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Click here to subscribeAn 18th Century North Country oak and cross-banded chest, the plain top with applied moulded edge over two short and one long drawer and central cupboard door with starburst inlaid decoration, flanked by two banks of small drawers, raised on bracket feet, 81 cm wide x 47 cm deep x 85 cm high
A 17th Century oak food cupboard with bog oak and holly parquetry work barber pole banding, the two open shelves with turned rails, over a single cupboard door, flanked by lozenge carved panels, 70 cm wide x 20 cm deep x 81 cm high (Provenance: Bonhams Lot 284 The Oak and Interior Sale 30th September 2015)
WILLS; a George III oak cased longcase clock, the moulded cornice above brass 12" dial set with Arabic and Roman numerals, centred with subsidiary seconds hand and rolling date aperture, inscribed 'Wills. Truro 1790', crossbanded door to stepped plinth on bracket feet, height 184cm. CONDITION REPORT: with winding key, case key, weights and pendulum
HALLIWELL, WARRINGTON; a George III mahogany cased eight day long case clock, the broken swan neck pediment above arched painted dial, with rolling moon phase, the chapter ring set with Roman and Arabic numerals, with subsidiary seconds and day dial, above a shaped door flanked by quarter reeded pilasters, above a stepped plinth base, height 223cm. CONDITION REPORT: Overall in ok condition, with minor losses to beading in places. Some joints coming away, with further signs of wear visible throughout, including scuffs, scrapes, staining, fading, etc.
SMITHS LONDON; a 1960s oak cased English Clock Systems Master Clock regulator wall clock, the arched top above a white dial set with Arabic numerals, bearing the maker's details, above a long glazed door, serial no.30519, height 133cm. CONDITION REPORT: With paperwork. Appears to be in overall good condition. The back of the arched top has some loss to the oak veneer, with further minor signs of surface wear visible throughout, including scuffs, scrapes, etc.Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
An early 20th century walnut cased triple weight Vienna wall clock, the carved arched pediment above moulded cornice and arched glazed door, the white enamelled dial set with Roman numeral chapter ring, with fret carved back pane and incised decoration to the triple weight, striking on gong, height 123cm (lacking pendulum). CONDITION REPORT: The enamel dial is cracked and chipped to th e chapter ring between 4 and 5 and further chipped to the right hand winding bezel.Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
A late 19th/early 20thC Arts and Crafts hall cupboard by Thomas Edwards, Newcastle, the top with a moulded cornice with dentil moulding, the single door with two bevel mirror plates, copper heart and scroll shaped door hinges, and a central copper panel with raised bead and heart decoration, the interior with an upper shelf and various hooks for coats and hats, flanked by two carved shelves and recesses for umbrellas, with removable copper drip trays, raised on pierced heart shaped trestle supports, 190cm high, 104cm wide, 49cm deep.
An Edwardian Adam style breakfront mahogany sideboard, the raised back with a central finial flame carved, above a bowfronted centre flanked by two pedestals, each with a frieze drawer and a panelled door with bronzed effect lion mask handles, raised on square tapering legs, 129cm high, 168cm wide, 59cm deep.
Designer (TV) cabinet; (MODULAR - SO SPLITS INTO 3 SEPARATE PIECES OF FURNITURE) Description and measurements for large cupboard:2 x 2 sliding door cupboards with oak trim and coral high gloss lacquer. Shelving inside. Matching wall panel in dark oak with shelves and base unit below with push & pull drawers and cupboards. MeasurementsWardrobes eachW 81.4 cmD 63.5H 237 cmBase unit with drawers and cupboardsW 144D 56H 66
A 17th century oak spice cupboard, geometric moulded door, enclosing 6 graduated drawers with pear-drop brass handles, raised on bun feet, W46cm, H55cm, D26cmTop has a few old splits which are stable, 1 backing board has a horizontal split running from side to side, 3 drawer base inserts are split, hinged door working perfectly, with key and lock working
A 17th century style oak table-top armoire apprentice piece, geometric moulded doors, with interior drawers, W35cm, H44cm, D19cm1 small piece of moulding missing from left door, cornice has hinged lid which is slightly warped with 1 piece of moulding missing and other slightly loose, interior is lacking a shelf, doors working, no key
A vintage 20th Century 1930s Art Deco walnut double door wardrobe of serpentine form with carved top and base having a central panel flanked by two doors each with knob handles. Measures approx; 189cm x 190cm x 64cm. 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 .
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 .
A curved two-door cabinet, Holland, transition, 4th quarter 18th century. Mahogany glued, double curved profiled hood with carved crest with medallion, contoured doors with ditto medals and flower vase, double curved base cabinet with three large drawers, brass fittings, contoured base, resting on claw feet, h 245 x w 198 x d72 cm.
