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A silver cigarette case by A L Davenport Ltd, and a napkin ring by Charles Horner. An engine turned design case, Birmingham 1929, 7.8cm x 8.2cm, the napkin ring, Birmingham 1902, total weight 3.9 oz.

Mid 19th century figured walnut davenport with pierced brass gallery, stationery well, green leather inset writing slope, four drawers and spiral fluted supports, 58cm wide

A silver sugar sifter, by A Davenport, Birmingham 1932, the pierced domed cover above conical body and circular foot, 13.3cm high, together with a small collection of shakers, salts, and pepperettes,total weighable silver 5.9ozt (qty.)Condition ReportGood polished condition with minor surface scratches Mnor dents to sugar shaker

A rosewood slide top Davenport, early 19th century, after a design by Gillows, the sliding upper section with three quarter pierced metal gallery and leather sloped writing surface with fitted interior, swivel hinged stationary drawer to the side, on lobed feet and brass castors90 x 50 x 64cm

A Victorian style burr walnut davenport, the top with inlaid decoration and a green tooled leather writing surface opening to a birds eye maple fitted interior with four drawers to the left-hand side with turned wooden handles. Height 85 cm, width 54 cm, depth 56 cm.

Victorian rosewood davenport with turned spindle gallery border, tooled green leather inset writing surface, four drawers and four faux-drawers, front column supports, on castors, 89cm high x 58cm wide x 54cm deep Condition ReportReal drawers on right side, see photo.

Victorian walnut davenport, the sloping lid with a red leather inset writing surface, opening to a fitted interior, over four short and four faux drawers, on castors, 79cm high x 53cm wide x 52cm deep 

Victorian walnut and burr walnut inlaid davenport, the hinged lid opening to a fitted stationery rack, the hinged sloping front with leather inset writing surface, opening to a burr maple lined fitted interior, over four short drawers and four faux drawers, on castors, 84cm high x 53cm wide x 55cm deep 

A box of boxed and loose cabinet plates, including examples from the 'Old Country Crafts' collection by Royal Doulton, The Leonardo Collection, Mary Jane and Bradford Exchange for Davenport.

A DAVENPORT IMARI PART DESSERT SERVICE, comprising six octagonal plates, width 23cm, and a comport (plate loose from base with glue residue verso and hairlines where the base would join, base has a hairline, visible glue residue and light crazing), in pattern 1924, impressed, printed and painted marks to bases (7 + base) (Condition Report: plates appear in good overall condition, with some gilding wear, scratches and signs of light use, comport as stated in description, all would benefit from a clean)

A 19th Century walnut davenport desk, width approx. 53cm

GERMANY. CITY OF AUGSBURG SWEDISH OCCUPATION ISSUE.. Gustav II Adolf, 1611-1632. Silver Taler, 1632. From the Kent Rondeau Collection.Reference: KM-68a; Davenport-4543.Diameter: 43 mm.Weight: 28.30 g.Composition: Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

Mid 19th century mahogany davenport with hinged writing slope, interior with four small drawers. Pull out slide and four side drawers with dummy drawers to the reverse and small drawer with pen tray and inkwellDimensions: Height: 84cm  Length/Width: 50cm  Depth/Diameter: 61cm

A XIX Century Staffordshire Pottery 'Wild Rose', 47cm long; another matching, 35cm long; A Willow Pattern Meat Plate; A Davenport Example, four blue and white plates (8)Davenport's example 46.5 x 35.5cm with crazing to back and small chips, would benefit from a clean.

A 19th Century marquetry inlaid Davenport with a hinged writing surface above four side drawers opposed by dummy drawers

Sachsen-Altenburg, Herzogtum, Johann Philipp, Johann Wilhelm und Friedrich Wilhelm III., Reichstaler 1628, Silber, 28,45 g. ss, aber Randkerben und Henkelungsspur. Lit.: Davenport 7376, Kernbach 11.2 und Schnee 288.

A VICTORIAN BURR WALNUT PIANO TOP DAVENPORT, the pop up top section with a fitted interior, the hinged piano lid opening to a leather pull-out writing surface and fitted interior, with four drawers to one side and dummy drawers to the other, H 92 cm, W 59 cm, D 57 cm

A 54cm modern Eastern hardwood Davenport with part fitted interior and flight of four short drawers to either side, set on acanthus carved supports with bun feet

A silver plated stand with cut class preserve pots and another with two Davenport Imari sugar bowls

An early 20th Century imari Davenport tea wares, side plates,cups, saucers,  Bowl with Hairlines from rim, some with wear.

