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Lot 131
A pair of Victorian mahogany single door dining room pedestal cupboards of architectural form with caddy tops and simple plinth bases. 91 cm high x 49 cm wide x 59 cm deepCondition report: Probably former sideboard endsThe caddy tops are nothing to do with the pedestals and are too narrow for the bases, these items not complete and will require work to adapt them for use.Some restoration needed
Lot 49
Architectural Drawings & Diagrams for Alterations at Bath Assembly Rooms in the 1960s Includes Photos, Plans, Diagrams & Correspondence some of which is shown in Images for this lot. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99.
Lot 70
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvasIt has slight losses on the paint layer and craquelure.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower left corner.Measurements: 66,5 x 85 cm.Landscape composed by an architectural group located on a mound. According to Pérez Calero, it could be an old hermitage, or monastery that seems abandoned and of which stands out in a side what should be a sort of chapel with a semicircular arch, near the cemetery, from where a cypress tree can be seen. It is surrounded by a palisade closing the perimeter to which it is acceded by a rustic wooden door. Intramurals, a thing that could belong to the domestic complex, as well as some trees. The piece reflects solitude and silence, tinged by the absence of human presence.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he traveled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he participated in numerous exhibitions of fine arts, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
Lot 1
AUGUSTE CHAIX (France, 1860 - 1922)."River landscape".Oil on canvas.Signed in the lower right area.Measurements: 38 x 61cm.; 56 x 79cm. (frame).Auguste Chaix is an artist active in France in the last quarter of the 19th century and the first decades of the 20th. In direct contact with the avant-garde, his painting assumes many of the objectives and contributions of impressionism. In his work, battle scenes and portraits of soldiers, on the one hand, and landscape, on the other, are of fundamental importance. Landscape became a genre of great importance in French painting after Romanticism and Realism, and it is, in fact, where some of the main innovations of avant-garde art are embodied. Impressionism was interested in plein air painting and atmospheric capture, and post-impressionism would add a new use of color and brushstroke. The work we now present is nourished, above all, by the impressionist contributions. The artist offers us a view of a wild landscape, with the architectural elements camouflaged among the bushes. The pond in the foreground absorbs a rich chromatic range of ochre, sienna and earth from the lower plane. The brushstroke is undone and not very draftsmanlike, material and impastoed, and the painter is interested in capturing the effects of light. The whitish light of an overcast sky predominates, although it clears up in small areas, revealing a sky of intense blue, which feeds the play of contrasts.
Lot 50
A black slate case striking mantel clock of architectural design, the movement impressed with cross arrows, 34cm high, 37cm wide, another section of a slate case mantel clock, with visible escapement, the movement impressed Mougin, 21.5cm high, 28cm wide, (no pendulum), both a/f, together with a small inlaid mahogany bracket clock case with movement, (no dial), 22cm high, and a long case clock painted dial, with movement, (4).
