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Click here to subscribeFrank Butler for Doulton Lambeth Stoneware Vessel Dated 1876, salt-glazed and bearing profuse enamelled floral decoration including flowerheads in relief on beaded tendrils, bearing impressed FEB monogram and factory marks to base.29.5cm highA few instances of small-scale glaze flaking/losses to the pale floral ground pattern, some manufacturing imperfections and light generalised wear, no visible restoration or damages.
Sven Palmqvist (Swedish 1906-1984) for Orrefors Four 'Smoke' Vases Circa 1950s, comprising a larger and pair of shaped circular vases with angled necks and a lozenge form vase, all signed Orrefors with number code.The tallest 28.5cm highThe William "Bill" Davies Collection of Scandinavian Glass.The tallest vase with a small surface scratch, otherwise very light generalised wear, no chips or cracks.
Pilkington's Royal Lancastrian Group of Monochrome Art Pottery Early 20th century, comprising a compressed olive-glazed vase, a green-glazed bottle vase, a blue-glazed vase with flared neck, a turquoise-glazed vase and a larger three-tone bowl, together with a Rookwood Pottery yellow-glazed circular 'censer' dish.The larger bowl 29cm diameterThe bowl with one very small chip to rim exterior and some glaze scratches, turquoise vase with some small glaze scratches, otherwise light generalised wear but no other damage or restoration to note.Blue vase with glaze scratch to interior, turquoise vase with a few very small glaze scuffs, green bottle vase has unusual finish or firing effect to the foot and a couple of very small glazing imperfections to this area; additional images including marks now added.
Florence E. Barlow (British 1856-1909) for Doulton Lambeth Large Stoneware "Birds" Vase Salt-glazed with pate-sur-pate decoration of brids amongst reeds alternating with tubelined, glazed and 'jewelled' foliate scrolls, impressed FEB monogram, further BWP monogram, factory marks and code 806 to base.38.5cm highProfessionally restored area to rim and shoulder, faintly visible hairline to this area interior, the restoration patch visible and encompasses the tops of two of the reeds, no other visible restoration or damage, some light generalised surface wear.
Tamara Aladin (Finnish 1932-2019) for Riihimäen Lasi (Riihimäki) "Tulppaani (Tulip)" Vase and Two "Ruusu (Rose)" Vases Circa 1970s, the first design no. 1512, the others no. 1477, two in red with orange shades and the third teal or 'petrol blue'.All approx 20cm highThe William "Bill" Davies Collection of Scandinavian Glass.The teal vase with some surface scratches, otherwise light wear but no damage to note.
Per Olof Ström for Alsterfors Two 'Hooped' Vases and Another Circa 1970, both in 'ruby' colourway, the third and smallest likely pattern no. AV229/11 in red.The tallest 24.3cm highThe William "Bill" Davies Collection of Scandinavian Glass.Some specks of white paint which come off, light generalised wear but all good and without damage.
Ruskin Pottery Group of High-Fired Flambe Ware Pottery Early 20th century, comprising oval plaque, two roundels (one mounted as a brooch) and two buttons, all stamped Ruskin to reverse.The oval plaque 10cm wideThe red glazed button with small chip to rim, the blue button with several hairlines, otherwise light generalised wear including some glaze scratches to oval plaque.
Tall Swedish Art Deco Engraved "Amphora Carrier" Vase Circa 1950s, possibly Strömberg, very pale 'ice' blue glass of oval form, unmarked, base likely 'mopped'.34cm highThe William "Bill" Davies Collection of Scandinavian Glass.Base likely 'mopped' as stated, otherwise some small and light scratches including to rim interior but otherwise free from chips or cracks.
Sven Palmqvist (Swedish 1906-1984) for Orrefors Group of Art Glass 1960s and later, comprising a clear cased 'aqua' vase, signed Orrefors PU 3591/16, and four "Fuga" bowls of varied size, together with a clear and blue "Neptunus" bowl designed by Lars Hellsten and a controlled bubble vase by Ernest Gordon for Afors, these all marked to bases.The first 16.5cm high, the "Neptunus" bowl 28.3cm diameterThe William "Bill" Davies Collection of Scandinavian Glass.Gordon for Afors vase with a surface bruise to one side, otherwise some light generalised wear but remainder in good condition without issues to note.