LATE 19TH CENTURY MAHOGANY DAVENPORT DESK 31" HIGH

A 19th Century Victorian walnut Davenport desk. Circa 1870s. 54x55x85cm (1)

Booth’s Davenport Willow. C.1887-1910. An English blue and white bowl, with reticulated open fret borders and moulded rosettes. 19x6cm

An important 19th Century British Scenery Davenport Royal blue and gilt highlighted porcelain Cabinet Service, comprising cups, saucers, plates, tureen, teapot, approx. 68 pieces. As a lot, w.a.f.  Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.

William IV, c1830, oversized slope-top Rosewood Davenport Desk, Attributed to Gillows of Lancaster.   With Provenance to Oscar Wilde. This high quality oversized slope-top Davenport desk is crafted in richly figured rosewood and attributed to the celebrated firm of Gillows of Lancaster. The desk is fitted with a roll-forward upper writing section that elegantly glides outward when in use, with a generous working surface and satinwood lined interior. The desk has a retractable and pivoted rear section sleeve drawer, designed to hold inkwells: it can be pulled outward and then hinged forward beside the desk for convenient access while writing. The writing slope retains its original Moroccan leather surface—albeit heavily worn, deeply patinated, and richly evocative of long and meaningful use. Structurally, the desk contains four functioning drawers to each side. Within one of these drawers is an inscription in ink, reading: ‘FROM M. MENPES, 1938, OSCAR WILDE'S WRITING DESK’. To the underside of a smaller drawer in the top section is a more personal dedication, inscribed: ‘This desk, A gift from my dear friend – MORTIMER MENPES godfather of Vyvyan Beresford Holland 1938, Lin? – it being his father's desk. OSCAR WILDE. Library C.A.L.’ This historic piece stood in Wilde’s study (or ‘den’ - as referred to, in a Newspaper Article c. 1890, which briefly describes the layout of the house) at 16 Tite Street, Chelsea, and is believed to have been the desk at which he wrote during his most prolific period. It was removed from the house shortly before the court-ordered auction of Wilde’s possessions, held “by order of the High Sheriff” following his trial and imprisonment in 1895. Along with a French bed once belonging to Wilde’s mother (also in this sale), the desk was rescued from Wilde’s London home, by Mortimer Menpes, the noted artist and close associate of Wilde. The auction catalogue of the contents of 16 Tite Street offers a stark and telling glimpse into the aftermath of Wilde’s fall, revealing that the house had been largely purged of its furnishings prior to cataloguing. Many rooms are listed with little or no furniture, a silent testament to the efforts of Wilde’s loyal friends—such as Mortimer Menpes—to quietly remove treasured items before they could be sold under the order of the High Sheriff. This indicates, that Wilde’s friends not only offered him financial support during his decline, but also quietly removed and safeguarded personal possessions of value—acts of discretion and loyalty intended to preserve what they could from public sale. The catalogue presents a striking contrast to earlier descriptions of the house, which depict it as overflowing with objects and richly furnished. The collection ultimately offered for sale consisted largely of books, china, pictures, etc., among which was Lot 122: "An etching of a Lady, by Menpes, after W. Graham Robertson..."— a reminder of the long standing friendship between Wilde and Menpes. The presence of Lot 171, an antique mahogany writing table formerly owned by historian Thomas Carlyle (catalogue entry: AN ANTIQUE MAHOGANY WRITING TABLE, with 2 flaps, rising slope, and draw-out desk, formerly the property of Thomas Carlyle, the Historian), alongside newer items in the sale, suggests that the collection was a blend of both antique and more contemporary pieces—highlighting how an 1830s Davenport desk would have fit comfortably within the overall assemblage. Note: the entry for Lot 171, the Carlyle desk, is notably more detailed than most others in the catalogue, which offer only minimal descriptions or scant information about the items listed. After assisting Wilde financially during his difficult years, Mortimer Menpes took possession of the desk—transforming it from Wilde’s personal writing surface into a cherished item within Menpes’s own collection. Menpes installed the desk (and bed) first at his London address, 25 Cadogan Gardens, and later at his country home, Iris Court, Pangbourne, Berkshire. It remained there, in his private collection until his death in 1938. The dedications within the desk affirm not only its provenance but the enduring personal ties between Wilde and Menpes. Menpes was godfather to Wilde’s son, Vyvyan Beresford Holland, born 1886, (after John Ruskin, declined the offer, declaring that, at age 67, he was too old, to take on such responsibility), and clearly considered this desk a treasured heirloom.Imposing in scale, rich in literary and aesthetic history, and distinguished by its mechanical ingenuity, this desk represents a unique convergence of fine furniture craftsmanship and cultural legacy—an exceptional relic of one of the most celebrated figures in literary history. Provenance: By direct descent to the present vendor. Mr. Edmund Joyce 2025