Lot 166
An Egyptian architectural ivory-inlaid picture frame by Isma'il il Ridwan Egypt, dated AH 1301/AD 1882-83, with presentation date April 1937in the form of a gateway, the doors mounted with openwork steel panels with vegetal interlace, the walls inlaid with ivory tiles and decoration, the windows with mashribiyya screens and turned ivory columns, an inscription-filled cartouche above the gateway, further inscription-filled panels to each side, the lower section with three later added panels containing presentation inscriptions, the two doors sliding open with the aid of a brass wheel to the side to reveal a picture frame 70 cm. high; 65 cm. wideFootnotes:Inscriptions: to the top panel, Qur'an, sura VII, al-a'raf, part of verse 54; to the side panels, ra's al-hikmah/makhafat allah, 'The peak of wisdom is fear of God', sanah 1305/sana'at isma'il ridwan, 'The year 1305 (1887-8), work of Isma'il Ridwan'; to the lower panels, hadiyyah tadhkariyyah/ abril sanah 1937, 'Souvenir gift, April of the year 1937', min 'ummal al-qism al-mikaniki bi-shirkat miyah al-qahirah, 'From the workers of the Mechanic Department to the Water Company of Cairo'.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 50
Syed Haider Raza (Indian, 1922-2016)Untitled (Bombay Street Scene) signed and dated '49 lower leftwatercolour on paper29 x 46.5cm (11 7/16 x 18 5/16in).Footnotes:The view depicted is from the northern end of Colaba Causeway looking over S. P. Mukharji Chowk (formerly Wellington Circle) to the Prince of Wales Museum and up the start of the southern end of Mahatma Gandhi Marg. Bombay is justly famous for the magnificent group of Victorian and Edwardian buildings of neo-Gothic, Indo-Saracenic and classical styles in this area, strung together to form varied sequences of facades and skylines amid broad streets lined with mature trees. The annual Kala Goda arts festival takes place in the stretch of Mahatma Gandhi Marg.S. P. Mukharji Chowk contains Wellington Fountain (1865). The Museum (1908) in Bijapur Indo-Saracenic style stands in its well-tended gardens. The Institute of Science (1910) is in Classical style and now incorporates the Cowasji Jehangir Museum of Modern Art; beside it stands Elphinstone College, in neo-Gothic style. The Rajabai Tower of 1878 stands lies beyond, the highest neo-Gothic building in the city at 79 metres high, rising above the University and High Court.At the date of this depiction, when 19th Century southern Bombay was a city cloaked in greenery, the streets are clean and traffic-free but alive with the mix of different peoples and trades, the conjunction of street activity and the architectural backdrop made for a memorably pleasant and interesting cityscape, caught in Raza's depiction with character and affection.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 1000
Late 19th century Belgium slate mantle clock with an eight-day French rack striking movement striking the hours and half-hours on a coiled gong, dial with an enamel chapter ring and a gilt recessed centre, hours in upright Arabic numerals and minute markers, with steel Fleur de Lys hands, brass bezel and bevelled glass, case on a stepped plinth with frieze depicting Aesculapius the ancient mythical god of medicine, dial flanked by two recessed fluted columns with Corinthian capitals supporting an architectural pediment with applied decorative relief. Movement stamped R&C for Richard & Cie, London and Paris. With pendulum.Dimensions: Height: 40cm Length/Width: 30cm Depth/Diameter: 16cm
Lot 1001
Early 20th century Belgium slate mantle clock with an eight-day French rack striking movement striking the hours and half-hours on a coiled gong, dial with an enamel chapter ring and a gilt recessed centre, hours in upright Arabic numerals and minute markers with steel spade hands, brass bezel and bevelled glass, Greek architectural case with an incised plinth, recessed fluted columns and brass capitals supporting an architectural pediment with incised decoration to the tympanum. With pendulum.Dimensions: Height: 30cm Length/Width: 43cm Depth/Diameter: 17cm
Lot 1005
19th century Belgium slate mantle clock with an eight-day French rack striking movement striking the hours and half-hours on a coiled gong, dial with an enamel chapter ring and a gilt recessed centre, hours in upright Arabic numerals and minute markers, with steel Fleur de Lys hands, brass bezel and bevelled glass, case with recessed circular pillars in rouge marble and slate capitals, on a stepped bevelled plinth with matching marble inlay and incised carving, rectangular architectural plinth with carved quadrant supports, dial inscribed �Examd by T Hyde, Sleaford�Dimensions: Height: 36cm Length/Width: 40cm Depth/Diameter: 15cm
Lot 1020
A late 19th century Belgium slate mantle clock with a French 8-day rack striking movement striking the hours and half hours on a coiled gong, in an architectural case with a scene from Greek mythology in the tympanum, case on a bevel edged plinth with incised decoration, the dial flanked by two pairs of recessed reeded columns with capitals, ivorine dial with Arabic numerals and a recessed gilt center, fleur-de lise steel hands with a brass bezel and flat bevelled glass. With Key and pendulum.