Monica Backström (Swedish 1939-2020) for Kosta Boda Large "Terra" Vase Circa 2004, shaped spherical and pinched form, bearing Kosta Boda label and signed Kosta Boda M. Backström 7040346. 19cm high The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society One tiny surface nick or imperfection from manufacture, one tiny and light scratch, overall good and well presented.
Stamps; An Excellent Canada Stamp Collection, early to modern, housed in three albums, plus two yearpacks: 1977 (incomplete), 1981 (complete). Noted: 1851 3d, Beaver- imperfect (used), 1897 Jubilee 50c, light ultramarine (used) 1903 KEVII, 20c, 50c (unused- no gum). Also noted: 1908 Quebec Tercentenary set- all mint, but with thins, many other high catalogue items included
Stamps; A Collection of Great Britain Stamps, ranging from Q.V. 'Penny Reds' to decimal QEII, includes a selection of 'Traffic Light' blocks and presentation packs noted. one shilling green embossed Q.V. (one cut to shape, two cut square), 6d, purple embossed Q.V (cut square), 1873 4d sage green, plate 16 large garter WMK (unused), 1883 two x five shillings (used), also included 'Wembleys', 'Seahorses', various high value mint and used
Oris - a 1960s mid-size 30mm diameter stainless steel calendar wristwatch, Ref 302-7285B, the light-cream grey two tone dial, raised gilt Arabic numerals and dauphin hands, an outer 31-day date chapter and centre date-indicator hand with red crescent terminal, two-piece screw back case on a later black leather strap, Oris SA 17 jewel movement, Cal. ETA 2691, boxed, c.1961
§ Richard Bawden RWS, NEAC, RE (1936-2024) a group of four signed unframed etchings and aquatints, to include: The Flowers, numbered 26/75, 67 x 53.5cm; Hattie's Sofa, numbered 24/85, 56.5 x 75.5cm; The Garden Seat, A/P, 64 x 51cm; and Fuchsia, A/P, 56.5 x 63.5cm The Flowers: Light handling creases and some very minor accretions to the lower right cornerHattie's sofa: Light handling creases and some negligible foxing in the top margin Garden Seat: Light handling creases and with minor scattered foxing to the top and left hand margin Fuchsia: Light handling creases including a dog-ear crease over three corners
Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak 'Easy' armchairs, circa 1955 78 x 53 x 63cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.
§ Martin Greenland (1962-) Noonsigned 'Greenland' (lower right); titled to the reverseoil on canvas40 x 45cmCanvas is in plane and has good tension. A light layer of surface dirt and with one or two minor hair or fibre inclusions within the paint layer and with three small paint flecks (two in the upper left quadrant and one in the upper right quadrant) , but in nice overall condition
§ Victor Van Vlijmen (Contemporary), Head Form, a green plate-glass Surrealist head, of layered, linear form, acid-etched signature 'Van Vlijmen' to the base28cm highThere are some rough edges due to the nature of the m,anufacturing, but there are no detectable chips, cracks or losses. Some light surface wear and scratching to base.
§ Paul Banning RI, RSMA (1934-) Morning Light, Santa Maria, Venicesigned with initials (lower left)watercolour34 x 31cmProvenance:With Alresford Gallery, HampshirePerhaps very slightly faded (as per images), but this is uniform and even in appearance. A small stain along the top edge and with some minor scattered accretions to the sky, otherwise in nice, presentable condition. See additional images.
An Aesthetic Movement stained glass hall lantern, of hexagonal form, the facets each inset with coloured glass quarries centred by white glass tablets hand-painted with Japonisme inspired scenes85cm high approximatelyTwo ceiling hooks and a length of chain provided with this lot.One ribbed knop to the base missing.One crescent shaped panels cracked through (painted with vine leaf)This item is not gilded but painted, and likely refreshed.Surface dirt to the interior particularly.No fittings for light bulbs inside, nor wired.All leaded panels are a little loose, the base section sits within brackets and is able to be lifted out.70cm high, but rose and chain would allow variable height diameter is 32cm
Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak 'Easy' armchairs, circa 1955 78 x 53 x 63cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture. There is a repair to the rear leg of one of the chairs. Both chairs have minor repairs to their arms. There are minor scratches and dings throughout both chairs but overall in good condition according to age and use. Please refer to the additional images.