Sido and François TheveninImportant, monumental and unique 'Musique au Paradis' wall-mounted sculpture, 1974Bronze, brass, iron.Overall: 131 x 234 x 5.5 cm Tree root collar impressed SIDO AND FRANÇOIS/THEVENIN/GTS/FT/CANNES/1974.Together with a certificate of expertise from Nicolas Thevenin.Footnotes:ProvenanceGalerie Drouant, Paris, 1974Aga Khan IV, acquired from the aboveAndré Malizard, Villefranche-Sur-Mer, France, 1970sAcquired from the above, private collection, Villefranche-Sur-Mer, France, 2002Thence by descent to the present ownerExhibitedGalerie Drouant, Paris, 1974A FEW THINGS ABOUT SIDO AND FRANÇOIS THEVENIN. Nicolas Thevenin François Thevenin was born in Aix-en-Provence, France in 1931, and Sido (Gisèle Sidoti), Casablanca, Morocco in 1934. Sidoti was her maiden name, which led to her artist's pseudonym Sido and is the reason why some works are impressed GTS: Gisèle Thevenin Sidoti. Both artists' careers began from an early age. François achieved first place for modelling clay in year two, sculpting spontaneously and ambitiously the impressive 'Montagne Sainte-Victoire'. At age five, Sido made local news headlines for a sandcastle contest at the beach, having sculpted a shepherd and her sheep that measured a monumental four meters long, commenting 'It is fun shaping forms!' In 1952, François and Sido met at the Beaux-arts de Paris, where they studied under the direction of the sculptor and painter Louis Leygue. Following an un-official marriage celebrated with close friends, who described how, 'these two spend too much time together', François and Sido officially married in 1954. After welcoming their first child Dominique in 1955 in Paris, they settled in Cannes in the French Riviera between 1957-1958. In 1961, François and Sido worked with the artist Jean Cocteau on the sundial 'Les Lézards' for the village Coaraze in the Alpes-Maritimes above Nice. This commission comprised one of François and Sido's earliest artistic collaborations and works in metal. François and Sido had progressed toward working in metal following an overwhelming and precarious disappointment. For many months, they had shaped and sculpted hundreds of raw terracotta figures, a 'real pacific and sympathetic army'. When it came time to bring the works to be fired at a kiln in Vallauris, they carefully packed up every figure into the car and set off. Alas, a sneaky bump at the entrance of the facility reduced their fastidious three months of artistic production to utter dust and detritus. However, this unfortunate event led to a fortunate outcome, convincing François and Sido to turn towards the far more durable medium of metal. Another collaboration began after meeting Jacques Couëlle, acknowledged as 'the architect of billionaires', whose ideas and appreciation for execution appealed to François and Sido. In 1962, they began working with the architect on Castellaras Estate in Mouans-Sartoux, France, applying their artisanal skill within the space to create door furniture, lighting, among other interior fittings and fixtures. Whilst working with Couëlle, François and Sido became close friends with the actor Marcel Duhamel, who subsequently introduced them to the brothers Jacques and Pierre Prévert, Pablo Picasso (who often visited their workshop, commenting that it reminded him of Bateau-Lavoir, his workshop in Montparnasse), Yves Tanguy, Brassaï, and many others. In 1966, Sido gave birth to their second son Nicolas in Cannes. During this time, François and Sido worked on several international commissions, including work in Montreal, New York, and Santiago del Chile. François and Sido also collaborated with Couëlle's son Savin, the architect for Porto Cervo, Sardinia, which was initiated by the Aga Khan IV. The artists and architect worked together for decades, becoming a symbiotic alliance, that could be thought of as almost genetic, as Savin would incorporate François and Sido's sculpture and objects into his architecture, while the two artists would intricately form Couëlle's volumes into their sculpture. This close collaboration developed through many projects across several continents, resulting in sculptural pieces of furniture that includes tables, seating, lighting, doors, grills, and handrails, many of which were unique works of art. Together François and Sido created a vast collection of work and exhibited at prestigious galleries, including Drouant, Paris in 1972, and Cartier in 1980. Their work, which extends from furniture to sculpture, painting, drawing and etchings, was continually inventive and conveyed an organic, unexpected, and enchanting world for their viewers. In 1986 Sido passed away at age 52, followed by François in 2016 at age 85, both in their shared house-workshop in Cannes.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR 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
David PowellUnique 'Heal's' two-part sideboard, designed 1964Brazilian rosewood, ebony, fabric upholstered doors. 84 x 220 x 51 cm Produced by David Powell, London, United Kingdom. Brass label impressed DESIGNED AND MADE BY DAVID POWELL.Footnotes:ProvenanceAcquired directly from the designer, London, mid-1960sThence by descent to the present ownerLiterature'David Powell Designs', Furniture, London, 1960s, n.p.Bonhams wishes to thank Kristina Madsen, who holds the David Powell archive, for her assistance cataloguing the present lot.David PowellKristina MadsenFurniture maker and former student of David PowellDavid Powell (born 1926, Tunbridge Wells) was raised in a family and community of highly-skilled artists and craftsmen. His great-uncles, Alfred and Oswald Powell, were prominent figures within the British Arts and Crafts Movement, and his father, Roger Powell OBE, a celebrated bookbinder. David trained as a furniture maker with Edward Barnsley, and later attended the Royal College of Art. He established his