Lot 1375
A very heavy and imposing polished black stone and marble Mantle CLock of architectural form having turned pillars and domed pediment, the brass face with Roman numerals, jeweled pawl escapement wheel and regulation spindle adjacent to the 12 o'clock, the two train movement striking the hours on a gong. Pediment requires re-fixing. No pendulum present. 15 1/16'' wide,5 7/16'' deep x 15 3/4'' high. Signs of a presentation plaque having been removed.
Lot 94
Herbal.- Gerard (John) The Herball or Generall Historie of Plantes, edited by Thomas Johnson, third edition, engraved architectural title by Jo. Payne, numerous woodcut illustrations throughout, lacking initial and final blanks, engraved title trimmed at foot, 2M1 with repaired tear to foot running into text, very occasional light foxing or browning, several contents ff. at end with fraying or loss to fore-margin, affecting text of 7A1 & 2, ink note in an 19th century hand bound at front, ink ownership inscriptions to preliminaries, contemporary calf, covers with central gilt lozenge with floral and foliate tooling, neatly rebacked, retaining much of original backstrip, light wear to extremities, rubbed, [Henrey 156; Hunt 230; Nissen BBI 698; STC 11752], folio, by Adam Islip, Joice Norton and Richard Whitakers, 1636.⁂ A very good copy of the second Johnson edition, corrected and greatly expanded from the first. Provenance: Dorothy Brokesby; H. E. Hall, 1776 (ink inscriptions)
Lot 42
Numismatics.- Brerewood (Edward) De Ponderibus, et Pretiis Veterum Nummorum, eorumque; cum recentioribus collatione, liber unus, first edition, title within architectural woodcut border, woodcut initials and head-pieces, text within ruled border, the odd spot or small patch of soiling, but a very good, clean copy generally, [Honeyman I, 499; STC 3612; Tomash & Williams B246]; 4to, John Bill, 1614.⁂ Comparing the weights and coinage of the Jews, Greeks, Romans and Byzantines, including chapters on the constitutions of the metals and alloys used among the ancients. The author was the first Gresham professor of astronomy and a distinguished mathematician and antiquary.
Lot 2
Clergy & marriage.- Gardiner (Stephen, Bishop of Winchester) A Traictise declaryng and plainly provyng that the pretensed marriage of Priestes, and professed persones, is no mariage, but altogether unlawful..., first edition, largely printed in black letter, title with woodcut architectural border, woodcut initials, that on A2 12-line and historiated, errata leaf at end, early 20th century dark blue morocco by W. Pratt, gilt, g.e., covers a little mottled, [STC 17517], 4to, In aedibus Roberti Caly, 1554.⁂ A reply to Bishop John Ponet's Defence for Mariage of Priestes, 1549, attributed on the title to Thomas Martin but most likely written by Gardiner, as also suggested by Ponet himself. The book begins with a six-page dedication to the newly crowned Queen Mary, whose virginity he praises. The new line on the celibacy of priests resulted in the deprivation of hundreds of clergymen who had married in the 1540s and in the effective discrediting of many Edwardian bishops.Provenance: Cardiff Castle (bookplate).
Lot 86
WAUGH (Evelyn) Autograph letter signed with his initials E.W., one side of his personal printed correspondence card from Combe Florey House, near Taunton, 6th March 1963, to the Literary Editor of the Sunday Telegraph. Waugh writes concerning a mistake he has found in a proof of his review of Victorian Book Design and remarks ‘If it is not too late will you please change ‘Shaw’s Alphabets’ to ‘Shaw’s Illuminated Ornaments?’. Hand addressed by Waugh to the verso. With McLEAN (Ruari) Victorian Book Design and Colour Printing, 1st edition 1963, dust jacket.Note: Henry Shaw (1800-1873) English architectural draughtsman, engraver, illuminator & antiquary.
