Paavo TynellStandard lamp, model no. 9609/10502, from the 'Humoresque' series, 1950sBrass, cane, painted metal, original paper shade.152 cm highManufactured by Taito Oy, Helsinki, Finland. Light fixture impressed by manufacturer with TAITO/9609. Footnotes:LiteratureTAITO, no. 16, Helsinki, late 1940s, n.p. Koristevalaisinluettelo (decorative lamps list) , no. 142, Helsinki, 1953, p. 46Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, New York, p. 31This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
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Ettore Sottsass JR.'Gala' standard lamp, from the Mobili lunghi series, 2000Painted laminated-wood. 200 x 12 x 12 cmProduced by Memphis Galleria Post Design, Milan, Italy.Footnotes:LiteratureEttore Sottsass: Memphis Galleria Post Design, Milan, 2000, n.p.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
Danny LaneUnique and monumental 'Mandorla' sculpture, 2003Hand-cut float glass, stainless steel. 312.5 x 82 x 25 cmFootnotes:Sacred Geometry by Nick WrightBy defacing the surface of glass Danny Lane invites one to look inside a material designed to be seen through. He makes the invisible visible. It began with a visit to Ron Arad's first shop, an old bicycle store, on Endell Street. Arad was showing tables made with scaffold bases and seeing the glass tops Lane felt he 'could do more'. He noticed a chipped sheet and, with Arad's agreement, took it back to his Hackney studio and polished the broken edge. The safe but still fractured line drew the eye into the seemingly infinite green breadth. Having used pliers to replicate accidental breakage, Lane set about the surface. He sandblasted swirls, whorls, scratches and stabs into the glass creating a 'sand blasted drawing'. The jagged pieces, redolent of industrial decline and social facture, sat well on Arad's scaffold bases – and with buyers. French critics coined the term 'ruinism'. Arad, an AA educated architect dislikes it. 'Destruction wasn't on the flag', he says. Lane is less resistant. 'Though the techniques were destructive, they opened up the material to reveal the beauty inherent, its soul'. Both shared a Duchampian quest for what Arad called 'the perfect line'. Designed in its entirety by Lane in 1985, the RSJ table comes close to describing that line. A massive steel RSJ serves as a cross-member. Bolted to one end is a plate of pliered glass, welded to the other an even larger steel. The rusted RSJ was sheared using a torch, ripped apart, then hammered by the industrial machinery that Lane was even then salvaging from London's bankrupt engineering industry.The RSJ table is elegant despite its scale, avant-garde despite his pillaging of a redundant industrial past for materials. Indeed, when his contemporaries were using scrap Victorian ornament to make whimsical, sometimes historicist, even New Romantic forms, Danny Lane created a brutalist monster piece that remains timeless because it is 'right'. Most designers would have produced a sizable edition. Lane made five, all different – of course - before continuing his own quest; to divine the depth of glass. He talks of a conscious break too from making furniture; 'How well I was misplaced'. An American, he had travelled throughout Europe as a young man, entranced by the stained-glass saints illuminating the windows of the great cathedrals. He came to the UK to study glass making under Patrick Reyntiens, took a degree in painting at the Central School of Art and Design, and only though a chance meeting with Ron Arad was he diverted into furniture. Design and art are, despite the protestations of many designers, not equivalent; why limit expression to the representation of a chair or lamp when the imagination is, or feels to be, limitless? That said, there is continuity between, and Danny Lane's career demonstrates this.Mandorla (a medieval architectural frame enclosing a sacred figure) has no utility beyond the aesthetic. Like any artwork its success must be measured in its ability to 'move' as David Hockney put it 'Art has to move you, design does not, unless it's a good design for a bus'. That and its originality. Mandorla succeeds when judged by the first criterion. The pliared edge of each plate draws the eye inside an interior seemingly illuminated by the cold light of a distant sun. Stood before the shard one sees one's reflection as if frozen within. Stand further back and the fall of layered glass awes, not with its scale or technicality of construction, but its elegance despite them. In aesthetic terms Mandorla is a success.In terms of originality the sculpture has antecedents; Danny Lane has done this before. The stacked glass sculptures that grace Canary Wharf, The General motors HQ, make up the balustrade in the Victoria and Albert Museum, and Mandorla itself, were prototyped in chairs he made in the 1980s. Danny Lane did not break with furniture design. He used techniques developed in furniture to continue his quest. That quest is to divine the depth of a material that has entranced him all his life, glass. It is by his own account a spiritual quest and one his work, furniture and sculpture, permits us to accompany him on. His work moves. Bonhams wishes to thank Nick Wright, the author of Cut and Shut: The History of Creative Salvage, London, 2012.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
Paavo TynellTable lamp, model no. 5061, 1950sBrass, coloured glass.38.5 cm high, 36 cm diameter.Manufactured by Taito OY AB, Helsinki, Finland. Underside of base impressed with OY TAITO AB.Footnotes:LiteratureTAITO, no. 16, Helsinki, late 1940s, n.p. Finland House Lighting: harmony in lighting for harmony in living, original designs by Paavo Tynell, New York, p. 31 for a similar exampleMarianne Aav, Eeva Viljanen, Paavo Tynell ja Taito Oy, exh. cat., Design Museum, Helsinki, 2005, p. 20 for a similar exampleFor further information on this lot please visit Bonhams.com