§ David Leach (1911-2005), a cut-sided bowl, the porcelain body glazed in white, embellished with fluted sides and slightly everted rim, impressed seal to underside, 11 x 17.5cm; together with two further porcelain wares by David Leach, including a smaller cut-sided bowl in speckled oatmeal glaze, impressed seal to underside, 6 x 10cm; and a circular celadon-glazed box and cover with brush decoration to cover, impressed seal to foot, 5 x 10.5cm (3)There is a hairline crack to the cover of the box, otherwise all in good condition noting some light surface crazing only.
§ Martin Greenland (1962-) Evening/Dusksigned 'Greenland' (lower right); titled to the reverseoil on canvas40 x 45cmCanvas is in plane and holds good tension. There is a layer of surface dust/dirt throughout and a possible white paint fleck located to the upper left quadrant (though this may be intrinsic to the work). It would benefit from a very light clean to lift the surface debris.
§ Martin Greenland (1962-) Midnightsigned 'Greenland' (lower right); titled to the reverseoil on canvas40 x 45cmCanvas is in plane and holds good tension. Would benefit from a light clean due to a layer of surface dirt, three dark accretions to the right hand side (possibly frass) and some small scattered white paint flecks. There appears to be some fine hair or fibre inclusions within the paint later.
§ Howard James Morgan (1949-2020) Two female figuressigned and dated 'MORGAN 96' (lower left)oil on canvas59 x 41.5cmProvenance:With Eaton Gallery Fine Paintings, LondonHoward Morgan is widely celebrated for his evocative portraiture, capturing the essence of his sitters with a striking combination of realism and emotional depth. Renowned for his deft use of light and texture, Morgan has been commissioned to paint several high profile figures, including members of the British Royal Family. His work, characterised by its intimacy and keen observation, remains a testament to his ability to merge technical skill with a profound understanding of human character.
§ Dame Tracey Emin CBE, RA (1963-) When I Think About Sexsigned and dated 'Tracey Emin 05' (lower right)offset lithograph, published by White Cube in an edition of 100058.5 x 84cm;together with a When I Think About Sex t-shirt, size L (2)Provenance:With White Cube, LondonNot examined out of the frame, the outermost edges are obscured by the frame and are, therefore, not available for inspection. There are light handling creases throughout, but mostly localised to the outer edges. Otherwise in nice condition.
§ Francis Zanker (1928-2023), a modernist Cotswold School walnut writing or side table, the three frieze drawers with ebony pulls and exposed dovetails, labelled verso74.5 x 100.5 x 40cmProvenance: From the estate of Francis ZankerIn generally very good condition, a few light marks and scuffs to top surface - see additional images.
Pierre Jeanneret (1896-1967) for Chandigarh, a set of four caned teak PJ-010100T chairs, known as 'Office cane chairs' or 'Secretariat Chairs', painted 'PU' in Punjab for Punjabi University 78.5 x 50 x 49.5cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture. There is one chair with one repair on its arm and another chair with two repairs on its arms. All chairs have sections of fading, some scratches and dings. Please see additional images.
A Liberty Tudric pewter dressing table part set, comprising a tray of rounded rectangular form, a large scent bottle, a button hook and a rectangular lidded box, each with lightly planished finish and inset with turquoise cabochon, the tray stamped 'TUDRIC / ENGLISH PEWTER / LIBERTY & CO / 0881' to the underside (4)23.5 x 35.5cmThe turquoise is in good condition on all pieces, overall condition is good noting some minor surface wear and scratching, the steel hook on the button hook has some light surface rust.
