西雅圖David S. Utterberg（1947-2020）及Nayda Utterberg伉儷舊藏紐約蘇富比，2016年3月16日，拍品編號227歐洲重要私人收藏出版著錄：S.Handler，〈Outstanding Pieces in Private Rooms: Chinese Classical Furniture in New American Collections〉，《Orientations》，1993年1月刊，香港，編號4S.Handler，《Ming Furniture in the Light of Chinese Architecture》，美國伯克利，2005年，頁101Classical and elegant in its linearity and simplicity, the present daybed is an exceptionally early and rare example fashioned from a single huanghuali plank of unusually large size. Due to its simple design and light weight, the raised platform was used since the earliest historical phases of Chinese history. It was a highly versatile piece of furniture, elevated above the draughts and dampness of the floor, and thus easily suited for both indoor and outdoor purposes. Platforms could be large enough to accommodate a group of people of just the right size for one, such as the present example. Unencumbered by railings, canopies and having to stay in one place, platforms (unlike couchbeds, canopy beds or even kang tables) are probably the very best and most classical examples of the elemental form of Chinese furniture. The oldest platforms in China appear to date to the Anyang period of the Shang dynasty (13th-11th BC). They were made in marble and bronze and supported precious bronze ritual vessels. By the Han dynasty, platforms indicated social status and served as seats for dignitaries. Numerous depictions of banquet scenes, in burials dating to around this period, show the most significant figures seated on raised platforms; see for example Wang Zengxin, 'Liaoyangshi Bangtaizi er hao bihua mu (Wall painting in tomb no.2, Bangtaizi, Liaoyang)', Kaogu, 1, 1960, p.22.By the Ming dynasty, platforms supported on four legs (as opposed to the more typical box-like construction of earlier periods) became highly popular and were constructed in various sizes. Platforms supported on four legs could be larger and heavier structures which were no longer easily moved. At this time, platforms were often referred to as 'Single-Sleeps' Dushui, which the Ming connoisseur Wen Zhenheng mentioned in his 'Treatise on Superflous Things' Zhang Wu Zhi. See Wen Zhenheng, Treatise on Superfluous Things, Nanjing, 1984, p.241. Although Chinese beds such as the present example have been referred to as 'day-beds' in the West, they were used for both daytime sitting and night-time sleeping. Paintings and woodblock prints dating to the Ming dynasty often depict scholars or court ladies sitting on their daybeds in garden settings or along riverbanks. See for example, 'Reclining on An Incense Fumigator' by Chen Hongshou (1599-1652), in the Shanghai Museum. Here, a lovesick court lady is depicted sitting on a platform with slender horse-hoof feet, appearing to converse with a parrot looking down from his elegant metal pedestal. In addition, a woodblock illustration by Ding Yunpeng (1547-c.1621) depicts a scholar joyfully ensconced with his book and scroll on a large platform. Leaning on a semi-circular armrest, he appears to be waiting for the refreshments being carried by his attendant. Finally, 'Waves on the Bank', a handscroll by Shen Zhou (1427-1509) shows a contemplative scholar seated on a platform in front of a large single-panel screen before the open door of his country retreat overlooking a small stream; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.117, fig.8.15, p.118, fig.8.18 and p.121, fig.8.22. The patrons of Ming furniture makers preferred simple lines and structural simplicity to elaborate carving and sumptuous decoration. In addition, at the time, the strength rather than the grain of the wood, was considered the most important feature of platforms, so they were often constructed with the wood obtained from the centre of the tree, which was less prone to warping if it had been aged and cured for a long time. See a related huanghuali single-bed, Ming dynasty, late 16th/early 17th century, displaying a waisted frame and lacking the side stretchers, illustrated by G.Ecke, Chinese Domestic Furniture, London, 1962, pl.19.15. Two other examples are illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 2001, p.116 and by R.H.Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties, New York, 1971, no.38, p.146. Finally, a pottery miniature figure of a platform exhibiting a similar frame to the present example, in the Shanghai Museum, Shanghai, was unearthed from the Ming dynasty tomb of Pan Yuan Zheng (1589), illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, Hong Kong, 1990, vol.1, pl.1.3a.Furniture made of exceptionally large single-planks of huanghuali wood would have been extremely rare and expensive to make at the time, and is still highly expensive today. See, for example, a magnificent and very rare massive huanghuali plank-top pedestal table, 17th/18th century, which was sold at Christie's New York, 22 March 2013, lot 1323.