Lot 651
Attrib. MECHTHILD NAVIASKY (1906-1987), architectural study of a church tower at night, mixed media (8¼ x 15½ ins, 21cm x 39.5cm), Provenance: The property of a lady by descent and formerly in the Abberley Hall Collection, Worcestershire, Provenance: The property of a lady by descent and formerly in the Abberley Hall Collection, Worcestershire, Condition Report: good
Lot 29
Ludwig Deutsch (Austrian, 1855-1935)Calling the Faithful signed and dated 'L. Deutsch Paris 1893' (lower right)oil on panel49.5 x 31.7cm (19 1/2 x 12 1/2in).Footnotes:ProvenanceIrving Putnam Rexford (1884-1955).Olive Edna May Carson Rexford (1888-1977).Thence by family descent.Private collection, Canada.In 1893, the Société des Peintres Orientalistes Français was created in Paris to reinvigorate a genre that had begun to stale after half a century of dominating the European art world. Many of the giants of Orientalism had passed away or become interested in subjects beyond the Middle East, while the most influential artist in the field, Jean-Léon Gérôme (1824-1904), was now focusing almost exclusively on sculpture, often with classical themes. There were some Orientalist painters, however, who were still captivated by the region, and whose works proved that Orientalism had something left to give. Ludwig Deutsch was one of them, and his pictures from the 1890s were among the finest of his career, with themes that would become the most recognisable and coveted in Orientalist art. His meticulously painted images of Arab men at prayer or, as here, silhouetted or placed just in front of the doorway of an Egyptian religious school or mosque, were particularly successful, finding ready buyers in Paris, London, New York, and Cairo - markets that continue to embrace Deutsch's works today. In the present painting, completed just one year after winning a gold medal at the 1892 Paris Salon, Deutsch demonstrates the power of the art he created during these pivotal years. Specific yet iconic, topical yet timeless, the subject and site of Calling the Faithful reappear often in Deutsch's oeuvre, like stills from a sweeping cinematic series. The setting, in fact, was a favourite of the artist, and was likely visited in person during one of his many trips abroad (see fig 1). The distinctive bronze medallions adorning the wooden doors of the late 14th century Fatimid Mosque of al-Barquq, located in Cairo's Al-Moez Street, had been appreciated by scores of other artists as well, notably Pascal Xavier Coste (1787-1879) and Owen Jones (1809-1874). Jones reproduced similar medallions, decorative details, and architectural elements in his epic The Grammar of Ornament, published in London in 1856 and frequently used by Deutsch as an aide memoire for his Orientalist compositions. Deutsch's extensive collection of Orientalist photographs served much the same purpose. The jewel-like tones and miniaturists' technique, however, as well as the creative reconfiguration of historically accurate parts, were Deutsch's own, unique contribution to the field. The male figure in the composition, clad in a red striped qumbaz and a white turban, holds his index finger to his left ear. This gesture – performed during the call of Adhan, or invitation to pray - allowed him to project his voice with the appropriate control, modulation, and force, while also protecting his hearing. His outer robes and scarf feature metallic gold threads, suggesting that they may have been woven in the nearby village of Kerdassa, famous for its luxurious striped textiles. Such ethnographic touches were typical of Deutsch, and contributed to the astonishing realism of his art. Ironically, given this level of precision and clarity, the details of Deutsch's own life remain obscure, with only the most basic biographical information being known. It is left to his pictures to reveal who he encountered during his wide-ranging travels, what intrigued him about Egypt specifically, how he chose to paint it, and why. We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 30
