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186062 Los(e)/Seite
Los 1
Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?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
Los 22
Ron AradEarly 'Tree Light', designed 1983, produced mid-1980sStandard English steel conduit pipes and junctions with flexible goose-neck tubes, concrete base.154 cm high fully extended Produced by One Off Ltd., London, United Kingdom. Base moulded One Off ©.Footnotes:ProvenanceOne Off, Covent Garden, London, mid-1980sAcquired from the above by the present ownerLiteratureDeyan Sudjic, Ron Arad: Restless Furniture, London, 1989, pp. 54, 81, 85Deyan Sudjic, Ron Arad, London, 1999, pp. 21, 32Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 137Turkeys Can Fly By Nick Wright The co-author of Cut and Shut: The History of Creative Salvage, London, 2012. 'I don't like Creative Salvage, as a term and as a band wagon,' Ron Arad said. 'Why?' 'I don't like wings.' Whatever his antipathy to wings, there is an interplay between Arad and Creative Salvage (Tom Dixon, Mark Brazier Jones, Nick Jones and André Dubreuil). Arad staged Dixon's first solo exhibition at One Off and the dialogue continued through their work. Drawing on a lost chair designed by Jean Prouvé, the 'Rover' chair's (lot 23) form was a readymade of sorts, the seat chosen from a scrapped Rover P6. Choice is integral to any design process and Arad's choices were honed at the Architectural Association. Designed by Spen King and Gordon Bashford, the Rover P6 had innovative suspension, an engine bay engineered to accommodate a gas turbine and an ergonomic interior an architect could appreciate. In fact, just how right was Arad's choice of the P6 seat is illustrated by just how wrong the choices of his copyists are: Jaguar seats look antique, the Rolls Royce seats of the Top Gear rip offs are lumpen. The Rover seat seems the only choice for a chair now so famous one thinks of it as a post-production prototype for Jean Prouvé's lost original. Choice also lies at the root of Arad's antipathy to Creative Salvage. Lacking his architectural education, Dixon, Dubreuil and Brazier-Jones junkyard choices were based on decorative value. Ornate railings, Victorian fireplaces, overblown castings – 'wings' – were sampled. Moreover, because they fitted no preconceived design, the results were hit and miss. For all the naivety of Creative Salvage however, for all the 'mistakes' – what Andre Dubreuil recalls as the 'stupid things we made' – a development from talented scrap merchants to designers became evident. Dixon first tried something resembling his 'S' chair in 1986. He said the idea came from a chicken. James Garner, his engineer, said it came from the tank badge on his BSA Bantam. The result was a kneecapped turkey. Dixon took another shot. Following Arad's example, he used car components. The base was formed of a steering wheel, the frame continued down from the knee and was wrapped in rubber cut from a Land Rover inner tube. A now resolved form, it was 'the smell of road' which impeded sales. The final version was rushed. They flew.Young designers in 1980s Britain were hindered by a furniture industry uninterested in innovation so they began self-producing using ready-mades. As they developed, both Arad and the other members of Creative Salvage employed fabricators to realise their increasingly complex designs. Dixon employed James Garner (who still makes his chairs), Michael Young and Thomas Heatherwick. Arad worked with Jon Mills, a metal worker from the Black Country making automata in a Brighton workshop. In 1987 Mills came to London to show Arad slides of his work. Six weeks later the 'Little' chair (lot 26) was exhibited at One Off along with larger works like the 'Reading Couch'. Sheet steel mimics upholstery, steel buttons add to the illusion of plush comfort. A similar illusion was created by Arad in his 'Big Easy'. When asked about his pioneering work in volumetric steel Mills replied: 'It would be very nice if Ron had been inspired by something I'd done. I'm sure I'd seen Marc Newson's 'Lockheed Lounge' chair in Ron's gallery'. All designers borrow from scrap yards, from each other. The question is less about where the idea originates than to what extent it becomes recognisably its author's. The 'Big Easy' may resemble an overstuffed Victorian chair rendered in steel but it is Arad's 'Big Easy'. Definitively. Dixon began sampling Victoriana from Chelsea Harbour junkyards yet produced a design classic. No matter its 'spectacularly ugly' antecedents or its borrowings - from a chicken or Bantam, from Rietveld and Marzio Cecchi, even Arad; in its final form the 'S' chair (lot 28) is a beautifully resolved design by Tom Dixon. Definitively.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP 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
Los 1104
19TH CENTURY CAST IRON BEAM ENGINE MANUFACTURER'S PLATE,for James Watt & Co Soho 1850, inscribed to reverse 'Nameplate from steam driven beam pumping engine erected at the South Yard Devenport Dockyard in the pump room known as the 50th Pump Station. The engine was in use up to 1932 and was then replaced by a Drysdale electrically driven centrifugal pump', of curved form, 34cm wide
Los 382
RAF Battle of Britain era Note Book for Workshop & Laboratory Records, named 903320 Evans, dated July 1940, with notes on gunnery practices, sighting, cleaning etc, also a collection of ten aviation photographs, including images of Derwent engine, Avro Tudor II, scenes of an Avro Lancastrian, and Merlin power egg, also an iron badge stamp, various patches and books relating to the RAF. The photographs were taken by an unknown photographer known to have lived and worked in the Alsager area towards the end of WWII and into the 1950's.
