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Lot 472
A retro 20th Century German desk / table lamp light having a beige finished eyeball style shade supported by a black plastic gooseneck adjustable arm. Raised on a circular beige base. Sold as untested. Measures approx; 38cm tall. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 194
A retro vintage mid 20th Century French school desk bench comprising of a writing table top with inset recess and open storage tier to underside raised on the original green painted metal tubular base with slatted bench seating, Measures approx; 72m x 110cm x 75cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 314
A 20th Century English bankers desk / table lamp light of brass construction having an adjustable green glass shade supported by two brass arms united by a single curved stem. Turned column below with all raised on a circular stepped base. Sold as untested,minor wear to base. Measures approx; 36cm x 27cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 18
Philippe Michel for Manade - Cobra Lamp - A retro 20th Century 1980s formed plastic and steel adjustable desk / table lamp light. Cobra design arm with a raised on a steel plate base. Moulded makers marks present. Sold as untested by ourselves. Measures approx; 66cm x 90cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 608
Vinde Mobelfabrik - A retro 1980s Danish teak wood corner bureau desk / display cabinet having a dual glazed door cabinet top with full front bureau section below having a fitted interior. Further cupboard section below with all raised on a plinth base. Makers marks to the verso. Measures approx; 176cm x 95cm x 50cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 719
Manner of Le Corbusier - LC10 - A contemporary designer chrome and glass topped dining table / desk having an ebonised steel frame with tubular chrome legs and thick tempered glass top of rectangular form. Measures approx; 70cm x 121cm x 80cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 286
A retro vintage 20th Century faux leather desk top industrial / office filing chest of drawers having a bank of four drawers with each having brass swing handles and notation slides. Wear commensurate with age to the faux leather. Measures approx; 26cm x 43cm x 30cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 626
Herbert Terry - Model 99 - A retro vintage mid 20th Century 1980s adjustable gooseneck desk / table lamp light. The lamp having an aluminium shade with flexible gooseneck arm raised on a square base. Marks to base. Sold as untested. Measures approx; 44cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 644
Manner of Le Corbusier - LC10 - A contemporary designer chrome and glass topped dining table / desk having an ebonised steel frame with tubular chrome legs and thick tempered glass top of rectangular form. Measures approx; 70cm x 121cm x 80cm.COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 76
George NelsonDesk, model no. 4658, designed 1946, produced 1946-1958Walnut, beech, leather, steel. 106 x 138 x 71.2 cm Manufactured by Herman Miller Furniture Company, Zeeland, Michigan.Footnotes:Literature'Un allestimento americano', Domus, no. 246, May 1950, p. 11 Stanley Abercrombie, George Nelson: The Design of Modern Design, Cambridge, 1995, p. 100This lot is subject to the following lot symbols: TPTP Lot 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 10
John MakepeaceUnique 'fireside' desk, 1980Paldao-veneered wood, suede-covered wood, stainless steel, melamine. 97 x 108 x 37.5 cmExecuted by Derek Christison, John Makepeace Workshop, Parnham House, Dorset, United Kingdom. Incised Designed by John Makepeace and made in his workshops at Parnham by Derek Christison 1980.Footnotes:ProvenancePrivate collection, United Kingdom, commissioned from the designer Thence by descent to the present ownerExhibited'John Makepeace: Enriching the Language of Furniture', The Devon Guild of Craftsmen, Devon, 18 September-29 October 2010; Harley Gallery, Nottinghamshire, 7 November-24 December 2010; Collins Gallery, Glasgow, 15 January-5 March 2011; Somerset House, London, 16 March-15 April 2011; Crafts Study Centre, Surrey, 26 April-16 July 2011; and Lotherton Hall, Leeds, 23 September-20 November 2011. LiteratureJohn Makepeace: Enriching the Language of Furniture, The Devon Guild of Craftsmen, exh. cat., Bovey Tracey, 2010, illustrated p. 19In his design of the present 'fireside' desk John Makepeace thoughtfully responded to his client's needs. The chair of an international company, the client, when at home, required a space to store her sewing materials (used to repair clothing between long journeys) and watercolour paints, a filing drawer for personal correspondence, and a low swivel writing surface that extended comfortably above her knees while she sat writing from an Eames armchair.Bonhams wishes to thank John Makepeace for his assistance cataloguing the present lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot 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 22