榻為四面平式，羅鍋棖，有馬蹄，榻面鑲籐編軟屜，以五根硬木穿帶支承，結構簡練，工藝精巧。明式的榻，現存者多為有束腰式，如本例無束腰且以方材製作者，殊為罕有。床無圍曰「榻」。由於... This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE LARGE TIANQI AND QIANGJIN LACQUER ALTAR TABLEWanliThe rectangular top colourfully decorated with a garden landscape scene depicting various plants and flowers including bamboo, lingzhi, magnolia and peony trees between rocks, and a small bird perched on a rocky outcrop, all reserved on a floral diaper red and gold ground, the table sides and the square-section legs all decorated with designs of leafy scrolling lotus blooms, the openwork apron with blossoming chrysanthemums within meandering scrolling tendrils, the legs terminating in hoof feet. 225.5cm (88 6/8in) wide x 89cm (35in) high x 64cm (25 2/8in) deep.Footnotes:明萬曆 填漆戧金花鳥紋條桌Provenance: a Belgian private collectionChristie's London, 10 November 2015, lot 378An important European private collection來源：比利時私人收藏倫敦佳士得，2015年11月10日，拍品編號378歐洲重要私人收藏Impressive in size and lavishly decorated with polychrome lacquer deigns, the present table displays a remarkable degree of labour, which would suggest its probable creation in an Imperial workshop. The qiangjin (incised lines filled with gold) technique was developed as early as the Warring Sates period. It was widely adopted on lacquer wares from the Song dynasty and was used on Imperial lacquer wares during the Ming dynasty. The history of tianqi, a subtype of the caiqi technique of colour lacquering, can be traced back to as early as the Shang and Zhou dynasties. Although the earliest time when these two techniques were first used together on lacquer wares remains unknown, during the 16th century a large number of lacquer works were made combining the qiangjin and caiqi techniques.When combined with qiangjin, the gold lines and polychrome lacquer created a rather colourful and dazzling effect. A number of furniture pieces, such as tables, stools, incense stands were made during the Jiajing and Wanli periods, testifying to the Court's great interest in lacquered furniture at this time. Compare, for example, a rectangular lacquered table decorated with designs of flowers and birds, Ming dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures from the Palace Museum. Furniture of the Ming and Qing Dynasties, Hong Kong, 2002, p.108, no.91.The subjects depicted on the table top invoke auspicious symbolism conveyed through the use of birds and flower designs. Peonies mudan were also known in China as fugui, presumably following the popularity enjoyed by flowers among members of the Imperial families during the Tang dynasty. By their character and pronunciation, they convey blessings for happiness, fu, and noble/rich/high rank, gui. In conjunction with rocks (symbolic of endurance), magnolias (representing beauty and fertility), and magpies (homophones with jue, meaning high rank), peonies represent a visual rebus for the multiple blessings of wealth, longevity, progeny and advancement in career. The shape of the present table is similar to a rosewood table, Ming dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, Hong Kong, 2002, p.111, no.94. Compare the flower and birds designs on a red lacquer table, Ming dynasty, illustrated ibid., p.108, no.92.整桌木胎戧金彩漆，桌面髹赭黃色，並以朱漆填勾錦紋作地，描漆繪花鳥竹石等園林景緻，漆面受刀處皆戧金，各式花卉爭奇鬥艷。無束腰，方材直腿內翻馬蹄。足端四面刻繪玲瓏賞石，其上生出纏枝番蓮，遍布桌腿及冰盤沿，羅鍋棖及矮老亦滿飾纏枝花卉，華彩煥然。裝飾之華麗，工藝之細膩，表明本桌或出自宮廷作坊工匠之手，是一件不可多得的明代家具珍品。戧金，即指在器物上淺刻出線條紋飾，並在刻痕內填金的工藝。始見於戰國，宋代起用於漆器裝飾，至明朝時更為流行，並大量用於宮廷漆器。彩漆工藝發軔時期更為久遠，先秦時期便有廣泛運用，其工藝又細分成「填漆」和「描漆」兩種，至於戧金和彩漆工藝何時結合，學界尚無定論，惟可見明嘉靖以來，戧金彩漆家具有大量存世。一例明紅木條桌，收錄於《故宮博物院藏文物珍品全集：明清家具》，香港，2002年，頁111，編號94，造型可與本例比較。另可參考一件明填漆花鳥圖長方桌，桌面裝飾紋樣可與本例比對，出處同上，頁108，編號92。This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A VERY RARE HUANGHUALI SQUARE-BACKED ARMCHAIR, MEIGUIYI18th centuryOf graceful proportions with the hard-cane seat framed by a straight crestrail above vertical spindles divided by ring struts, the backsplat set with a central round burlwood panel, the straight armrests with similar spindles and struts, continuing to the front posts, the aprons beneath the seat frame supported by interlacing rings, the legs joined with stretchers. 