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Lot 183
A pair of Berlin porcelain cabinet plates with reticulated borders heighted with gilt, the centres with circular floral motif with acanthus and rosette shaped floral swags, underglaze blue marks to reverse, one plate stamped 13 to reverse (2) Condition: some wear to gilt edges on borders commensurate with age do not appear to have been restored
Lot 104
A rare painted wood 'Buddhist emblems' cabinet, yangamTibet, early 20th centuryThe double doors inset within a bevelled frame and boldly painted in polychrome pigments with a profusion of Buddhist emblems and ritual implements under elaborate rows of pendant beaded jewellery. 117cm (46in) high x 37cm (14 1/2in) deep x 91cm (35 3/4in) wide Footnotes:This type of cabinet is known as yangam in Tibetan, and it was used for storing wealth vases. These vases would be blessed once a year in a ceremony by a lama. They would then be stored in the yangam, next to the altar, in order to bring wealth and happiness to the household.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
Lot 105
A polychrome painted wood 'floral' cabinetTibet, late 19th centuryThe front with twelve inset panels on the front enclosing two pairs of central doors, each panel painted with red and ochre peonies issuing from large, leafy stems in green and gilt on a dark ground, raised on four corner feet enclosing an apron decorated with a floral meander on a red ground. 98cm (38 1/2in) high x 43cm (17in) deep x 105cm (41 1/4in) wideThis lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
Lot 106
A small painted wood 'floral' cabinetTibet, late 19th centuryThe four frontal inset square panels forming two pairs of doors, each decorated with mirrored, sinuous dragons amongst large-headed peonies and lotuses, the dragon's scaled picked out in relief, all within raised borders of alternating florettes and shou emblems, all raised on four corner feet. 90cm (35 1/2in) high x 39cm (15 1/4in) deep x 76cm (30in) wideThis lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
Lot 125
Y GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO. ARTS & CRAFTS INLAID MAHOGANY SIDEBOARD,rosewood, fruitwood and ebony inlay, the carved and pierced back with intricately inlaid panels, on carved column uprights, above three frieze drawers and an open shelf flanked by two cupboard doors, opening to reveal a single shelf, the whole raised on a plinth base(228cm wide, 154.5cm high, 78cm deep)Footnote: Literature: The Cabinet Maker and Art Furnisher 1 July 1887, p. 281 Whiteway M., Gere, C. Nineteenth Century Design, 1993, p. 249, where another example without the inlaid back is illustrated Parry. L. William Morris, Tieste, 1996, p.163, fig.78 Note: The Cabinet Maker and Art Furnisher of 1887 shows a 'Rough Memory' sketch of a sideboard of this design exhibited at the 1887 Manchester Jubilee Exhibition, and notes that the lines of the Manchester sideboard may be studied, for they are 'fresh'. The sketch is very closely related to the current cabinet and may illustrate the same piece. Manchester was an important part of the Morris & Company empire, as the firm exhibited at the Manchester Fine Art and Industrial Exhibition of 1882, and opened a shop there in 1883. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 13
ENGLISH SCHOOL, MANNER OF CHARLES EASTLAKE’S ART FURNITURE COMPANY EBONISED OAK SIDE CABINET, 1870the pitched roof cornice with an arrangement of open shelves below, above two cupboard doors incised with gilded peacock feathers, the whole raised on a plinth base with open fretwork, retains original key(125cm wide, 202cm high, 40cm deep)
Lot 35
E. W. GODWIN (1833-1886), PROBABLY FOR GILLOW & CO. AESTHETIC MOVEMENT ‘COFFEE TABLE’, CIRCA 1880ebonised birch with incised and gilded decoration(48cm long, 69.5cm high, 37.5cm deep)Footnote: Literature: Soros, Susan The Secular Furniture of E. W. Godwin, Yale 1999, pp. 29, 155, 267, pl.220 William Watt (Firm); Watt, William, Godwin E.W., et al Art Furniture designed by Edward W, Godwin F.S.A. and manufactured by William Watt, B.T. Batsford, London, 1877, plate 8 where the design for the present lot a 'Coffee Table', is illustrated. Note: Godwin's ideas for furniture were ‘so accurately rendered that they were easily translated into actual designs to be put into production by the many well-established cabinetmakers that flourished in Britain during the 19th century’. Godwin contended that “Cabinetmakers always prefer architects to design for them when they can get them” and this is borne out by the numbers of firms which used his designs including Collinson & Lock, Cox & Son W.A.&S. Smee, William Watt, Gillow & Co. and others. Godwin’s design for the current lot, the maker attributed to Gillow & Co., appears marked ‘Coffee Table’ in an interior setting in one of his line drawing in William Watt’s Art Furniture designed by Edward W, Godwin F.S.A. and manufactured by William Watt of 1877. The quality of construction and refined details such as the incised gilding suggests the superior cabinet-making skills of a firm like Gillows. This example also equates to other marked examples of Godwin’s more familiar square-topped coffee table by Gillows, which bear similar gilded embellishments.