§ Sir Cedric Lockwood Morris (1889-1982) Surrealist landscape; the reverse with a keeper's cottage, possibly Wales oil on canvas, unframed 50.5 x 61cm Provenance: Gifted by the artist to Bettina Shaw-Lawrence thence by descent within the family Cedric Morris and Bettina Shaw-Lawrence shared a relationship shaped by their artistic sensibilities and mutual admiration. Initially meeting in 1939, introduced Morris' students, David Kentish and Lucian Freud, Shaw-Lawrence, then a promising young artist, was drawn to Morris’s bold vision and charismatic personality. Their friendship flourished as they discovered shared interests in art, nature, and travel, with Morris becoming something of a mentor figure to the younger Shaw-Lawrence.Their friendship deepened over time, with Shaw-Lawrence becoming a frequent visitor to Benton End, the Suffolk home Morris shared with his partner, Arthur Lett-Haines. Benton End was more than a residence; it was a hub for creativity, hosting a thriving community of artists, writers, and thinkers. Here, amidst Morris’s famed gardens, Shaw-Lawrence found inspiration and a space to develop her artistic voice. Though their lives diverged at times, their bond endured, leaving an enduring imprint on both their careers and demonstrating the profound influence they had on each other’s artistic lives.The present work was likely painted during the 1930s and is believed to depict a Welsh landscape and, on the reverse, a Welsh keeper's cottage. During this time, when industry was in decline, poverty was tangible, and national morale was at an all-time low, resources were limited, as demonstrated by this double-sided work. Previously kept by the family of Bettina Shaw-Lawrence, this is the first time the present lot has been offered at auction.We are grateful to Hugh St. Clair for his assistance in cataloguing this lot. In our opinion this appears to be in original, untouched condition, with no fluorescence under UV. The varnish with typical yellowing, this is even and uniform throughout apart from the outermost edges which show the original colours. The reverse slightly more rought and dirty in and with some blooming to the fence structure. Would benefit overall from a light clean. The edges of the canvas with tacks.
A cased Royal Worcester coffee service for six, circa 1920, comprising six saucers, six coffee cups and six silver spoons, the wares in royal blue with gilt highlights and decorative enamelling, the spoons similarly enamelled, stamped '925' and bearing maker's marks for Henry James Houlbart, retailed by Sorley of Glasgow and in original fitted caseAll pieces in good condition, noting very light scractching to gilded centres of saucers from use (minor), the enamel is good on all spoons, the slilver in need of a clean.
§ John Aldridge RA (1905-1983) A view of Place House from across Place Farm yard, Great Bardfield signed 'John Aldridge' (lower left); titled and dated 'Feb 1956' to the reverse oil on board 40 x 55cm The present lot depicts The Place, Great Bardfield, the residence Aldridge shared with his first wife, and textile artist, Lucie Brown (née Saunders). After acquiring the property in 1933, The Place quickly became a hub for a group of painters and printmakers who would later be known as 'The Great Bardfield Artists'. This community, which included artists such as Edward Bawden and Eric Ravilious, fostered a creative environment that would profoundly influence Aldridge's work. With a generous garden enveloped by the rolling hills and tranquil rivers of the Essex countryside, the property and surrounding environs provided Aldridge with limitless inspiration. Far from being simply a dwelling, The Place was an important wellspring for artistic freedom. We are grateful to Peter Donovan and Gordon Cummings for their assistance in cataloguing this work. The surface with a very light layer of dirt and with a few negligible scattered accretions, otherwise in nice condition
Coquilles, an R. Lalique opalescent and polished glass bowl, the exterior moulded in relief with four stylised shells, wheel etched mark to underside21cm diameterA couple of minor nicks to rim (barely visible), otherwise in good overall condition, very light scratching commensurate with age and use.
Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak stools, circa 1965, each with a dished circular seat raised on tapering supports, united with a cruciform stretcher 69cm high Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.
Pierre Jeanneret (1896-1967) for Chandigarh, a model 'PJ-010903' teak and cane bench, circa 1955 46 x 138.5 x 46cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.
A Royal Doulton 'Chang' vase, probably Charles Noke and Harry Nixon, the earthenware body covered in a running green and flambe thick volcanic glaze over a red, blue and white-crackle ground, printed and painted marks to underside19cm highSome surface crazing, minor glaze blistering, but in overall very good condition, free from damage or repair, examined under UV light.