Ludwig Deutsch (Austrian, 1855-1935)The Woodworker signed and dated 'L. Deutsch 1884' (upper right)oil on panel40.8 x 28.6cm (16 1/16 x 11 1/4in).Footnotes:ProvenanceWilliams & Sons, London.Private collection, UK.Thence by descent. The present lot is an important subgenre within Deutsch's art – that of the connoisseur or Arab artisan, workman, or shopkeeper admiring an array of local handicrafts. Deutsch acquired hundreds of decorative objets when abroad, and these souvenirs of travel furnished both his Paris studio at 11 rue Navarin and the Orientalist pictures he produced until his death in 1935. It is also known that the artist frequented the photography studio of G. Lékégian in Cairo. Deutsch's interest in these items, and the element of personalisation, makes it hard not to imagine that the figure in the present lot is a surrogate for the artist himself, contemplating the next treasure to add to his carefully curated collection. The man may be identified as a woodworker, due to the particular type of chisel he holds, and the mother-of-pearl wooden inlaid drawer. His expertise in other crafts (and particularly metalwork) is suggested by the inclusion of a pair of bellows on the wall inside his niche-like shop. Interestingly, the interior of the wooden drawer is adorned with floral motifs and red paint, more typical of Turkish furniture and decorative objects than Egyptian.The red script to the right of this figure and on the door jamb or frame is inscribed with Arabic texts. There is, at top, the number '81'; the letters at the bottom read 'rqm' (raqem) meaning 'number'. This may refer to the government designation of local Cairene houses and businesses, made for tax or ownership purposes. The long diagonal red line between these two inscriptions might be the word 'Masr', meaning 'Egypt', although this would be an odd place and context for it. The craftsman's shop or workspace itself occupies a niche within this inscribed stone façade, in typical Cairene market street fashion. The aquamarine colouring of the ablaq courses is unusual, however – this striped stonework, typical of the Mamluk era, was usually black and white, red and white, or a combination of these three colours. Against the wall on the left are architectural remnants and part of a mashrabiyyah screen. This latter type of woodwork was created without the use of nails or glue; turned wood pieces are fitted together like pieces of a puzzle, to create a beautiful and intricately patterned surface that was at once open and closed. Mashrabiyyah windows were used in the harem in particular for this very reason, as they allowed the women within to see out, while simultaneously protecting them from others' view.The detritus on the ground might include an aged mango pip in the foreground on the right, and its inclusion suggests Deutsch's love of incidental detail. Contemporary artists such as the British Orientalist John Frederick Lewis also delighted in such details – Lewis's signature style was an assortment of orange or tangerine peels, however, scattered across the dirt or stone floors that he painted.We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.For further information on this lot please visit Bonhams.com
Lot 38
G. Esperon (19th Century)Dancing figures in an interior signed and dated 'G.Esperon 1889' (lower left)oil on canvas110 x 149cm (43 5/16 x 58 11/16in).Footnotes:Little is known about the life and work of G. Esperon, however this lively depiction of numerous figures in a rich interior is a fascinating work. The subject itself is intriguing as on first glance, one might assume that it is a harem scene given that the room is not on the ground floor; there is also the lack of a fountain or other element typically found in a public (reception) space. However, the Koranic inscription and the presence of men (there are two young servants and another figure who appears to serving coffee and therefore not likely to be the harem master but could be a eunuch) might suggest otherwise. The inscription, taken from the Quran 76:21 (Aya 21 from Surat Al-Insaan) is interesting as it is religious and would only have appeared in a mosque or madrasa and refers to men in Paradise. Here, the artist has depicted women in a profane setting and engaged in dancing. It is possible that Esperon did not read Arabic, but the visual quotes in this painting, and what we know of him make this appear unlikely. In 1858 he made a sketch of Joseph Hekekyan Bey (1807-1875) - the Turkish born, English educated civil engineer who worked with British geologist Leonard Horner to measure silt deposits in the Nile- and the portrait of Osman Pashi Rifki (Christie's London in 2014, 10 April 2014, lot 232), seem to suggest that he was an artist with some grasp of Middle Eastern culture and of Arabic. The picture also has artistic nods to other painters – tiles from Gerome, clothing patterns reminiscent of Liotard, and architectural references to John Frederick Lewis. Indeed, the work was considered so decorative that it was reproduced as a postcard in 1900.For further information on this lot please visit Bonhams.com