Lot 368
CHARLES RENNIE MACKINTOSH (1868-1928) INLAID MAHOGANY BEDSIDE CABINET, 1916with ebonised plinth and shell-inlaid handles, the upper section with two doors flanked by uprights pierced by squares, the base with single panelled door enclosing a single drawer and a shelf(36cm wide, 122cm high, 35.5cm deep)Footnote: Provenance: W.J. Bassett-Lowke, 78 Derngate, Northampton Mr Cave, Northampton, thence by descent Sotheby's Applied Arts from 1880, 21st October 1988, Lot 101 Private Collection, London Literature: Billcliffe, Roger Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, New York, 1979, p.232, Cat. No. 1917.16 illustrated. Victoria & Albert Museum, Museum no. CIRC.594:1,2-1966 http://collections.vam.ac.uk/item/O129986/cabinet-mackintosh-charles-rennie/ where the pair to this cabinet is illustrated. Note: Following the success of his designs for Miss Cranston’s Ingram Street Tearooms in 1911, Mackintosh spent the next few years struggling to find work, and by 1914 he and his wife Margaret had moved to Walberswick in Suffolk. They remained in close contact with Francis Newberry and his family, who spent their summer holidays in cottages nearby. Mackintosh’s main client during this period was W. J. Bassett Lowke, of 78 Derngate, Northampton. Bassett Lowke had fostered early connections with those involved in the Deutscher Werkbund movement, which played a central role in the development of modern architecture and industrial design. Having not heard of Mackintosh prior to 1914, Bassett Lowke hired him for a project following the recommendation of a close friend. After leaving Glasgow, Mackintosh was keen to explore the inspirations he found during his visit to Vienna in 1900, and this married well with Bassett Lowke’s open-minded approach to the design and manufacturing process. In the current lot, Mackintosh places a clear emphasis on angular lines, minimal decoration and a far more solid sense of form; a departure from the curvilinear and stylised decorative motifs which dominated much of his earlier work. Typically, Mackintosh would have personally advised the furniture maker, amending his designs as the piece was in the midst of construction. However, under Basset-Lowke, Mackintosh had to rely on his drawings to communicate his wishes to the company’s craftsmen, many of whom were German immigrants working on the Isle of Man. Designs focussed on broad planes of timber, polished and waxed rather than stained, enhanced by details of abalone inlay. The result is an array of visually striking furniture with an elegant decorative effect that defines his work in Northampton.
Lot 429
GEORGES-ERNEST NOWAK FRENCH ART NOUVEAU OAK AND GILT-METAL MOUNTED SIDEBOARD CABINET, CIRCA 1900the upper section with three glazed doors fitted with a single adjustable shelf, the base with two drawers above two cupboard doors, each inlaid with cast gilt bronze panels of fruiting foliage, stamped makers marks to drawer G. NOWAK, 144cm wide, 194cm high, 57cm deep; together with a GEORGES-ERNEST NOWAK DINING TABLE AND SIX MATCHING CHAIRS, the extending table with rectangular moulded top and two additional leaves, raised by shaped and moulded tapered legs, linked by stretchers, stamped maker's mark G. NOWAK 117cm long, 73cm high, 184.5cm deep (closed), with one original and two later leaves, each 44.5 long; the chairs each with three tapered splats on caned seats, shaped and moulded tapering legs, linked by stretchers, stamped maker's mark to back rail G. NOWAK, 43cm wide, 93cm high, 40cm deepFootnote: Literature: Duncan, Alastair The Paris Salons 1895-1914 Volume III: Furniture, p.446 where this suite is illustrated entitled 'Dining Room, oak/ Le Salon d'Automne, 1910'
Lot 45
H. W. BATLEY (1846-1932) FOR GILLOW & CO., LANCASTER AESTHETIC MOVEMENT MAHOGANY CORNER CABINET,the upper section with fretwork, an arrangement of open shelves and a cupboard, the base with blind-fretwork drawer, stamped maker's marks to the drawer GILLOW & CO./ LANCASTER/ L11046(87cm wide, 229cm high, 55cm deep)Footnote: Literature: Soros, Susan Weber Rediscovering H.W. Batley (1846-1932), British Aesthetic Movement Artist and Designer, Studies in the Decorative Arts, VI, no. 2 (Spring-Summer 1999), pp. 6-8 Note: Soros states that what distinguishes Batley's work from other art furniture by designers such as T.E. Collcut and E.W. Godwin is the dense effect of the sheer quantity of decorative devices he used, including tooled leather, turned spindles, applied and painted panels, carved details, and decorative mouldings, as in the present example. Batley trained under Bruce Talbert and designed in the Gothic Revival style in the 1860s, however although this cabinet demonstrates some Gothic origins, here Batley incorporates Japonesque Aesthetic details in an asymmetric composition.