90cm (35 1/2in) high x 59.2cm (23 3/8in) wide x 45.3cm (17 7/8in) deep.Footnotes:十八世紀 黃花梨直櫺嵌癭木玫瑰椅Provenance: an important European private collection來源：歐洲重要私人收藏Notable for its elegant form and proportions, and the combination of the previous huanghuali and well-figured burlwood, this exceptionally rare chair is one of the rarest and finest surviving examples of its type. Chairs constructed with a low rectangular back, such as the present example, were referred to as either 'rose chairs', meiguiyi, or 'writing chairs', wenyi. These seats were the smallest of the standard chair designs in Chinese furniture, making them appropriate for both indoor and outdoor use. The sense of elegance and lightness, conveyed by the use of humpback stretchers with pillar-shaped struts above the seat frame, encouraged portable and functional ease. In addition, the straight back and arms conveyed a sense of austerity to the scholar sitting in them and would fit neatly under the window of a scholar's studio, without obstructing the outside view. Smaller and less formal than the 'yokeback' or 'horseshoe-back' armchair, low-back armchairs were often more ornately decorated, displaying decorative frames and stretchers on the back panels, such as the present example. The top rail and arms curve smoothly into the posts, imitating the flexibility of bamboo by means of complex mortise-and-tenon joints. This design was probably inspired by a low-back armchair produced during the Song dynasty, an example of which is depicted in a twelfth century painting by Ma Gongxian (act.1131-1162). Here Li Ao (d.ca. 844), a Confucian scholar, is seeking instruction from Yaoshan Weiyan (751-834), a Chan master, who is seated on a low bamboo chair which resembles the construction of a meiguiyi, with the addition of a back rest. The form of the present chair was alternatively referred to as tushou shubeiyi, or spindle-back armchair, in reference to the tall posts set between the back and arm rails. The use of fine and densely-grained huanghuali to imitate bamboo was popular in the Ming and Qing dynasties. For a further discussion about chairs of this form, see R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.68-9, no.16, where the authors also illustrate a related pair of huanghuali chairs.Meiguiyi armchairs also served as informal seats for women as well as sedan chairs and were frequently depicted in paintings and prints dating to the Ming and Qing dynasties. For example, the 'Literary Gathering in the Apricot Garden', painted by the court artist Xie Huan (act.1426-1452), depicts 'The Three Yangs' (scholars of the Hanlin Academy) beside bamboo and hardwood low-back armchairs. Ming dynasty painting by Dai Jin (1388-1462) depicts Zhong Kui, the 'Demon Queller', seated on a low-back armchair decorated with circular designs; see S.Handler, 'Rose, Bamboo and the Low-Back Armchair', in Chinese Furniture: Selected Articles from Orientations, 1984-1999, Hong Kong, 1999, pp.250-256; see also Wang Shixiang, 'Development of Furniture Design and Construction from the Song to the Ming', ibid., p.44.Compare with a related huanghuali 'spindle-back' armchair, 17th century, in the Minneapolis Institute of Art, Minneapolis, MN, acc.no.98.76.1, the type of which may have served as a prototype for the present example.主體圓材，靠背與扶手以挖煙袋鍋榫成框，框內以更細的圓材裝邊框，在搭腦及扶手橫材以下一寸多的部位施橫棖，橫棖以下安直櫺，呈梳背式，橫棖以上安單環卡子花；靠背中心兩根直櫺上部加嵌癭木圓板。籐編座面，椅盤下三面亦安設用圓材造成的券口並施直棖，棖上安方環卡子花。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。玫瑰椅靠背和扶手都比較低矮，坐盤略窄，且靠背、扶手與椅面之間相互垂直。一說因其尺寸嬌小，極適合閨閣之中，而稱「玫瑰椅」；江南地區亦稱「文椅」，或與明清版畫中常見該椅出現在文房擺設有關。玫瑰椅用材單細，形態方正精巧，是明清極為流行的椅式之一。明清畫本中可以看到玫瑰椅往往放在桌案的兩邊，對面而設；或不用桌案，雙雙並列；或不規則地斜對著，擺法靈活多變，宜作多方用途。又因為其椅背與扶手高度相差無幾，頗為適合在室內臨窗陳設，椅背不高過窗台，配合桌案使用又不高過桌沿，不至阻擋視線，令人賞心悅目。玫瑰椅造型輕巧，相較於圈椅或官帽椅更顯&#... This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A pair of white painted cast iron garden seats, late 19th century, each with arcaded back beneath a scrolled top rail, the ogee sides pierced with botehs, the pierced seat above cabriole legs, each 94cm high, 113cm wide, 42cm deepBidders from the UK and outside of the European Union should be aware that additional import charges may applyThis pair of seats bear very close resemblance to a Scottish design registered in 1846 by Carron Company, Stirlingshire and illustrated in Georg Himmelheber, Cast Iron Furniture, Philip Wilson Publishers Ltd, London 1996, plate 92. Himmelheber noting it was copied mainly in America, ibid page 225.Condition Report: Please note:These seats or benches have not been recently re-painted. It is unknown what paint has been used. They would probably benefit from a repaintCondition Report Disclaimer