§ Doris Zinkeisen (1898-1991) Harlequin and Pierrotsigned 'Doris Zinkeisen' (lower right) oil on canvas49.5 x 60cmCanvas is largely in plane (some minor deformities along the top edge) and has good tension. There is a fine craquelure network in the lower half of the image, some yellowing of the palest passages of paint and some very minor scattered accretions and would, therefore, benefit from a light clean. See additional images.
Pierre Jeanneret (1896-1967) for Chandigarh, a model 'PJ-010902' slatted teak bench, circa 1955 44 x 138.5 x 46cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.
An Art Deco chrome standard lamp, circa 1930, the chromed tubular stem raised on a black-painted stepped wooden base incorporating curved chrome trim to each side and raised on compressed bun feet160cm high (to lamp holder)There are several scratches to the wooden element of the base and on the corners. There is blisters to the chrome section of the base and scratches. Scratches down the lamp stem and some dents to the light fixing. Please refer to the additional images.
Pierre Jeanneret (1896-1967) for Chandigarh, a pair of model 'PJ-Si-34-A' caned teak low stools, circa 1955, the slightly dished tops each on a pair of A-shaped legs united by a stretcher 44 x 41 x 30.5cm Provenance: From a private collection, purchased in India during the 1980s Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.
§ Pierre de Clausade (1910-1976) Avant l’orage [Before the storm]signed ‘P. de Clausade’ (lower right); titled to stretcheroil on canvas63 x 90cmNo labels to the reverse, this lot comes from a private deceased London estate. Canvas is in plane with good tension. There are some areas of fine craquelure evident mostly in the sky and with some light ingrained dirt throughout but most noticeably in the sky and above the tree line in the lower right quadrant. Overall in nice, presentable condition. See additional images.No labels to the reverse, this lot comes from a private deceased London estate. Canvas is in plane with good tension. There are some areas of fine craquelure evident mostly in the sky and with some light ingrained dirt throughout but most noticeably in the sky and above the tree line in the lower right quadrant. Overall in nice, presentable condition. See additional images.
Pierre Jeanneret (1896-1967) for Chandigarh, a pair of circular teak stools, circa 1965, each with a dished circular seat raised on tapering supports, united with an iron ring foot-rest, painted number ZOO-092 to one 55.5cm high Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.
§ Clara Klinghoffer (1900-1979) Portrait of a lady in a green dress signed and dated 'Klinghoffer 1965' (lower right); further signed with monogram (lower left)oil on canvas, unframed 61 x 51cmProvenance: From the artist's studioCanvas is in plane but the tension is very slightly slack. Under raking light there are stretcher bar marks visible beneath the canva,smost notably along the top edge and left-hand edge. There are some very fine networks of drying cracks visible in the face and hair and some evidence of retouching under UV light. See additional images.
Pierre Jeanneret (1896-1967) for Chandigarh, a set of four caned teak PJEC-010301 Library chairs known as 'Cane wood seat back chair', painted 'Chd. Lib' for Chandigarh Library 76 x 47 x 45.5cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.
A glass pendant ceiling light, with gold mottled amethyst glass panels and brass frame28 x 48cmIn good general condition, all glass panels are in good condition with no apparent damages or repairs, some slight oxidisation to brass, will likely requiring re-wiring before use. Probably mid-20th century.
A Chinoiserie desk clock, early 20th century, of octagonal form, the borders decorated in gilt and red with cranes in flight, clouds, figures and pagodas, the face similarly decorated with a maiden before a pagoda, with Roman numeral dial and easel back21cm highSome crazing and light blistering to the clock face, some rubbing, flaking and losses to the decorated rim, mechanical movement with no key present, appears to run when wound - not monitored for time keeping.
§ Anna Katrina Zinkeisen (1901-1976) The Court Banquetsigned 'A.ZiNKeisen' (lower right)oil on canvas62 x 75cmWith some scattered accretions and a light layer of ingrained dirt throughout, most notably there are some small brown liquid stains along the lower left edge and some very minor paint flecks in the upper left quadrant. The paint layer appears to be largely stable, though there are some losses and a small area of raised paint along the lower edge; likewise, there is a very fine networks of cracks located on the right hand side female and a small area of impact craquelure on the rightmost figure and a light area of abrasion just below. Canvas is unlined and would benefit from a light clean to lift the ingrained dirt which is most notable on the tablecloth. See additional images.
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