Lot 601
ENGLISH SCHOOL CALAMANDER AND CHROME PLATED DISPLAY CABINET, MID-20TH CENTURYthe stepped top above twin glass doors with four adjustable shelves, the base with horizontal reeded feet, mirrored back, with key(104.5cm wide, 166.5cm high, 39cm deep)Footnote: Provenance: Christies: The Fleur Cowles Collection, London, 23 November 2016, lot 221.
Lot 83
ATTRIBUTED TO CHRISTOPHER DRESSER OR JOHN MOYR SMITH, POSSIBLY FOR COX & SONS, LONDON AESTHETICthe galleried top with frieze inlaid with florets, the glazed door with lined and shelved interior enclosed by panelled sides, each inlaid with figurative allegorical roundels, the whole raised on a plinth base(68cm wide, 109.5cm high, 50.5cm deep)Footnote: Literature: Lyons, H. Christopher Dresser: The People's Designer, 1834-1904 (Woodbridge, 2004), p.19, 52 and 144; plates 12, 13, 51, 52, 260 and 260A Durant, S. Christopher Dresser, Academy 1993, p.19-20 Whiteway, M. (ed.), Shock of the Old: Christopher Dresser's Design Revolution, New York, 2004, Stapleton, A. John Moyr Smith 1839-1912: A Victorian Designer, Richard Dennis 2002, pp.11-15, plates 11 and 12 Cooper, J. Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.130-132 Woolley & Wallis, Salisbury, 20th Century Design, 14 October 2009, lot 549Note: This fine cabinet, although of conventional form, has particular design characteristics which set it apart; its distinctive gallery and the fine marquetry panels inlaid to the sides. The design of two of the inlays appear to be adapted from colour plates published in Christopher Dresser’s Studies in Design of 1876 - the hares from plate VII; and the duck from bird designs in plates XLVI and VI. There are also strong similarities to an illustration in his Principles of Decorative Design of 1873 (the fish from figure 20); and bird and animal designs for Minton & Co. circa 1871. These designs were, like other output from the Christopher Dresser’s studio, often drawn up and, on occasion designed under Dresser’s supervision by an assistant. In the case of the first two examples this assistant is thought to be the Scottish-born designer John Moyr Smith. The confusion surrounding the attribution of certain designs by Dresser is largely due to a lack of information but also that the stylistic similarities of many of his designs to those of his assistants is so striking. Some assistants were to leave Dresser’s offices and pursue careers of their own and although most believe that Moyr Smith worked for Dresser in his studio for a short period it may also be the case that he collaborated with him in the supply of designs to his projects on an ongoing basis. Whether he worked for Dresser directly or not by 1872 Moyr Smith was an independent designer supplying designs to a number of manufacturers including Cox & Sons in London. The firm of Cox & Sons, originally church furnishers, were involved in the art movements in the second half of the 19th century and commissioned furniture, metalwork, stained glass and ceramic designs from several leading designers, including Bruce Talbert and E.W. Godwin. Cox & Sons also supplied stained glass to some of Christopher Dresser’s interior projects, but if Dresser used them in a wider sense is unclear. He was obliged to distance himself from their output because of the similarities of his designs to those of Moyr Smith. The attribution to Cox & Sons is strengthened by the fact that the firm is known to have used one of the designs used on this cabinet on a single-handled vase (Woolley & Wallis, October 2009, Lot 549). Many of the firms who produced Dresser's textile and carpet designs believed in his abilities as a designer and were all based in the Halifax region. A number of them also commissioned Dresser to design the interiors of their homes. Of those only two domestic commissions survive and are in very poor condition, leaving only clues to the total composition of Dresser's interiors. In 1865 The Furniture Gazette published designs for the panels in dining room supplied by Dresser to J.W. Ward of Halifax, a textile maker who used Dresser’s designs. The panels represented fish, fowl, flesh, fruit, wine and beer. The panels in the current lot, representing Game, Fowl, Fish and Mutton may also have been designed for a similar dining room scheme. The profuse, albeit restrained, marquetry inlay of this cabinet is somewhat at odds with Dresser’s more characteristically austere and pared-down aesthetic. He was, however, known to have been expedient and his ‘theoretical utterances’ did not always get in the way of the success of a busy studio where it was impossible to be entirely pure in intention. Many of Moyr Smith’s published designs of the 1870s were later ascribed to Dresser suggesting their origins in Dresser’s studio. Either way, until further information emerges, the attribution of many of these intriguing pieces remains unclear.
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