A suite of carved limestone garden furniture, 20th century, the circular table with egg-and-dart moulded edge, above a central pedestal of four adorsed dolphins above a circular base, 73cm high, 123cm diameter; the three curved seats with conforming edging and each on twin dolphin carved supports, 47cm high, 124cm wideBidders from the UK and outside of the European Union should be aware that additional import charges may applyCondition Report: There has been restoration to the table top and one chip present, There has also been restoration to one of the curved seatsPlease refer to additional images for visual reference to condition Condition Report Disclaimer

A French, Lyon region, limestone (Pierre de Saint-Cyr) suite of garden dining furniture, early 20th century, comprising a refectory type table 75cm high, 187cm long, 105cm wide, and two trestle benches, each 46cm high, 166cm long, 28cm deep Bidders from the UK and outside of the European Union should be aware that additional import charges may applyThis suite of table and benches are from the Lyon area and made from the Pierre de Saint-Cyr stone, named after the village of the same name.Condition Report: Please note that this is largely constructed with rough-hewn stone which has been shaped to give flat surface for the table top and the tops of the benchesOverall the condition reflects this and its age and use in an exterior setting, there is also lichen and some moss growth to surfacesPlease refer to additional images for visual reference to condition Condition Report Disclaimer

An archive of photographs, documents, pamphlets and books, relating to David Burkle & Sons Ltd,cabinetmakers, shopfitters and furniture makers, Cabinet and Joinery Works, 34 Osnaburgh St. NW1, early 20th century and later, detailing works carried out on behalf of major architects and designers of the time, projects include: the Private Offices and Pullman car of Mr Henry Ford, the Art Deco refit of Eltham Palace, the Berkeley Hotel, Gatwick Airport, London Heathrow, the Bank of England and others, all contained in albums (qty.) Condition report: Nine photographs - all mounted on card - comprising five together - with inscription 'Private Office for Mr Henry Ford and Mr Edsel Ford at Dearborn USA and four others (in two pairs) and one inscribed to the top 'Pullman Car for Mr Henry Ford' all 26.5 x 35cm.Eltham Palace - these photos are within a small album - none inscribed. 20.5 x 15.5cm approx.Eleven albums - these contain various schemes - photos added to the condition report. Three further albums, later schemes, these are all listed in the front of the albums.A brief list in the albums are:Kodal Labs, Hemel Hempstead, 1973St Johns College, 1973Berkeley Hotel, 1972-73Concorde Check-In Chelsea and Kensington Town Hall, 1976/7Newcastle Airport, 1967Heathrow Conversion Terminal 3, 1973Manchester Magistrates Court, 1971Bank of England, 1968Eagle Star insurance, 1968Shell Centre Floors, 1963Warwick University, 1968Ford Motors Dagenham, 1952/3Hampstead Garden Suburb Synagogue, 1956Royal Military Chapel, Wellington Barracks, 1964Various Barclays Bank locationsLondon Heathrow, 1955BOAC Victoria Extension, 1960Ghana Parliament, 1961Savoy Hotel, 1952 and 1947.The majority of the items within this lot relate to post war work.