Lot 166
Gothic sculpture, XV century.Stone.Measurements: 62 x 14,5 x 11 cm.At first, the representation of the Virgin standing with the Child in her arms was placed in the mullions, forming part of the architecture, like most of the Gothic sculpture. However, it must have enjoyed great success among the faithful, so that, from the late twelfth and early thirteenth centuries, they began to be made in small format, free-standing and in different materials, such as stone. It will be then when they begin to be not Odigitrian Virgins, but more maternal representations. At first they were made mainly in France, and from there they were exported to the rest of Europe; the models would become classics, repeated over and over again. During the Gothic period the Romanesque differentiation between sculpture inscribed in the architectural framework and free-standing sculpture is maintained, although the latter experiences a considerable increase in its repertoire, due to the fact that the Church has canonized more personages and that the mendicant orders appear, important plaintiffs of free-standing religious images. There will also be a greater typological variety, with the diversification of previous models such as the sepulcher and the appearance of new ones, as is the case of the pulpit. Regarding the iconographic theme that concerns us, the Virgin with the Child in her arms, she continues to be heir to the Byzantine Odigitria, but it is a new theme with its own entity, unlike what happened in the Romanesque.
Lot 26
Ɵ THORN, William. (1780 - 1843). Memoir of the Conquest of Java. T. Egerton, London, 1815. single volume, first edition, 4to., (308 x 257mm), modern quarter black leather over marbled boards, spine with raised bands bordered in gilt, spine lettered in gilt, complete, half-title, errata, 17 engraved maps (13 folding), 18 aquatint plates (4 folding), plate number 1, 'Map of Java' facing title page bound as 2 large folding sheets in present volume, some light offsetting throughout, occasional contemporary marginalia pencil marks and underlining throughout, most noticeably on list of plates page, and pages 14, 35, 51, and 100, plate no. 33 hand-coloured, plate no. 34 some contemporary pencil annotations and markings on map, plates no. 27 and 28 bound in reverse order according to the list of plates. First edition of William Thorn's important memoir of the 1811 conquest of Java, when possession of the island passed from the Dutch to the British Empire. Major Thorn, a Deputy Quarter Master General of the British Army at the time, describes the military expedition, as well as giving a general history and geographic survey of the island. Thorn's text contains the first depiction of the Taman Sari (Water Castle), a renowned architectural wonder built in 1758 by the Sultan of Jokjakarta. Many of the remaining aquatints show coastal towns of Java, as well as Batavia, one time capital of the Dutch East Indies that was taken over when power shifted to the British Empire. These engravings have been described to be in the style of Dutch artist Johannes Rach and his school. (1) Condition Report: clean and bright binding, 3.5 inch tear at hinge of plate 20, some foxing to maps, occasional spotting to text. Condition Report Disclaimer
Lot 572
oak, inlaid with ebony and bone, with an arrangement of six drawers to one side and two cupboard doors to the other137cm long, 74cm high, 75cm deepProvenance: From The Millinery Works Collection.Footnote: Note: Arthur Simpson was first apprenticed to a Kendal cabinet maker, then to Gillow’s of Lancaster as Architectural and General Wood Carver. He returned to Kendal in 1885 and opened his own workshop, employing several workers, and in 1889 was showing at the Arts & Crafts Society Exhibition in London. His Lake District house was designed by C F A Voysey in 1908. The high quality of the timber chosen, the cabinetmaking and the quality of the carving are characteristics of Simpson's work, and which recommended him to Voysey as a maker for his own designs. The metalware suggests the work of Nelson Dawson (1859 - 1941) a fellow Quaker, and member of the Art Workers' Guild who supplied ironwork for Simpson.