French Bateau Bed, exhibition piece from the Exposition Universelle—The Paris World’s Fair, 1878. Third quarter of the 19th century.  With Provenance to Oscar Wilde. A richly carved walnut and ebonised bateau bed. This bed, like the Davenport desk, was also removed from Oscar Wilde’s house,16 Tite Street, by Mortimer Menpes prior to the auction of April 24th, 1895. It was originally purchased by Lady Wilde (Oscar Wilde’s mother) during a visit to Paris in 1878. Believed to have been acquired at the Exposition Universelle—the Paris World’s Fair of that year—the bed reflects the grandeur and decorative exuberance of mid-late 19th-century French design. The headboard is surmounted by an exquisitely carved coat of arms for the city of Paris, featuring the city's crest—a ship and three fleur-de-lis—topped by a coronet and framed by an oak branch with detailed leaves and acorns on one side, and a finely rendered stem of laurel on the other. Below this, a flowing scroll bears the Parisian motto Fluctuat nec mergitur (“[She] is rocked by the waves, but does not sink”), a symbolic and poetic touch befitting the Wilde family’s taste for art, symbolism, and continental flair. As introduced in the description of the Davenport desk, the auction catalogue of 16 Tite Street offers subtle yet telling evidence of the efforts made by Wilde’s friends to preserve his belongings ahead of the court-ordered sale. Although the house was relatively large, with five bedrooms listed, only one of these rooms in the catalogue actually contains a bed, a French brass bed. The absence of any other beds, wardrobes, or personal furnishings in the remaining bedrooms suggests deliberate removal, likely carried out discreetly by those close to Wilde in an attempt to protect items of sentimental or monetary value from public dispersal. This silent purging underscores the quiet loyalty of his circle, who sought to shield what remained of Wilde’s domestic and artistic life in the face of public disgrace. The bed is an elaborate example of mid-late 19th-century French cabinet making, richly carved in walnut and ebonised wood with neoclassical motifs throughout. The base frieze features a central urn, flanked symmetrically by opposing griffins and hoho birds, exotic and stylised, with flowing scrollwork and foliage linking the composition. The upright front pillars are similarly adorned with carved urns and intricate scrolling foliage, creating a sense of visual rhythm and classical harmony. Each of the four corner pillars is surmounted by a boldly carved, stylised acanthus finial, further enhancing the bed’s architectural presence and sculptural richness. Furthermore, the bed features ebonised foliate-carved spandrels at the junction between the upright front pillars and the frieze Having supported Oscar Wilde financially during his years of hardship, Mortimer Menpes assumed ownership of the bed—transitioning it from a personal belonging of Wilde’s to a valued piece in his own collection. Menpes first installed both the bed and the Davenport desk at his London residence, 25 Cadogan Gardens, before moving them to his country house, Iris Court in Pangbourne, Berkshire, where they remained part of his private collection until his death in 1938. Lady Wilde (1821-1896), born Jane Francesca Elgee (Wexford, Ireland), was a poet, nationalist, and social figure known by her pen name "Speranza." A formidable intellect and advocate for Irish independence, she was also a prominent salon hostess in both Dublin and London, whose influence deeply shaped Oscar Wilde’s literary and cultural sensibilities. Lady Wilde first introduced Oscar to Paris during a trip they took together in 1874, when he was just 20 years old. The bed would have held deep sentimental value for Oscar—more intimately, the bed represents continuity between Oscar and his mother, Lady Wilde, a powerful influence in his life. It served not only as a physical object within his home, but also as a tangible link to his upbringing, his family’s aspirations, and their shared embrace of European culture and decorative arts. Preserved by Mortimer Menpes, the bed stands as a symbol of loyalty, memory, and the effort to protect what remained of Wilde’s domestic and artistic legacy. Provenance: By direct descent to the present vendor. Mr. Edmund Joyce 2025

A 19th Century rosewood Davenport, the gallery top above a leather inset slope front with fitted interior supported by front pillars and side drawers with turned handles, approx. 54cms (21 1/4") wide. (1)

A Worcester polychrome coffee cup, circa 1765, painted with Chinoiserie figures, with a Kangxi fence to the rear, with internal red dot and wave border, unmarked, 6cm high (hairline to top of handle); sold together with a Chamberlain's Worcester imari coffee cup, a Spode imari coffee can, Davenport imari coffee cup, two blue and white transfer-printed Royal Worcester coffee cups and one further blue and white coffee cup with Victorian diamond registration mark (7)Condition:The three blue and white coffee cups are all cracked

Cased set of silver gilt coffee spoons, nips and sifter. In original blue velvet-lined case, hallmarked Birmingham 1874, maker William Davenport, weight 60 grams.

