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Click here to subscribeA silver mounted cut glass bowl, hall marked Birmingham 1929, a cased silver baby spoon and push set, Sheffield 1957, a cased set of 12 silver plated teaspoons with sugar tongs, a canteen of silver plated fish knives and forks, a cased set of silver plated ivory handled fish servers and other silver plate
Early to mid 20th Century silver plated table centrepiece of circular form, with clear glass liner supported by bowl with pierced foliate design border raised upon four columns, with circular base supported by four scrolling feet with rams head masks, stamped with bird mark, possibly Phoenix Manufacturing Co. of Melbourne, H33cm
18th century drinking glass, the drawn funnel bowl upon a double series opaque twist stem and conical foot, H17cm, together with an 18th century dram glass, the bucket bowl crudely engraved with heraldic style shield, upon a knoped stem and folded circular foot, H9.5cm, a later blown and moulded glass water jug, and two open salts, one of navette form, (5)Condition Report:Opaque twist glass with two small losses to rim of bowl. Smaller drinking glass also with two small losses to rim of bowl. Navette salt with small losses around rim and foot. Smaller open salt also with losses around rim. All with general surface wear, including surface scratches.
Mats Janasson for Målerås Sweden crystal Masq sculpture in 'Batzeba Blue', signed MJ Sweden 8164 beneath, together with Baccarat glass owl, with mark beneath, Orrefors glass vase of tapering form decorated with etched longboat, Stromberg bowl of flattened form deorated with etched delicate flowers, with etched marks beneath, V. Nason Murano glass dolphin, Caithness paperweight etc, tallest H14cm
A pair of clear cut glass lustres, the lamps on gilded metal bases and dolphin feet, with cream shades (converted to electricity) to the rim of the glass bowl, 46cm highCondition Report: One of the bases (metal) the one raised on the dolphins, has a split / seam (it is not broken, just opened up), a few small chips to top glass bowl rim, some lustre points damaged / chipped, and some lustres chipped to the edges and corners, 46cm to the top of the glass bowl, overall with shade 88cm. The other damage to the lustre tips, and rough areas to the lustre tips, overall good lookers.
*EMMANUEL COOPER (1938-2012) 'White Highway I' 2002, a Volcanic glaze bowl, impressed with the Artist's seal, porcelain, 15cm dia., 6cm highExhibited: Emmanuel Cooper, Solo Show, White Gallery, Hove, Brighton, 28 Apil - 2 June 2002Provenance: Purchased at the above exhibition, Private CollectionEmmanuel Cooper (1938 – 2012) was a distinguished craftsman, writer, teacher, editor and LGBTQ activist. A potter of international standing, his work is represented in many public and private collections, both in the UK and overseas. The author of nearly thirty books he was also the founder and editor of Ceramic Review, one of the world’s leading craft magazines. For over a decade Cooper was visiting Professor on the Ceramics and Glass programme at London’s Royal College of Art. He was awarded an OBE for ‘services to art’ in the 2002 New Year Honours."My work is influenced by the urban city environment, by such things as hard, textured surfaces, by street lighting, neon, endless movement and a sense of urgency. Colours are those of roads, pavements and buildings, textures are those we encounter in the metropolis. All the work is fired to 1260c in an electric kiln"
*EMMANUEL COOPER (1938-2012) 'Highway III', 2002, a large Volcanic glaze studio pottery bowl, impressed with the Artist's seal, stoneware, 25cm dia., 9cm highExhibited: Emmanuel Cooper, Solo Show, White Gallery, Hove, Brighton, 28 Apil - 2 June 2002Provenance: Purchased at the above exhibition, Private CollectionEmmanuel Cooper (1938 – 2012) was a distinguished craftsman, writer, teacher, editor and LGBTQ activist. A potter of international standing, his work is represented in many public and private collections, both in the UK and overseas. The author of nearly thirty books he was also the founder and editor of Ceramic Review, one of the world’s leading craft magazines. For over a decade Cooper was visiting Professor on the Ceramics and Glass programme at London’s Royal College of Art. He was awarded an OBE for ‘services to art’ in the 2002 New Year Honours."My work is influenced by the urban city environment, by such things as hard, textured surfaces, by street lighting, neon, endless movement and a sense of urgency. Colours are those of roads, pavements and buildings, textures are those we encounter in the metropolis. All the work is fired to 1260c in an electric kiln"
SVEND BAYER (born 1946); a wood fired stoneware jug, height 18.5cm, and a bowl with glass like pooling to the well, impressed early SB mark, diameter 16.5cm (2). (D)Additional InformationGlaze flakes to jug body and handle, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Mixed quantity of ceramics including Paris porcelain three spouted jug, Linthorpe dish, Masons, Beswick, Wedgwood tea service, crested China, art glass bowl, etc. (Quantity on two trays)Gilt surfaces are rubbed in parts, spouts with chips, one of the figures heads is broken, some chips to the head, figures heads are rubbed, base with small chips with the edges, the lid is rubbed and lid finial is cracked and damaged
Aynsley 'Orchard Gold' tea wares comprising six cups and saucers and a set of four shaped dishes; together with various 'Abbeydale' Duffield Derbyshire Bone China plates, a pair of ruby and gilt decorated goblets, with similar footed bowl, etc. (Qty on three trays)The Aynsley tea wares - some items with slight rubbing to the gilt decorated surfaces, some items with slight scratchingThe Abbeydale bone China sugar bowl with cover damaged with large chips, witness marks of glue residue, Royal Crown Derby saucer with a chip to the outer rim, the other plates of the Abbeydale service are in good condition, the glass bowl and drinking glasses with small scratches in parts, slight rubbing to the gilt decorated surfaces, small copper lustre mug with cracks and a large chip to the top rim
Group of three glass and ceramic objects including one red glass bowl by Ian Forbes (Canadian, 20th/21st c), one globular form ceramic by Richard Zakin (American, 1937-2018), and one American school tall green and white glass vase.Forbes bowl; Height: 4 in x diameter: 7 1/2 in. Zakin ceramic; Height: 7 in x diameter: 9 3/4 in. Tall vase; Height: 21 1/2 in x width: 4 in x depth: 3 1/2 in.
Lalique, France. Igor crystal caviar bowl with a stylized fish finial and a metal tray. Retains original tags. One glass plate decorated with grapes along the well. Each piece signed "Lalique France."Caviar Bowl (with insert); Height: 10 in x diameter: 7 1/2 in. Plate; Height: 1 in x diameter: 9 1/4 in.
Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?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
Carlo ScarpaBowl, model no. 3550, circa 1936Sommerso glass with gold leaf inclusions. 6.1 cm highProduced by Venini, Murano, Italy. Underside acid-etched venini/murano.Footnotes:LiteratureMarino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 139For further information on this lot please visit Bonhams.com
Carlo ScarpaLidded bowl, model no. 651A, circa 1932Incamiciato glass with applied gold leaf. 8 cm high, 11 cm diameter Produced by V.S.M. Venini & C., Murano, Italy. Underside of bowl acid-etched MADE IN/ITALY.Footnotes:LiteratureMarino Barovier, ed., Carlo Scarpa: Venini 1932-1947, exh. cat., Fondazione Giorgio Cini, Venice, 2012, p. 118For further information on this lot please visit Bonhams.com
18TH CENTURY WINE GLASS OF JACOBITE SIGNIFICANCE,the funnel bowl wheel-engraved with the six-petal Jacvobite rose flanked by buds, on a wrythen knopped stem with drawn air bubble, circular foot, rough pontil scar, 15.2cm highCondition generally good. Light wear as per use and age, and would benefit from light clean.
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