Ray Leigh and Trevor ChinnDesk, model no. R984R, from the 'Series 1' range, designed 1970, produced 1970sIndian rosewood-veneered wood, chromium-plated steel, leather. 73 x 213.2 x 90.5 cm Manufactured by Gordon Russell, Broadway, Worcestershire, United Kingdom.Footnotes:ProvenanceAcquired by the present owner, circa 1974LiteratureJeremy Myerson, Gordon Russell: Designer of Furniture 1892-1992, London, 1992, p. 116Advance the Product: Gordon Russell Furniture - A Continuing Adventure 1946-1986 by Ray Leigh, The Gordon Russell Trust, 2015, p. 69Bonhams wishes to thank Verity Elson, Director of the Gordon Russell Museum for her assistance cataloguing the present lot. The present model desk was selected by the Design Council for inclusion in the Design Index.This lot is subject to the following lot symbols: TPTP Lot 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
Bodil KjærDesk, model no. 901, designed 1959, produced 1960sBrazilian rosewood-veneered wood, sapele-veneered wood, chromium-plated steel.75 x 184.4 x 92 cmManufactured by E. Pedersen & Søn, Denmark.Footnotes:ProvenancePrivate collection, Amsterdam, late 1960sThence by descent to the present ownerLiteratureBodil Kjær, Elements of architecture: works from 1955-1963 by Bodil Kjær, Copenhagen, 2017, n. p.This lot is subject to the following lot symbols: TP YTP Lot 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 97
Arne VodderDesk, model no. 209, 1950sIndian rosewood-veneered wood, Indian rosewood, Bangkok teak, painted wood, steel. 71.5 x 204.5 x 165 cmManufactured by Sibast Møbelfrabrik, Denmark. Interior of drawer with manufacturer's paper label printed SIBAST FURNITURE/MADE IN DENMARK/FURNITUREMAKER/DANISH/CONTROL/SIBAST. Footnotes:ProvenancePrivate collection, Denmark Acquired from the above by the present ownerLiteratureSibast Møbelfrabrik, sales catalogue, 1950sThis lot is subject to the following lot symbols: TPTP Lot 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 1
Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... This lot is subject to the following lot symbols: TPTP Lot 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 330
AN EDWARDIAN OAK TWIN PEDESTAL DESK EARLY 20TH CENTURY With arrangement of three frieze drawers above the pedestals each with three further drawers 76cm high, 121cm wide, 68cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and use Old splits and cracks, some chips and losses, knocks and losses to the edges and extremities The central drawer has tape over the lock - there is no key, it is unlocked in either case Handles all appear to be original throughout, there are marks and indentations to the leather surface, this is probably original also Some fading and colour variation to the timber Please refer to additional images for visual reference to condition Please note this is not a partner's desk, there is only one side with drawers, the back is probably designed to sit against a wall Condition Report Disclaimer
Lot 386
A CONTINENTAL MAHOGANY TAMBOUR DESK, 19TH CENTURY with mirror-backed superstructure above a long drawer over a tambour front opening to reveal a gilt-tooled leather writing surface, cupboard door and drawers, above a frieze drawer over a pair of panelled doors. 145cm high, 88cm wide, 61cm deep
Lot 200
Aesthetic movement ebonised and brass inlaid French desk. The upper section with pierced brass 3/4 gallery rail above a central drawer with M.O.P inlay flanked by two drawers with fur cone handles. The lower section of a central drawer with M.O.P inlay and ormolu escutcheons and two dummy drawers. Raised on turned reeded tapering supports. L79cm x D52cm x H94cm
Lot 347
A selection of desk accessories and collectibles, including: silver handled magnifying glass; gilt metal model of the Orient Express; set of three silver plated cheese mice, in box; Bilston & Battersea Royal Commemorative Golden Jubilee twin handled loving cup; horn honey dipper with silver plated bee motif decoration; National Trust Centenary quaich, in box; and other items, most in box.
Lot 44
An Edwardian mahogany lady’s writing desk, the raised back fitted with a bijouterie compartment with plush upholstery and glazed panel door, over open compartments and sloped writing surface, fitted two short drawers, one fitted letter rack compartments, raised on shell carved cabriole legs joined by turned H-stretcher, 84 x 52.5 x 136cms high.
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