Lot 351
enamel with foil in copper, within white metal mount5cm acrossFootnote: Literature: Cumming, E. Phoebe Anna Traquair 1852-1936 National Galleries of Scotland 1993, p. 85, no. 121, p. 82, no 101 Note: Traquair learned the craft of art enamelling from her friend Lady Carmichael in 1901, and over the coming decade her enamels would be set either as jewellery (notably pendants and necklaces) or ‘architectural’ formats such as triptychs in stands often designed by her architect son Ramsay. They were exhibited both in Scotland and in London with the Arts and Crafts Exhibition Society. Her fine enamels soon became the craft for which she was best known south of the Border, with The Studio critic commenting in 1906 that ‘the qualities which are attained in enamel by a worker with a sensitivity to colour make it peculiarly a medium which satisfies an artistic nature ... that enamelling is Mrs Traquair’s medium we do not doubt’. Her subjects, painted on copper or more occasionally silver or gold, were taken from classical or religious subjects, the latter often popularised as angels comforting or watching over female figures. A pendant, necklace or the occasional brooch, set to her design by John Maitland Talbot, Hamilton & Inches, Brook & Sons or (after 1909) Henry Tatton would sell for two or three guineas.Traquair the artist always gave her craft pieces titles, and The Dream copies the central plaque of a 1906 necklace of the same name. Enamels that were admired or which she herself found particularly satisfying were duplicated, with a number remaining unset in her studio. One such unmounted piece is The Dream, given to the V&A by her granddaughter and dated 1909. The enamel is from the same date: the setting may be by Brook. The dream concept was one that greatly appealed to her, and was introduced to her Mansfield Place Church mural where Joseph’s dream is central to the Old Testament narrative on the nave’s south wall (1900). A dream image was also present on the Lorimer piano painted for Frank Tennant as part of her illustrations of The Song of Solomon (National Museums Scotland).With thanks to Elizabeth Cumming for her footnote for this lot
Lot 143
Watercolour on graph paper, signed, dated and inscribed lower right C.F.A. VOYSEY/ ARCHITECT/ 11 MELINA PLACE/ GROVE END ROAD/ ST JOHNS WOOD, NW/ SEPT. 1891, oak frame 49cm x 31cmProvenance: C.F.A. Voysey, until his death in 1941, thence by descentThe Fine Art Society, LondonFootnote: Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 80Note: As a designer Voysey paid meticulous attention to detail, designing every aspect of a project whether architectural or in the design of furniture, patterns and metalwork. Concerned by the negative impact of industrialization on design, and handicrafts in particular, Voysey became a major proponent of the Arts & Crafts ideals. He set out to create simple but functional items, inspired by the natural world and produced with the spirit of craftsmanship in mind, thereby enriching the lives and homes of everyday Britain. Whilst many of his contemporaries opted to set up small-scale workshops to achieve this, Voysey forged links with an impressive network of commercial manufacturers and retailers, knowing that this would further disseminate these beliefs and allow beautifully designed goods to be accessible to a much larger market.In 1897, Voysey’s output as a pattern designer for fabrics and wallpapers was significant; he signed three contracts with major manufacturers, agreeing to supply thirty original wallpaper designs per year to Essex & Co., ten carpet designs to Tomkinson & Adam, as well as a further ten for Alexander Morton & Co. Two of the designs offered in the proceeding lots feature marks for Tomkinson & Adam and, together with a further two needlework designs, illustrate a period where Voysey’s energy and originality were at their highest.His fabric designs are typically produced on standard graph paper, used for setting up steam-driven looms. Tomkinson & Adam’s looms were American and so specific grids were required for different types of machinery and weaves. These designs, so charming and vivid in their colours, serve as important interpretation tools for the technicians to bring the designs to life, direct from the master’s hand. To ensure quality and that the end-products remained true to Voysey’s intent, he often made several annotations leaving instructions concerning the repeat and colouring of the design for the weavers, as is exemplified in several of the following lots. Interestingly, in lot 147, he notes that the design was sold Stanway, an influential businessman who bought patterns from designers to be made into cloths and various fabrics for sale in his London and Parisian retails outlets. In lot 149, the design for a gas fire, Voysey also displays a strong sense of refinement and elegant proportion in the balanced linear forms, as well as a clear vision for the finished piece as he indicates his deliberate choice of materials in the annotations.In a similar vein to William Morris, Voysey saw nature as his most important source of inspiration, as is clear from these designs. Arguably the motifs most synonymous with his work are the bird, heart and crown, the latter two representing love and loyalty: sentiments which he valued dearly. Rather than copy directly from what he saw, he believed that abstraction and inventiveness from the artist’s imagination was crucial in achieving good ornament. Indeed, it was this belief that set his designs apart from Morris and others. Towards the end of his career his patterns tend to be figurative, as illustrated in the design for ‘The Sower’. Suitably charming and always beautifully coloured, these designs represent the talented mind of one of the most prolific architect designers of his generation.