Angelo LeliiAdjustable standard lamp, model no. 12247, 1950sPainted metal, brass, fabric shade.180 x 85 x 33 cm highManufactured by Arredoluce, Monza, Italy. Underside of base embossed with ARREDOLUCE - MONZA ITALY/12247.Footnotes:LiteratureAnty Pansera, Catalogue Raisonné 1943–1987, Milan, 2018, pp. 117, 279 for similar examplesThis lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
Angelo Lelii'Triennale' three-armed adjustable standard lamp, model no. 12128s, circa 1951 Painted aluminium, marble, brass, painted steel, leather-bound steel.196 cm high fully extendedManufactured by Arredoluce, Monza, Italy. Stem impressed MADE IN ITALY.Footnotes:ProvenanceWrights, Chicago, 'Modern Design', 18th October 2012, lot 333Acquired from the above by the present ownerLiterature'Apparecchi per l'illuminazione alla IX Triennale', Domus, no. 261, September 1951, p. 31'La Triennale nel suo quartiere sperimentale Q.T.8', Domus, no. 263, November 1951, p. 7Franco Grigioni, Arredamento, Milan, 1956, fig. 60Anty Pansera et. al., Catalogo ragionato 1943-1987, Milan, 2018, cover, pp. 137, 287This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
PAAVO TYNELLStandard lamp, model no. 9631, 1950sBrass, cane, fabric shade.146 cm highManufactured by Taito Oy, Helsinki, Finland. Underside of base impressed with TAITO.Footnotes:ProvenancePrivate collection, HelsinkiLiteratureIdman: Koriste Valaisimia Luettelo (Decorative Lamps List), no. 138, Helsinki, 1950s, p. 76This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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
Tiffany Studios'Pansy' table lamp, circa 1910Patinated bronze, leaded glass.53 cm high, 40.7 cm diameterInterior of shade rim impressed TIFFANY STUDIOS NEW YORK 1435 and underside of base with TIFFANY STUDIOS/NEW YORK/26876.Footnotes:ProvenancePrivate collection, New YorkAcquired from the above, 1950sPrivate collection, RomeThence by descent to the present ownerFor further information on this lot please visit Bonhams.com
A Gusteiger: two prints, "Lilies" and another floral study, in cream strip frames, a pastel study of poppies, E R Harris: a print, "The Tub", four prints of rural scenes, a plan of the town Dumfries and a scene of the old bridge at Dumfries, Marshall: oil on canvas, "Sunlit Plains, Taxila", 14 1/2" x 18", in gilt frame, and a needlepoint of a Tiffany style lamp
Y Asprey, a brown crocodile travel case, the case stamped A. B. C., with twin loop handles and two flip lock clasps, opening to silver and silver mounted items by various maker's and dates, with engine turned decoration, engraved with a crest above the motto Tout jour, to include: five cut glass bottles with silver mounted covers, a silver corkscrew, a silver vesta case, a silver mounted shaving brush, two leather boxes with silver mounted corners, a mirror case with silver mounted corners and other silver and silver mounted items; two electro-plated mounted spirit flasks; an electro-plated lamp; and ivory mounted dressing table items, the case 66 x 43 x 22cm, 132g (4.25 oz) gross weighable; together with another brown crocodile bag, with twin loop handles and stamped ABC, 55 x 40 x 26cm
A silver table lighter in the form of an oil lamp by Albert Edward Jones, Birmingham 1912, the hammered body with a loop handle, chased There is no herb like it under the canopy of heaven, on a circular pedestal foot, 13cm (5in) long; an Edwardian silver table lighter by Mappin & Webb, Birmingham 1907, with a ball finial, the three lighting sticks with cone finials, on three double scroll legs, 10cm (4in) high; and another table lighter in the form of an oil lamp, maker's mark A.J.J, Birmingham 1924, with a hammered body and loop handle, 10cm (4in) long, 275g (8.85 oz) grossCondition Report: Albert Edward Jones - Marks are clear, cover is unmarked, possibly a replacement, stands well Mappin & Webb - Marks are clear, stands well A.J.J - Maker's mark partially obscured, rest are clear, stands well All with light scratches and wear commensurate with age and useCondition Report Disclaimer
A silver lamp by Hawksworth, Eyre & Co. Ltd., Sheffield 1932, with a beaded border, fluted tapering stem and on a hexagonal base, 44cm (17in) high, loadedCondition Report: Date letter partially obscured, rest are clearStands wellHeight is to the top of the fittingPierced holds towards the bottom of the stemLight scratches and wear commensurate with age and useCondition Report Disclaimer
A mixed lot to include a brass effect three branch chandelier, a table lamp, Tiffany style lamp shade, a Goodman's portable DVD player, a leather cased bowls set, a large quantity of posters to include Ian Dury, Alphonse Mucha and others and a 1960s/70s edition of The Hobbit by JRR TolkinLocation: RAF
A mixed lot to include an Iranian figural landscape painting on mica, glazed in a micro mosaic frame, a turned alabaster table lamp, a boxed Chinese model of a Junk, Iranian brass tray topped games table, various copper and brass pots and jugs, an Indian open barley twist table lamp and other items
A mid 20th century Art Nouveau style table lamp of baluster form, mottled pink glass with mushroom shade, by Monart with original paper labelCondition report: In good condition with no cracks large or small immediately obvious, otherwise no damage, repair or restoration. 35cm high, shade is 20 cm diameter
An Eastern lion aquamanile type table lighter, late 19th/early 20th century, 13cm high, a cast polish brass foo dog on plinth base, 5cm high, and Chinese carved wood figure of an elder, 13cm high (3)Condition report: Possible losses to oil lamp, general wearFoo dog has some manufacturing flaws, wear to finishCarved figure has losses and a split
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307207 item(s)/page