Los 1192
A lady's 9 ct gold wristwatch, on an expanding gold filled bracelet, the dial being engine turned, with Arabic numerals and blued steel cathedral hands, the Swiss movement having 15 jewels, in a fitted retailer's case, import marks for Edinburgh, 1927, 18.6 g gross, [Running when catalogued, accuracy and reliability un-tested]
Los 617
Twelve boxed Matchbox die-cast replica collectables 1929 Garrett steam wagon, Aveling & Porter steam roller, 1917 Yorkshire steam wagon, 1922 Foden steam wagon, John Hoardley's steam wagon, Atkinson logger, 1912 Burrell traction engine, 1918 Atkinson steam wagon, Foden coal truck, Stephenson's Rocket, 1929 Fowler crane, Yorkshire steam wagon
Los 101
A vast collection of Trix Twin Railway TTR OO gauge model railway rolling stock and layout accessories including 680 Weltrol Wagon with Cable Drum boxed, 675 Bogie Brick Wagon boxed, 551 Derelict Coach Hut boxed, empty boxes, buildings including station, engine shed, cabins etc., controllers and power units, etc., a large quantity over eight trays.
Los 47
A Hallmarked Silver Cigarette Box, Birmingham 1936, of rectangular form with engine turned decoration to the hinged lid (wood lined), inscribed to the front "Presented to Brigadier A.M. Ramsden O.B.E., T.D., A.D.C. by Lieut-Col C.A. Hunt, M.C., T.D., R.A., and Officers of 60th Hy.A.A. Regiment R.A. July 1941", 15.2cm wide (dents).
Los 44
Benjamin Upton (American, 1818-1910). Cabinet card photograph depicting St. Anthony Falls in 1863 in Minnesota. Titled "St. Anthony Falls in 1863." Additional locations are labeled in ink such as Tremont House, Cataract Engine House, Hennepin Island, Paper Mill. An ink inscription below the label reads "Looking over Hennepin Island East." Numbered "29" in ink along the upper right corner of the mat. Stamped along the verso "Published by E. A. Bromley, Minneapolis, from the original Upton negatives." and "Hill Reference Library St. Paul" along with a library catalog number in pencil.Provenance: Collection of the James J. Hill Reference Library.Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.Unframed; Height: 9 in x width: 11 3/4 in. Matted; Height: 10 in x width: 12 in.
Los 50
An early 19th century silver pair-cased, key-wind pocket watch, by B Barnett of Hereford, gilded engine turned dial with applied gold Roman numeral hour markers, serial no. 1300, hallmarks London 1805, case width 55mm, not currently workingMovement - not currently working and needs restoration Dial - quite worn around edgeGlass - general surface wearHands - minute hand missingCase - general wear and a few light dents
Los 651
From AGATHA CHRISTIE ESTATE - a George V silver rectangular cigarette box, engine turned lid with engraved AC monogram on front edge, by Haseley & Co, hallmarks Birmingham 1924, 16.5cm x 9cm, 21.2oz grossNo major damage or repair, all base corners have dents and 1 has a crease hole, edges also slightly dented with front right corner of lid having a small split, body has a few minor dents, hinge working perfectly, hallmarks slightly rubbed
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186062 Los(e)/Seite