Lots 85-93The collection of Arts and Crafts furniture in the following nine lots comes from the estate of Fiona MacCarthy (1940-2020) who was married to David Mellor (1930-2009), the Sheffield-based designer.MacCarthy’s background as a journalist for House and Garden magazine and the Guardian lay the foundations in her seminal biographical works on S R Ashbee, William Morris, Eric Gill and 'Walter Gropius, Visionary Founder of the Bauhaus' which was published in 2019.Involved across the arts, she curated exhibitions such as 'Homespun to High-speed: British Design 1860 to 1960' at Sheffield Museums and Art Galleries in 1979; 'Eye for Industry: Retrospective of the Royal Designers' at the Victoria and Albert Museum in 1986, and 'Anarchy and Beauty, William Morris and his Legacy' at the National Portrait Gallery in 2014.A Heal and Son oak wardrobe, designed by Sir Ambrose Heal, with a plain top over a panelled cupboard with a heart-shaped escutcheon, above a panelled door enclosing a rail, with a shaped lockplate and a knob handle, with an oval metal label ‘Heal & Son 196 Tottenham Ct Road London’, 107cm wide 52cm deep 189.5cm highProvenance: The Estate of Fiona MacCarthy (1940-2020). Condition report: Some scuffing to the left front edge and to the panelled cupboard. Filled hole above the lock plate – possible a reset of the handle. Some losses to the left-hand side. With a split to the right hand side. Additional images uploaded.

Britains Models Floral Miniature Garden items, to include shed in original box, flower beds, lawnmower, hose reel, rollers, wheelbarrows, planters, fence panels, patio furniture etc. (qty)

A collection of vintage 1980's Sindy accessories to include 44582 Dining tables and chairs, 44234 Luxury settee, 44386 Garden furniture, 44767 Hostess trolley, 44211 Wardrobe, 44514 Four poster bed, all in boxed good condition together with a bag of loose clothes.

A slatted teak garden table and six folding elbow chairs bearing "Swan Hattersley Garden Furniture" labels CONDITION REPORTS The length of the table is 182cm x 70cmhigh x90cm deep.

A TEAK GARDEN FURNITURE SET WITH A TABLE AND FOUR CHAIRS

Black rattan circular table with tempered glass top and metal centerpiece. Two chairs with green cushions, all by Ethical Garden Furniture. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

A Cast Furniture Ltd white painted garden table and four chairs. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or authorised couriers ONLY. Restrictions apply to ensure social distancing.

