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Lot 153
Royal Worcester cabinet cup and saucer decorated in the Chelsea style, gilt highlighted reserves with birds and butterflies on a blue scale ground, each piece signed G.Johnson, printed marks and date code for 1925, diameter of saucer 9.75cm Condition: No obvious faults or restoration - **General condition consistent with age
Lot 160
Pair of Sevres style cabinet plates, each having central painted decoration depicting figures in a garden, the pale blue borders with foliate reserves, printed marks with strike through, 24.25cm diameter Condition: One of the dishes has an area of wear to the turquoise glaze and the gilt border of the central cartouche at approx 12 o'clock resulting in an area of lighter turquoise glaze and a loss of approx 5cm of the gilding (see images) - **General condition consistent with age
Lot 205
An early Victorian Colonial hardwood writing cabinet, circa 1840, with later lift top compartment, the fall front enclosing an open section over an arrangement of pigeon holes and drawers, over a pair of further cupboard doors enclosing two banks of five drawers, 143cm high, 100cm wide, 46cm deep
Lot 280
19th Century Walnut One Drawer, Two Door Console Cabinet. Unsigned. Surface wear, rubbing. One hinge broken. Measures 36-1/2" H x 29" L x 15" D. Provenance: Collection of Robert Eigelberger, Casa Phippsberger, a prominent Palm Beach, Florida estate. Shipping: Third party. (estimate $300-$450)
Lot 423
A ONE HUNDRED AND SIXTY THREE PIECE SILVER KINGS PATTERN CANTEEN OF CUTLERY in a three drawer standing cabinet by The Goldsmiths & Silversmiths Company Ltd, Sheffield 1946 consisting of: twelve coffee spoons; twelve dessert forks; eighteen teaspoons; eighteen table forks; twelve fish knives and forks; two fish servers; twelve tea knives and forks; one pickle fork; one pickle spoon; one soup ladle; six serving spoons; twelve tablespoons; two sauce ladles; one sifter spoon; twelve soup spoons, 281 troy oz; and a steel bladed four piece carving set with eighteen table knives and side knives with steel blades (163)
Lot 115
A rare Miniature Room set in the style of Josef Hoffmann and Koloman Moser’s Viennese Succession movement, circa 1908, the wooden (probably birch) cube with double hinged lid and lift-out front panel held closed by hooks and eyes, the exterior decorated with geometric stencilled star pattern fitted with two pairs of black, hinged, window shutters and a turned wooden bell-push as light switch to right side. Interior walls painted in orange with yellow and black chequer and dot frieze. Ceiling with hanging lampshade of strings of green glass beads with light wired to battery compartment wardrobe. Floor with chequer patterned carpet in beige and black. Suite of wooden furniture all painted in grey with white dot border decoration comprising wardrobe with bevel glass mirror door, bed with pillows, mattress, embroidered sheet and blanket with black and green geometric patterned sides and green bobble decoration, bedside pot cupboard and planter, dressing table with metal looking glass, square box table and two stools, two seat sofa with embroidered cushions, two arm chairs with embroidered cushions and seated bisque doll wearing black and white chequer dress , blue card folding screen with hand-painted, white, green and black geometric decoration, two plain white ‘sheer’ curtains hung on metal rings on curtain rail. Walls decorated with two hand painted pictures (woman with cat and winged angel – the latter slightly reminiscent of Gustav Klimt’s painting ‘Hoffnung II’), two embroidered pictures and one bevel glass mirror, all in metal frames hung by cord, 8 5/8x8 5/8 x 8 5/8 inches (22x22x22cm). History and Provenance: At the end of the 19th century young progressive artists in Vienna set up the break-away movement known as the Secession. Amongst its prominent members were the architect Josef Hoffmann (1870-1956) and the designer Koloman Moser (1868-1918). Both were ‘admirers of English applied art; the mood in the world of Viennese applied art around 1900 was Anglophile and progressive’. Work of the British designers, C.R. Ashbee and C.R. Mackintosh who were viewed as the inheritors of the Ruskin-Morris tradition, featured in their 1900 exhibition and influenced subsequent design developments in Vienna. Ashbee’s work was exhibited regularly in Vienna during the first decade of the 20th century. In 1903 Hoffmann and Moser founded the “Wiener Werkstätte, Produktivgenossenschaft von Kunsthandwerkern in Wien” after Hoffmann had been to England and very probably visited Ashbee’s socialist co-operative, “The Guild of Handicraft”. ‘The declared aim of the Wiener Werkstätte was to vanquish the evils of machine manufacturing and the mass production to which it had given rise. It also wished to re-establish direct contact between consumer and producer.’ Artists wished to unify art and life and interior design offered the opportunity to put this into practice. One of the most notable examples was the Purkersdorf Sanatorium designed by Josef Hoffmann and Koloman Moser in 1904-1906 – ‘a synthesis of form and function, of aesthetics and economy, of the outer form…and the activities pursued within’ – where contrasting squares of colour occur throughout. The use of chequered patterns became a sort of Hoffmann trade mark and they featured again, for example, in his design for the Cabaret Fledermaus in 1907. In 1908 Hoffmann designed the exhibition pavilions for the Kunstschau in Vienna that featured the work of Gustav Klimt and his followers as well as the Wiener Werkstätte. Within that exhibition was a special hall, room 29, which was devoted to Kunst für das Kind (Art for the child) and included a number of dolls houses designed and made by students at the Kunstschule für Frauen und Mädchen under the direction of Professor Adolf Böhm. So far it has not been possible to establish whether the doll’s roomset offered here was actually one of those exhibits but it was undoubtedly inspired by and made as a tribute to the work of Josef Hoffmann and Koloman Moser at around this period. It was acquired by the English furniture designer and retailer Ambrose Heal and found its way to England. The period at the turn of the twentieth century was exactly the time when Ambrose Heal (1872-1959) was at his most productive and in contact with the latest design developments across Europe. Before he had set up his own cabinet workshops, his very first bedroom suite designs were manufactured by C.R. Ashbee’s ‘Guild of Handicraft’ in 1897. Ambrose Heal (he was knighted in 1933 and elected a Royal Designer for Industry in 1939) was the man who was responsible for establishing the high design standards for which the Heal family furnishing business in London became known. He had begun using chequer patterns in his designs as early as 1900 but from 1902 it featured prominently not only on furniture but as a border to the company’s advertising. He would therefore have followed with interest its subsequent adoption and development by Hoffmann. Another interesting parallel is that from 1908 onwards Heal’s began to specialise in children’s furniture so that they were invited to furnish an ‘Ideal Modern Nursery’ at the ‘Children’s Welfare Exhibition’ held at Olympia in 1912. An inventory carried out in February 1914 at Ambrose Heal’s home, ‘The Fives Court’, Pinner, by Maple & Co. for the purpose of insurance, listed under the contents of the drawing room “Viennese small wood dolls house & toys £2 2s 0d”. It has remained in the family ever since.
Lot 277
A Stylish 19th/20th Century Corner Cabinet in the Chinoiserie style:painted and decorated with flowers, cross hatching and pagodas, interior fitted with two shelves, and raised on squat cabriole legs. Note: The above two lots are by descent from George A & Ula Knowles, to current vendor, and were wedding presents to George & Ula from Lady Sybil Colefax & John Fowler. In 1938 George began working for the leading firm of interiors designers, Colefax & Fowler, as their book- keeper/accountant and it was here where he met his future wife, whom he married in 1944. In 1944 Lady Sybil Colefax retired from the firm and sold her share of the business to Nancy Lancaster for £10,000. John obviously had a creative flare for interest for the Chinese-style; this was no doubt based on his early careers at Thornton Smith & Peter Jones, where he hand painted wall paper and furniture in the 18th century style, respectively. With such a flare for design, this no doubt was recognised by Nancy Lancaster and it would appear they had a good working relationship. However, in spite of this, a commentator of the time, Lady Nancy Astor remarks "the most unhappy unmarried couple in England".In Martin Wood's book on Nancy Lancaster, English Country House style, page 117, there is a brief reference to George A Knowles. CONDITION REPORT: H92cm x W43cm
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