An Edwardian Davenport

An Edwardian Davenport and six Edwardian chairs

A Gerard, Dufraisseix & Abbot Limoges porcelain dessert service with floral spray decoration within a gilt and blu royal border comprising two tazzas and eleven plates together with a set of eight similar GDA Limoges plates and a Davenport Japan pattern tea set comprising tea pot, sucrier and cream jug (sucrier with no lid), three cups and four saucers (31) CONDITION REPORTS The dessert service with tazzas - 6 of the plates have significant chips or fractures. The other plates have some minor chips. All have wear to the gilding. The similar set - five have got heavy chips etc. One is broken in half, all have significant wear to the gilding and decoration throughout. The Davenport - one cup has a hairline crack. Otherwise all items are in need of a clean, have some light surface scratching and some slight wear to the enamel. The tea pot has some areas of discolouration to the top of the rim and there is some evidence of crazing to the glaze - see images for more details. General wear and tear conducive with age and use - see images for more details

A quantity of books, to include British Film Annual 1949, other film review books, etc., to include Film Parade, books on country pursuits, to include Tammy White Tag The Fox, by Pitt (Francis), Sport by Davenport (Bromley), etc.

A 19thC Davenport porcelain tazza, decorated with scene of The Castle of Chillon, within pale blue and gilt borders, on a reeded column, and triform base, applied with dolphin, 24cm wide.

PLAYBOY: Selection of signed colour centrefold magazine photographs (most approximately 11 x 23) by various models, all of whom were Playboy Playmates of the Month between 1970 and 1974, comprising Elaine Morton (June 1970), Carol Imhof (December 1970), Liv Lindeland (January 1971; and later Playmate of the Year, 1972), Crystal Smith (September 1971), Danielle de Vabre (November 1971), Marilyn Cole (Jamuary 1972), Deanna Baker (aka Rebecca Davenport; May 1972), Carol O´Neal (July 1972), Bonnie Large (March 1973), Anulka Dziubinska (May 1973), Martha Smith (July 1973), Pamela Zinszer (March 1974), and Bebe Buell (November 1974). Each of the images depict the models in naked erotic poses. The majority are boldly signed to clear areas of the images and only three are inscribed. Some light surface creasing (1) and minor age wear, and each with folds as issued. G to generally VG, 13

PLAYBOY: Selection of signed colour magazine photographs (most approximately 8.5 x 11) by various models, all of whom were Playboy Playmates of the Month in the 1970s, comprising Deanna Baker (aka Rebecca Davenport; May 1972), Cyndi Wood (February 1973; and later Playmate of the Year, 1974), Martha Smith (July 1973), Pamela Zinszer (March 1974), June Manson (August 1974), Ann Pennington (March 1976), Susan Kriger (January 1977), Nicki Thomas (March 1977), Janis Schmitt (February 1978), Denise McConnell (March 1979), and Missy Cleveland (April 1979). Each of the images depict the models in erotic naked, or partially naked, poses. The majority are boldly signed, largely to clear areas of the images, and only three are inscribed. Generally VG, 11

Small mahogany davenport with red leather insert, 4 side drawers and lift-up top, 22"w x 20"d x 33"h

A walnut Davenport, the top with dark red leather insert and with four drawers to one side and faux drawers to the other, height 89cm, width 54cm, depth 54cm.