PHYLLIS BARRON (1890-1964) FOR TURNBULL & STOCKDALE LTD - ROSEBANK FABRICS THREE HAND-BLOCKED printed linen, stripe and scroll design, in the yellow colourway(115cm x 61cm; 102cm x 75cm; 113cm x 80.5cm)Footnote: Note: Phyllis Barron, who had trained at the Slade, first became interested in printing fabrics on the discovery of some printing blocks whilst on holiday in France. She researched dying at the British Museum and the V&A libraries. As a member of the London Group from 1916 until 1921 she would have been in contact with the leading artists of the day, and very quickly she came to the attention of Roger Fry who asked her to exhibit at the Omega Workshop. Dorothy Larcher meanwhile had been working in India and on her return met Barron through the embroideress Eve Simmonds. She joined Barron in 1923 and together they moved to a workshop in Hampstead. Through Detmar Blow they secured a commission to furnish the coming-out dance of the Duke of Westminster, and another commission through the Duke led to a commission for cushions for Coco Chanel's garden in Paris. They moved to the Cotswolds in 1930 where the local water was particularly suitable for madder dying. From there they secured commissions from Girton College Cambridge, the furniture maker Eric Sharpe and many others. The impossibility of obtaining good quality fabrics during the Second World War forced them to give up their business.

A painted aluminium garden furniture set, of table and two chairs, and a similar two seat chair or bench, (4).

MIXED METAL GARDEN FURNITURE ENSEMBLE to include a circular top tripod table, 67cms H, 69cms diameter, four chairs, 83.5cms H, 38cms diameter seats, garden parasol on a cast metal base and four wirework planters

Garden Furniture; A slatted wooden Garden Bench, 60in (152cm) wide, 38½in (98cm) high.

Garden Furniture; A pair of rustic vintage hardwood garden Chairs, bearing makers plate for 'Branson & Co., Devises' 26in (66cm) wide, 33in (84cm) high (2)

A TEAK GARDEN FURNITURE SET TO INCLUDE A TABLE AND SIX FOLDING CHAIRS (TABLE TOP 160CM X 90CM)

A selection of heavy cast metal garden furniture including double bench table and two chairs, bench width approx 92cm, chairs 57cm, table diameter approx 80cm

A set of green metal garden furniture, together with parasol, and garden tools

MODERN METALWORK 6 PIECE GARDEN FURNITURE SET comprising rectangular top table, 70.5cms H, 130.5cms W, 80cms D, two seater couch, 94cms H, 106cms W, 46cms seat depth and four armchairs, 95cms H, 56.5cms W, 46cms seat depth, all with loose upholstered cushions

A suite of Victorian white painted wirework garden furniture, comprising a circular table and two armchairs, late 19th/early 20th century, table 70cm high, 123cm diameter, chairs 88cm high to top of backrests  

A suite of teak garden furniture by Cotswold Teak, of recent manufacture, comprising a circular table; two benches; two chairs; and a parasol, the seat furniture of slatted design, with metal plaques for maker, the table approximately 79cm high, 150cm diameter; the benches 84cm high, the chairs 77cm high

A white painted cast metal garden set by Forecast Furniture Limited of Victorian design, comprising rectangular table, 153 x 80 x 70 cm high, and a set of 6 matching armchairs.

A GARDEN FURNITURE SET WITH ROUND GLASS TOP TABLE AND 5 FOLDING CHAIRS

A pair of English white painted cast iron 'oak and ivy pattern' garden benches, in the manner of Coalbrookdale, late 19th/early 20th century, of shaped and openwork form, with slatted seats, 91cm high, 132cm wideA similar example is illustrated in Georg Himmelheber, Cast Iron Furniture, 1996, fig. 143.Another appears in John Davis, Antique Garden Ornament, 1991, p. 267, plate 6:20Condition Report: both benches with weathering and surface deposits/lichen consistent with outdoor use.Some areas of rust. Benches have been re-painted at some point. Various flaking and losses to paint. The seats of both benches will require repair/replacement. Various slats are broken or lacking and all have significant weathering. Metal elements of both benches are structurally sound. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A Victorian green painted garden bench, possibly Coalbrookdale, late 19th century, the shaped back- and armrests with scrolled foliate and grape design, cast with model and diamond registration numbers to backrest, approximately 75cm high, 126cm wide Provenance: Private Collection, The Manor House, Stanford in the Vale, Oxfordshire A similar example is illustrated in Georg Himmelheber, Cast Iron Furniture, 1996, fig. 118Condition Report: The bench bears the usual minor marks, knocks and scuffs overall consistent with age and use.The green painted finish looks like it was at one point refreshed. One bolt cap lacking from the seat, though the entire construction appears stable. Minor signs of oxidisation between back- and armrests. In perfectly presentable condition. Please refer to additional lot images for further visual details.The bench is quite firmly bolted together and will not be dismantled for transportation.Condition Report Disclaimer