Lot 133
to include a LINOLEUM SAMPLE, introduced 1875, 43cm x 20.5cm; and NINE HAND-BLOCKED WALLPAPER SAMPLES, including three from the Architectural Review, May 1931, THE BOWER; THE POWDERED (introduced 1870); and THE DAISY, introduced 1862, each 35.5cm x 26cm; also two folded sections of original Blue Wallflower, 34cm x 53cm and 35cm x 51cm; a folded section of original WILLOW BOUGH, 35.5cm x 52cm approx.; BLUE MARIGOLD, 35.5cm x 21.5cm; a folded section of original SUNFLOWER, 36cm x 53cm; and another folded sample, unidentified, 26cm x 53cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.Footnote: Literature: Parry, Linda William Morris Textiles, V&A 2013, p.90, pl. 70
Lot 247
A collection of books on architecture and architectural styles, to include works on the art and architecture of Venice, Rome, Florence, Libya and Prussia, with further works on Italian Renaissance Courts, Cistercian Abbeys, the Sistine Chapel and the buildings of Paladio (11) CONDITION REPORT:All the books are in generally good condition, showing minor shelf wear, the odd small chip or tear to the dust jackets, and some staining to the top of the block, apart from the CISTERCIAN ABBEYS book, which appears to have been damp at some point, resulting in rippled pages, water marks and the dust jacket sticking to the boards.
Lot 535
A late 19th century French porcelain faience clock signed 'Gien C M', the architectural shaped case highlighted with pastel shades and signed to the rear, encasing the 10cm white enamelled dial applied with Roman and Arabic numerals and the two train movement striking on a saucer bell, indistinctly stamped 'Medaille', 40cm high, no pendulum Your attention is drawn to our important notice regarding the Trevanion sale of clocks, watches & timepieces found in our Terms & Conditions, please read this prior to bidding.
Lot 549
A George III oak cased eight day longcase clock signed Watkin Owen Llanrwst, the architectural pediment above freestanding pilasters flanking the 33cm brass dial, centred with the makers name, subsidiary second dial and date aperture, applied with Arabic and Roman numerals and enclosed by open work spandrels, the two train knopped pillar movement striking on a saucer bell, the case with a shaped door flanked by conforming quarter pilasters above a shaped lower board, 211cm high, with two weights, a pendulum, clock key and case key Your attention is drawn to our important notice regarding the Trevanion sale of clocks, watches & timepieces found in our Terms & Conditions, please read this prior to bidding.Condition reportSlight warp in the case door, with split to lower board.Signs of historic worm in the top of the clock, the movement board and the back board.Back board has been re-stained possibly replaced, minor splits to the back board.The four pillar movement appears to be complete although no guarantee of working condition, see movement image.
Lot 599
A French walnut salon chair, circa 1880, the arched button back below leaf and berry carved detail and flanked by architectural acanthus leaf pilasters, extending to padded out swept arms with paper scroll leaf carved terminals, enclosing the broad bow front seat, raised upon tapering cylindrical front legs and castors, plain back swept rear legs, overall inlaid with birds eye maple cross banding, 93cm high
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