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Click here to subscribeElizabeth II (Queen of Great Britain) and Philip, Duke of Edinburgh, a full length portrait of the couple in full ceremonial dress, black & white photograph, 22cm x 17.5cm, signed in ink autopen, 'Elizabeth R' and 'Philip' to lower mount and dated 1969, in tan leather desk frame by Jarrolds, Knightsbridge, 31.5cm high
Elizabeth II (Queen of Great Britain) and Philip, Duke of Edinburgh, two full length portraits in full ceremonial dress, black & white photographs, 19cm x 15cm, each signed in ink autopen, 'Elizabeth R' and 'Philip' to lower mounts and each dated 1986, each in a black grained leather desk frame by Paul Longmire Limited St James's, London, gilt stamped with royal cyphers, 32cm high
A late Victorian mahogany writing table or desk, with green leather top, with banded and shaped border, with rosewood cross banding, shaped frieze to the centre, and three drawers to each pedestal with brass swan neck handles, on square taper legs with brass castors, 78cm H, 122cm W, 68cm D.
A Victorian postage scale set with brass plates, weights and frame on a shaped walnut stand, 12cm high by 22cm long, together with a Victorian lacquered desk standish, a central lidded compartment before a vacant pen tray, decorated with inlaid mother of pearl, painted floral motifs and gilded borders, measuring 15cm x 23cm, together with two wrythen moulded clear glass funnels etc.,
Theodore Blake Wirgman (British, 1848-1925), A portrait of a gentleman at his desk, signed 'T Blake Wirgman' (lower right), pen and ink, 27 x 25cm, together with two other pen and ink sketches by the same hand, one of a gentleman seated at a desk, 39 x 31cm, the other of three men, 19.5 x 22.5cm all unframed (3).
A 1950s GIO PONTI DESK, with six drawers, on brass feet, with a certificate of authenticity from the Gio Ponti Archives. 76cm x 121cm x 61cm When anyone speaks about Gio Ponti, both as man and designer, two phrases are used consistently: joy de vivre and la dolce vita. They describe a career that encompassed everything: architecture, ceramics, industrial design, interiors, painting, writing, teaching, poetry and, significantly, editing Europe’s leading design and architecture magazine, Domus. Irrepressible, impassioned and exceedingly generous, Gio Ponti is regarded today as the major coalescing force behind the golden age of 20th century Italian design.Having graduated in architecture in 1921 from Milan Polytechnic, Ponti worked as artistic director for ceramics manufacturer, Richard-Ginori, where he laid the grounds for the kind of industrialised production lines for which post-war Milan was to become known. While at Ginori, Ponti founded Domus, which, but for a break of six years, he went on to edit for the rest of his working life. It would prove not only a mouthpiece for his own ideas and beliefs, but also for those of his fellow designers, and its importance in terms of launching careers, drawing attention to movements, and elaborating on certain design ideas is difficult to overestimate. Influenced by the Wiener Werkstatte, by traditional folk-craft imagery, and by his reading of classical forms, the mainly porcelain pieces, with their stylised imagery of nature, people and pastimes, earned Ponti a Grand Prix at the 1925 Exposition des Arts Decoratifs, an event that was to act as a catalyst for the subsequent Art Deco movement. Ponti championed the ideals of rationalism referring to his Superleggera chair as ‘chair...with no adjectives, that is to say just a chair, but light, slender and reasonable.’ He was also drawn to the baroque, the surreal, the futuristic. This fascination with a wide range of design styles and movements is evident in Gio Ponti’s work, chief among which are the decorative and colour saturated blown-glass pieces for Venini, his furniture and interior designs for Fornasetti and numerous projects for the likes of Fontana Arte, Artemide, Cassina and Kardex Italiano. Throughout his working life, Gio Ponti was the recipient of numerous awards. He taught architecture at his alma mater, Milan Polytechnic for nearly 30 years, and during that time produced important architectural projects which matched his work in the field of industrial design, most notably the 1956 Pirelli Tower in Milan. He died at home, in 1979. He remains a monumental figure in 20th century Italian design.
A PRESENTATION AUTOGRAPHED PHOTOGRAPH OF PRINCE PHILIP, DUKE OF EDINBURGH, 1954 the 6 x 8in. photograph depicting Philip in naval uniform and signed Philip 1954 , in gilt embossed leather desk frame ( lacking stand ) – 11½ x 9in. (29 x 23cm.); together with a group view including Prince Philip aboard the R.Y. Britannia inscribed Philip 1959 (2)
Late 19th/early 20th century pottery desk jotter, MacIntyre - Burslem, England, of wedge shaped rectangular form with pen rest over a matt finished panel, transfer decorated with the image of "A gentleman in karki", R Caton, Woodville, 1899 and further printed verso "The absent-minded beggar" with printed signature of Rudyard Kipling, 15 x 10cm
Mixed Lot: comprising two various folding single blade pocket knives including IXL together with a two bladed example with corkscrew and composite grips "Tommy" cigarette light, nickel cased egg timer with ring suspension, brass advertising pencils for Crawfords Biscuits, Jackson's Famous Hats and Boots and an ivory handled desk seal with monogrammed matrix, various dates and makers (8)
Early 19th century mahogany architect's or draughtsman's desk, the top with two lifting flaps and central rexine upholstered writing surface fitted on one side with pen tray etc over a single full width frieze drawer on ring turned and balustered supports with brass caps and casters, 76cm wide
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