A 19th century Burmese carved hardwood Davenport, width 65cm, depth 67cm, height 122cm

A COLLECTION OF COLLECTOR PLATES AND BIRD ORNAMENTS comprising four boxed Wedgwood collectors plates to include two from the 'Country Connections' series and two from the 'Four Seasons' series (all with certificates of authenticity), four Davenport 'Memories of Motion' collectors plates, eight rectangular Bradex 'Nature's Harmony' plates, and five ornaments comprising a Border Fine Artists 'Wren,' and four Country Artists birds comprising a 'Robin,' 'Siskin,' 'Blue Tit,' and 'Blue Tit on Tap' (broken, sold a/f) (qty) (Condition Report: itemised conditions above, some boxes tatty)

A reproduction hardwood Davenport - late 20th century, the sloped front with inset leather writing surface, enclosing a fitted interior with eight small drawers, supported on floral and foliate carved cabriole style supports, the right side with four panelled drawers, on turned bun feet. (LWH 56.5 x 54 x 85cm)

A silver cased pocket watch, Birmingham, 1893, R. Davenport, Ashby De La Zouch, a/f

Moorcroft Who Goes There Vase 03/7 H:18cm No.592 signed by designer Anji Davenport RRP:£680

Angela Davenport - Moorcroft Pottery - A 'Winter Feed' vase, circa 2009, of shouldered form, tube line decorated farming scene, printed, painted and impressed marks, height 20.5cm.

Victorian Walnut Davenport of typical form, fitted interior. Four side drawers and four dummy drawers. Height 37", width 22", depth 19". With original receipt from 1990 purchase price £2800.

REPRODUCTION MAHOGANY DAVENPORT with hinged top with green leather skiver, fitted interior and four side drawers84cm high, 60cm wide

VICTORIAN WALNUT DAVENPORT WRITING DESK, with bun feet and castors84cm high

A 19th century blue and white printed chamber stick, in the 'Arcadian Chariots' pattern, approx. 15cm high, along with a Davenport blue and white transfer printed basket / dish with reticulated sides and central design of ruined church and river scene, marked to reverse, approx. 26cm wide. (2) Further details: chamber stick - chipped, with smaller nibbles, overall crazed and worn. Dish - small chip to underside of rim; heavily crazed; small chip to reticulated side.

THOMAS DANIELL (1749 - 1840) AND WILLIAM DANIELL (1769 - 1837) A GATE LEADING TO A MOSQUE AT CHUNARGARH, UTTAR PRADESH Pencil and watercolour Inscribed and numbered 'No. 80 Gate leading to a Mosque at Chunar Ghur' (to the reverse of the artists' original mount) 53.5 x 82.5cm (21 x 32¼ in.) Provenance: The Estate of Thomas Daniell The Bromley Davenport Family, Capesthorne Hall, Cheshire Stevens and Brown, Godalming, Surrey, 1951 Gooden and Fox, London The Peninsular and Oriental Steam Navigation Company, 1952 Sale, Christie's, London, India Observed, The P&O Collection of Watercolours of India by Thomas Daniell R.A. and William Daniell R.A, 24 September 1996, lot 24, where purchased by the present owner From an important collection in Grosse Pointe, Michigan, USA Exhibited: Commonwealth Institute, 1960, no. 23 Smithsonian Institution, 1962, no. 10 Spink, London, 1974, no. 42Engraved: T. Daniell, aquatint engraving, January 1797, for Oriental Scenery, vol. I. no. 24 The Daniells arrived at Chunar from Benares on the 29th December 1789 and stayed into the new year. The fort of Chunar overlooks the Ganges and was built on an ancient site. It belonged to the Nawabs of Avadh and was taken by the British after the battle of Buxar in 1764. Close to the fort is a Dargah (a tomb complex) of the Muslim divine Shah Kasim Salaiman who had been imprisoned at Chanur by Emperor Jahangir in 1606, and the site became a centre of pilgrimage. The gateway pictured here is the most notable architectural feature and makes use of the sandstone that the quarries at Chunar are famous for. William Hodges first depicted the gate in 1786 when he took refuge there with Warren Hastings. The Daniells' view is from a more oblique angle and in Oriental Scenery they described the aspects they admired:`The effect of this gate, at a distance, is grand, from the bold projection of its superior parts; and its ornaments, though numerous, are applied with so much art and discretion, as to form the happiest union of beauty and grandeur' .The watercolour was the basis of the aquatint of Oriental Scenery Vol.1, No.24 (January 1797). Condition Report: The sheet appears to be laid down on a secondary sheet- an early arrangement and attached to the backing sheet at the corners, it is in good overall condition. The colours are fresh and unfaded, there is minor discolouration along the left hand edge and the extreme lower right corners appears to have been made up.  The watercolour was not taken out of the frame in the preparation of this report. Condition Report Disclaimer

