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534297 Los(e)/Seite
Los 169
Mixed treen to include a pair of Oriental shoes, a walnut trinket box, bowls, plates, shoe stays and an oak barrel, marked 'The Queen God Bless Her', along with modern brass table lamps with shades, a brass reading light, circa 1970s wall light with frosted glass shade and three painted objets d'art
Los 336
A French wrought iron, brass and glazed three light electrolier, circa 1900, of dished form, with six opaque glass segmental panes held within a framework beneath a circlet cast with imbricated laurel, with three suspension chains rising from scrolled supports to a conforming ceiling fitment, the main body of the electrolier, excluding chains, 56cm high, 70cm wide
Los 224
A pair of gilt bronze mounted cut glass twin light lustre candelabra, second quarter 19th century, the sockets each with two tiers of circular drip pans, hung with faceted glass beads and pendants, on foliate cast arms issuing from shafts with obelisk finials, with hobnail cut socles and circular bases, 45cm high, 30cm wide
Los 268
MANNER OF STEPHEN ADAM TWO PAIRS OF ARTS & CRAFTS STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1910 the whole forming a blacksmithing scene in a landscape (4) each panel approx. 36cm x 44cm Note: These glass panels, showing tradesmen, agricultural scenes and commerce are reminiscent of Stephen Adam's (1848-1910) work for the Maryhill Burgh Hall in 1878, where he created twenty stained glass panels depicting Glasgow workers. By supplanting holy saints for local people, Adam's elevated these subjects to allow the Victorian public to see everyday tasks of local industries in a whole new light. As well has having studied at the Glasgow School of Art (then the Haldene Academy), Adam established his own firm in 1870, and continued to produce the most prized works of stained glass in Glasgow until his death in 1910.
Los 491
SIR BASIL SPENCE (1907-1976) FOR H. MORRIS & CO., GLASGOW 'ALLEGRO' ARMCHAIR, DESIGNED 1947-1948 laminated wood, bears maker's label MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW 52cm wide, 85cm high, 50cm deep Provenance: Collection of Andrew McIntosh Patrick Exhibited: London, The Fine Art Society 'Austerity to Affluence', 20th October -14th November 1997 Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised) 'Austerity to Affluence: British Art & Design 1945-1962', The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 Long, Philip and Thomas, Jane (Edit.) 'Basil Spence', Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55 illus. Note: In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture he was working on, which was to include his Bambi chair and celebrated Cloud table. The result was the 'Allegro' dining suite, which was awarded a diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951). The manufacture of the Allegro suite found its origins in wartime innovation. The Southampton-based manufacturer of helicopters, Cierva Autogiro, had developed techniques of laminating and shaping wood to make strong and light helicopter blades - these blades were supplied by Morris of Glasgow by 1946, and the same technology was applied to this remarkable suite of furniture soon afterwards. Over one hundred layers of wood were bonded together under high frequency electrical pressure with phenoformaldehyde, a synthetic resin. The wood is then shaped and carved to produce the chairs (and the matching table and sideboard). Whilst it is now acknowledged as a landmark in immediate Post-War British furniture design, the immense expense of this manufacturing process meant that this furniture went into extremely limited production, and as a result examples are extremely rare. In 1950 a single chair was advertised at £31 18s 3d, at a time when the average British annual income was just £101.
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534297 Los(e)/Seite