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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 533
model 412, unpolished chestnut113cm wide 153cm high, 54cm deepProvenance: From The Millinery Works Collection.Footnote: Exhibited: Brighton Museum Beauty's Awakening, the Centenary Exhibition of the Art Workers Guild, 1984 Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.179 where this lot is illustrated along with the original drawing
Lot 552
oak, stamped serial number verso 122121cm wide, 121cm high, 50cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 183, where another similar toy cupboard (no. 348) is illustrated
Lot 536
model 392, unpolished chestnut, the stool with later-upholstered seat paddressing table 16cm wide, 152.5cm high, 53cm deep, stool 48cm long, 41cm high, 31.5cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p.173 where this lot is illustrated along with the original drawing
Lot 583
oak and ebonised oak, maker’s label verso THE RUSSELL WORKSHOPS BROADWAY/ DESIGNER GORDON RUSSELL/ FOREMAN EDGAR TURNER/ CABINET MAKER C TURNER DATE 1/11/28, with keys175cm wide, 181cm high, 57cm deepProvenance: From The Millinery Works Collection.Footnote: Note: Unlike his contemporaries, many of whom initially trained as architects, Gordon Russell was primarily self-taught. He and his father were acutely aware of the exciting hub of activity in the Cotswolds, led by pioneers such as C. R. Ashbee and Ernest Gimson; after witnessing unimaginable scenes of complete destruction after the First World War, Russell was determined to create furniture that would stand the test of time and be valued by generations to come. Together he and his father established Russell & Sons in 1922 and were advocates of the Arts & Crafts ideology as they sought to improve working conditions and provide educational opportunities for their workforce, whilst at the same time producing high-quality pieces that celebrated design and the craftsman. Clearly influenced by Gimson and Scandinavian modernism, out of Russell’s Workshops came simple, yet highly functional pieces, using the finest quality woods and showcases traditional craftsmanship. In 1947 Russell was appointed chairman of the Design Council and played a crucial role in the design and manufacture of Utility furniture in the post-war years which helped re-build the country.
Lot 545
oak with rush seat, the design after M.H. Baillie Scott59cm wide, 123cm high, 22cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 247 illustratedNote: This design was produced after a Baillie Scott design that Ambrose Heal made for the showhouse in the New Garden City of Letchworth
Lot 76
oak, with penwork, painted and gilded panels, and mirrored plate, paper label verso NO.2/ ANGLE CUPBOARD/ EXHIBITOR. DAVID HAY/ NEWBURGH FIFESHIRE N.B.52.5cm wide, 104.5cm high, 36.5cm deepFootnote: Note: This cabinet is presumably a late 19th-century copy of a production piece, with additional pokerwork detail. In the 19th century, 'North Britain' or 'N.B.' was widely used for postal addresses in Scotland.
Lot 532
oak, with iron fittings106cm wide, 166cm high, 45.5cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 153Note: This model is the first time an arched apron was employed by the designer.Note: Ambrose Heal is widely considered a pioneer of modern furniture design. After studying at the Slade School of Art, Heal joined the family furniture business established by his great-grandfather John Harris Heal in 1893, where he initially worked in the bedding department. Not long after, he began designing furniture for the firm. These designs adopted simple lines, using unvarnished oak or chestnut and were far more robust in appearance, much to the disdain of his sales colleagues who were used to selling far more elaborate furniture that took inspiration from the early 18th century. Despite this, Heal was recognised in 1900 when he won a silver medal at the Paris Exhibition for a bedroom suite. He was soon appointed chairman of the company in 1913; he was the driving force behind their renewed marketing efforts and expanded the range of products produced in a bid to appeal to the emerging middle class. Heals' furniture embraced the Arts & Crafts ideals, and while he did accept some machinery into the production line, he was resolute in ensuring that the quality of craftsmanship never suffered as a result. As well as chairman of the family business, Heal was also a founding member of the Design & Industries Association, which campaigned to increase the standard of British Design under the slogan ‘Fitness for Purpose’. Early Heal’s designs clearly demonstrate an admiration for Arts & Crafts, but as tastes changed the company was able to innovate quickly and began to embrace stylistic influences from Art Deco and Modernism. Before his retirement from the family firm in 1959, Heal was knighted in 1933 and appointed a Royal designer for industry in 1939.
Lot 560
walnut, with chequered beaded inlay and single drop-in leaf158cm closed, 99cm deep, 77cm high, 234cm extendedProvenance: From The Millinery Works Collection.Footnote: Provenance: Arthur Mitchell; thence by descent.Note: Arthur Mitchell, whose father Henry founded the Smethwick brewery that would become Mitchells & Butlers, was a great patron of Cotswolds School craftsmen. Peter van der Waals was the foreman and chief cabinet maker for Ernest Gimson at Daneway, Cirencester and opened his own workshop in 1920 at Chalford, near Stroud. With this table, Waals is adapting the chamfered 'hayrake' stretcher, first developed by Gimson and Sidney Barnsley at Sapperton in the early years of the 20th century.
Lot 558
oak122cm wide, 182.5cm high, 60cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Design & Industries Association Year Book, 1923 - 1924, p.15, pl.1Note: An experienced Dutch cabinet-maker, Waals moved to London in 1901, and after responding to an advertisement in The Times, was employed as a foreman by Ernest Gimson and Ernest Barnsley, shortly after the two had established a workshop in Sapperton. Under their leadership, Waals was able to hone his skills as a craftsman, and developed a good eye for timber, as he was often tasked with selecting fine specimen woods and exotic veneers for the workshop. Gimson often involved Waals in discussions about his designs and methods of construction, and he acknowledged the great debt he owed to Waals for his assistance. Together, the two were considered amongst some of the pioneering figures of the ‘Cotswold Tradition’. After Gimson’s death in 1919, Waals established his own workshop in Chalford and continued many of the traditional working methods he had learnt at Sapperton. Conscious to protect the reputation and legacy of his friend and mentor, Waals agreed with Gimson’s family that he would not reproduce designs and inlaid patterns, and instead he focused on the construction of more domestic pieces which often illustrated his skilful execution of marquetry. Latterly, Waals received significant commissions for work from Leicester University and Eton College, as well as high-profile locals such as the Goddard Family in Leicester.
Lot 543
oak213.5cm long, 75cm high, 89.5cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, pp.184, 185Note: This table was first designed and made in 1912, and shown in the Arts & Crafts Exhibition that year, in Ghent the following year and again at the Arts & Crafts Exhibition in 1916.
Lot 727
A collection of sporting ephemera, to include various newspaper cuttings, and photographs of footballers, bearing signatures, to include Roy Bentley, John Hollins, Ron Harris, Peter Sillet, a miniature cricket bat, bearing signature, a Royal Doulton cabinet plate of Kevin Keegan, bearing signature, etc. (1 box)
Lot 34
A mahogany cabinet bookcase, flared cornice top, glazed cabinet doors, the interior with three adjustable shelves, lower panelled cabinet, platform base, width 127cm, depth 48cm & height 221cm. Condition - top cornive short in length at the back on each side, under door moulding loose on top section, slightly untidy where lock fits on opposite doors, general wear including minor marks and scratches etc.
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305988 item(s)/page