THOMAS DANIELL (1749 - 1840) AND WILLIAM DANIELL (1769 - 1837) HINDU TEMPLES AT AGORI, UTTAR PRADESH Pencil and watercolour, watermark fragmentary Inscribed 'View of HINDOOTEMPLES at AGOUREE on the River SOANE. BAHAR' (on the artists' mount), further inscribed and numbered 'N.4 Bhur tree (Hindoo Temples at Agouree / on the River Soane-' (to the reverse of the artists' original mount) 53.5 x 74.5cm (21 x 29¼ in.)Provenance: The Estate of Thomas Daniell The Bromley Davenport Family, Capesthorne Hall, Cheshire Stevens and Brown, Godalming, Surrey, 1951 Gooden and Fox, London The Peninsular and Oriental Steam Navigation Company, 1952 Sale, Christie's, London, India Observed, The P&O Collection of Watercolours of India by Thomas Daniell R.A and William Daniell R.A, 24 September 1996, lot 34, where acquired by the present owner From an important collection in Grosse Pointe, Michigan, USAExhibited: Commonwealth Institute, 1960, no. 64 Smithsonian Institution, 1962, no. 29 Spink, London, 1974, no. 49 Preston, Harris Museum and Art Gallery, Fine Material for a Dream, 4 April - 15 May 1992, no. 23Engraved: T. Daniell, aquatint engraving, September 1796, for Oriental Scenery, vol. I, no. 19 Agori lies to the south-west of Bijaigarh on the river Son, a tributary of the Ganges. The Daniells vividly described their visit in their journal: `On arrival at Agouree a person from the fort crossed the river & paid us the usual Complts &c - informed us that the Rajah was absent for some days, but that every attention should be paid to us during our stay at Agouree. We crossed in a small flat-bottomed canoe & were shown part of the fort... In the evening we walk up the hill near our tent and found a vast deal of Matter (clinkers) that had once very evidently been in a fluid state - the general colour of the stones were red which made my Uncle believe that the hill had been thrown up by fire.' This watercolour was published as an aquatint in Oriental Scenery Vol.1, No.19 (September 1796) and is justly one of their most admired compositions. The plate was accompanied with the text: `Agouree is pleasantly situated on the River Soane, surrounded with hills well covered with wood. In this place are many Hindoo temples, and also a small fort, which make a very picturesque appearance from the river.' Condition Report: The sheet is laid down on the mount- probably an original arrangement, 4 drawing pin holes are in the extreme corners of the watercolour. On close examination there appears to be a repaired scratch or tear, approximately 2 inches in the centre of the upper edge. The colours are strong and fresh. The watercolour was not taken out of the frame in the preparation of this report. Condition Report Disclaimer

An early 19th century Davenport blue and white "Chinese in Gazebo" pattern pie dish, 16 1/2" wide

An early 19th century Rogers blue and white "Fallow Deer" pattern platter, 20 1/2" wide (chips to base), and a late 18th early 19th century Davenport grey and white "Bisham Abbey" pattern platter, 11 1/4" wide

A Victorian inlaid walnut Davenport with a hinged top letter rack and scriber over four drawers on castors 80cm h x 53cm w Location:If there is no condition report shown, please request

A Black Ryden ‘Dancing Wind’ ewer vase, designed by Samantha Jackson, 18cm high; and an Angela Davenport, for Cobridge meiping shaped vase, decorated with silhouettes of trees with birds roosting, 26cm high, (2)

Advertising and other bottles - Stoneware inc Bourne Denby J Griffiths of Tyldesley, Robinsons Jack Lane Pottery Leeds, inkwells, flagons etc others glass Davenport Limited etc qty

A Victorian walnut and floral marquetry Davenport Desk with raised hinged back, fitted interior and fitted drawers to the side, 1ft 10in W

Burr walnut davenportVictorian, with lift-up shaped top concealing a fitted interior, above four side fitted drawers, and four faux drawers with turned handles, with a concealed lift up top section, fitted with drawers and pigeon holes, operated by a hidden lever, 57cm wide x 89cm high x 57cm deep Overall signs of age, wear and use. Some time/UV fade where the colour is not quite matched on the front. Some water marks/stains in places. Small loss to the front left corner which is loose inside the davenport. Some scratches and small losses in places. Some of the locks are deficeint or loose inside the drawers. Everything is unlocked but there is no key. Leatcher scriver is cracked/split in places.

Victorian style hardwood Davenport desk. Modern. (B.P. 21% + VAT)

A VICTORIAN WALNUT DAVENPORT ENCLOSING EIGHT DRAWERS WITH BRASS GALLERY BACK

Walnut inlaid Victorian Davenport, with damages. Not available for in-house P&P