A Regency white painted wrought iron garden armchair, early 19th century, of strapwork and slatted construction overall, 91cm high, 56cm wideProvenance: Collection of a Titled Gentleman, LondonA similar armchair is illustrated in Georg Himmelheber, Cast Iron Furniture, 1996, fig. 361Condition Report: Flaking /cracking to paint overall and some surface oxidisation. Repair to one side of stretcher. Bending to elements including arched detail in backrest. Please refer to additional lot images for visual reference to condition.Condition Report Disclaimer

Garden Furniture - a wooden bench seat, 53 cm (h) x 120 cm (w) x 77 cm (d)Condition: generally good throughout, the wood has been regularly treated with preservative and is good and rigid, all components secured by wedges

Garden Furniture - a timber lot comprising a rectangular table 70 cm x 119 cm (w) x 71 cm (d), a bench seat 85 cm (h) x 188 cm (w) x 62 cm (d) and three armchairs [5]

Garden Furniture - a timber lot comprising a rectangular table 69 cm (h) x 76 cm (w) x 51 cm (d), a bench seat 82 cm (h) x 128 cm (w) x 60 cm (d) and three armchairs [5]

Garden furniture - a white painted metal love seat / kissing seat, 77 cm (h) c 104 cm (w) x 54 cm (d)

Teak garden furniture comprising an octagonal table, four folding chairs, another three fixed armchairs and an additional two reclining armchairs. Diam. approx. 115cm & height 73.5cm. Condition - minor marks, scuffs and scratches but generally fine, appears sturdy.

A SET OF 'SKYLINE' KINGSWAY CANE FURNITURE LIMITED garden furniture consisting of two chairs, matching stools and a glass topped table, the chairs and stools with cream upholstered cushions, each chair 103cm wide x 89cm deep x 74cm high Condition: wear to the caning particularly at the corners of the stools and table, the upholstery somewhat dirty

WILLS, large, complete (10), inc. Old Silver, Old Furniture, Old Inns 1st & 2nd, Animals & their Fur, Racehorses & Jockeys, Garden Flowers 1st & 2nd etc., G to EX, 340

A GARDEN FURNITURE SET TO INCLUDE A TABLE AND TWO CHAIRS

A large collection of modern composite garden furniture and ornaments to include; pedestal bench, bird bath with classical figurines, campana shaped vases, owl and gnome ornaments etc. (15) (B.P. 21% + VAT) Please note all garden items/ornaments are in weathered condition. With minor losses in places. Pots are all in usable condition. 

Set of teak garden furniture, comprising oval table, approximately 190cm long and set of eight folding chairs Condition report: Table is generally ok, there is an additional leaf which has some deterioration. The chairs are mostly ok but a couple have splits at the joints and arms loose

Staycation Special in Keswick Lake District a week's holiday in a fully equipped four star self-catering cottage for 5 people. Choice of weeks subject to availability, excluding school holidays. Amazing views! Donated by Manesty Consulting CONDITION REPORTS It's off Manor Brow in a quiet area of Keswick - probably 15 minutes stroll to the town centre and similar to the Lake. The way bookings are going, I will extend to end 2022 if necessary to get a date they are happy with. Suggest the winner contacts us asap. Upstairs, the property has 2 good sized double and 1 single bedroom; a walk-in shower/basin/toilet bathroom Downstairs there's a large lounge with a gas heater and 42ins TV, through to dining room and to conservatory with seating and door to garden. There's a well equipped kitchen with induction cooker , dishwasher and fridge. Freezer, washer and tumble dryer are in the garage. Downstairs loo off the kitchen. Garden at the back with patio, furniture and BBQ. Garden is enclosed for dogs ; just woodland behind the house where dogs can be walked. To the front, seating in front of the house looking to an open grassy area and fantastic views of the hills beyond. Bedding, towels and wifi are all included.

Garden furniture to include a folding metal table with two matching chairs and a two seater bench, a cast iron table base and two watering cans