furniture making business in London in the late 1950s and, over the course of the next decade, worked from several locations. When he built this sideboard in 1964, his studio-workshop was located at 3 Jubilee Place, Kings Road, London, S.W.3. Most of the furniture he produced during this prolific period was for boardrooms and dining rooms, with rosewood being his wood of choice. His vision as a designer-craftsman was to produce functional furniture of exquisite design and superb craftsmanship, and by offering some pieces as stock items, make the work available to a broad audience; a vision difficult to realise due to the number of hours required to build each piece. Notable commissioned works from this era included pieces for Windsor Castle; Shell International, London; and Burlington House, Piccadilly, to name a few. In 1969, David emigrated to the United States, where he continued to take commissions for furniture of his design. In 1977, he and businessman and designer, John Tierney, established Leeds Design Workshops in Easthampton, Massachusetts. In addition to marketing their furniture, they ran a training program that was modelled after David's own training in the Barnsley workshop. After the school's closure in 1989, David and John continued to promote their work under the LDW name. Masterful, and passionate in his commitment to functionality and exquisite design, David dedicated his life to creating fine and beautiful furniture. He died in 2001 in Northampton, Massachusetts.There are two known sideboards of this design. The original was built for an exhibition at Heals, London. Constructed in two halves for ease of transport, the original was attached to a single, four-legged base. For the present sideboard, David designed a split base, rendering each half a free-standing unit. It is likely that a commission for this piece resulted from the Heals exhibition. Both sideboards are made of rosewood with ebony handles. The working drawing, dated 1964, specifies vertical-grain rosewood veneer on the door fronts. It is unclear when or why David decided to substitute fabric. Although he repeatedly used fabric and leather on his seating, the upholstered doors on these two sideboards are unique within his oeuvre. David's notes regarding a 1965 dining set indicate that a rosewood sideboard of comparable scope required 685 hours to complete.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
Y A SOUTH ITALIAN VERRE EGLOMISE, TORTOISHELL, ROSEWOOD, EBONISED AND EBONY CABINET NAPLES, LATE 17TH CENTURY, CIRCLE OF LUCA GIORDAN, POSSIBLY BY DOMENICO COSCIA Of breakfront outline, the panels painted with mythological scenes, the central architectural door opening to a mirrored recess ON A LATER GEORGE III EBONISED AND PARCEL GILT STAND LATE 18TH CENTURY the cabinet and stand overall 176cm high, 146cm wide, 50cm deep Provenance: Christie's, London, Fine European Furniture, Sculpture, Tapestries and Carpets, 10th November 2005, Lot 164 Catalogue Note: During the 17th and 18th Century many visitors on the Grand tour would have marvelled at the Italian interiors adorned with exquisite furniture. The cabinet on stand was a piece particularly admired and often commissioned to be brought back to England. One such grand tourist was Thomas Isham 3rd Bt (d.1681) who spent three years in Rome amassing a collection of wonderful objects which included a similar pair of cabinets. Other comparable examples can be found in the Victoria and Albert museum, The Palazzo Barberini and the Pitti Palace (see E. Colle, Il Mobile Barocco in Italia, Milan, no. 14). The painted panels depicting mythological subject matter resembles the work of Luca Giordano (1632-1705) although none of the designs have been attributed to him. Bernardo de Dominici an Italian historian and painter (1683-1759) wrote extensively in his Vite de' Pittori Scultori ed Archietti Napoletani on Giordano's painting on glass which resembles the imagery of this cabinet. However, he also mentions the pupils of Giordano who painted on glass, most notably Domenico Coscia. Not much has been written about Coscia and he remains largely unknown. Nevertheless, the artist is mentioned in Linda Martino's introduction of the 'Vetri Dipinti' section in A.Gonzalez-Palacios, Civilta del Seicento a Napoli, 1984, p 4.22. This suggests he was the most prolific glass painter of cabinets at the time and probably was the painter of this piece. Alvar Gonzalez- Palacios also argues panels of this kind were initially painted in Florence and then assembled in Naples. This suggests the painter would have been a living in Florence at the time (A. Gonzalez-Palacios, Il Tempio del Gusto, vol). This theory is supported by Mina Gregori and Frederico Zeri who have attributed similar panels in a Naples private collection to the Florentine artist Pietro Dandini (1646-1712) [ibid.,p.283]. Condition Report: Overall there are knocks, scratches, cracks and abrasions consistent with age and use. There are losses, restorations and observations including: some black staining; cracks to some veneers including the rosewood sides; the base with no carving to the back of the back legs; the base with gilding probably later, suggested by the absence of gilding to the back of the front legs even though they are carved with flutes; scuffing along the top edge of the front of the base revealing the underlying wood; the lock to the central door is a replacement; scuffing where the drawers and door run against the outset base of the top; the painted panels with some paint flaking and scratched; some cracks to some panels; some verre eglomise panels loose; lacking one moulding to the side of one panel; chips and losses to the tortoiseshell including to the edges alongside the drawers; there is evidence of worm. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
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