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Lot 3
1967 G-Plan bed teak bedroom suite comprising three-door wardrobe with two sliding and one opening door to hanging space, on plinth base, 121cm wide, two-door wardrobe with pair of cupboard doors enclosing hanging space, on plinth base, 90cm wide, dressing table with mirror back and pair drawers and cupboard flanking the kneehole, on straight supports, 132.5cm wide and double headboard with a pair of bedside tables, 250cm wide (4) (with original sales receipt)
Lot 262
A George III oak and mahogany cross-banded longcase clock, the hood with a projected cornice, the door missing glass, enclosing dial and set between turned columns, the 12 inch dial signed 'Foden, Congleton', having a silvered chapter ring and Roman numerals, with Arabic numerals to outer ring, gilt spandrels, calendar dial, the case door set between quarter round turned columns, raised on a projecting base with a square panel, standing on a plinth base, 201cm high; complete with pendulum and two weights
Lot 288
A Victorian Elizabethan Revival oak three-tier buffet, circa 1870, the top with a moulded edge, fitted with two drawers with green man carved handles and carved fronts, raised on barley twist supports, shelf below and a further base shelf, with a moulded plinth edge, 95cm high, 116cm wide, 43cm deep
Lot 391
****** ITEM LOCATION BISHTON HALL**********A George III period 30-hour longcase clock, circa 1780, moulded pediment above turned columns either side, 12inch brass dial inscribed with Edward Foster, Wakefield (1750-1813), roman numerals and Arabic seconds dial, above a panelled door with quarter column either side, raised on a plinth base. pendulum and weights 208cm HCondition report:Signs of split to the back, signs of dents to the pendulum, the dial is in need of cleaning, general scuffs to the body. Some pieces on back of the dial.
Lot 552
A George V silver cricket trophy. Formed from a Gunn & Moore cricket ball with silver plaque inscribed H. Bolton, Helensburgh C. C. v Milngavie & Bearsden C. C. 10th June 1922, 10 wickets for 10 runs, raised on a tripod of silver cricket stumps over and ebonized plinth with plaque, further inscribed, with this ball... Assayed Birmingham 1924, 21.5cm.
Lot 125
Y GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO. ARTS & CRAFTS INLAID MAHOGANY SIDEBOARD,rosewood, fruitwood and ebony inlay, the carved and pierced back with intricately inlaid panels, on carved column uprights, above three frieze drawers and an open shelf flanked by two cupboard doors, opening to reveal a single shelf, the whole raised on a plinth base(228cm wide, 154.5cm high, 78cm deep)Footnote: Literature: The Cabinet Maker and Art Furnisher 1 July 1887, p. 281 Whiteway M., Gere, C. Nineteenth Century Design, 1993, p. 249, where another example without the inlaid back is illustrated Parry. L. William Morris, Tieste, 1996, p.163, fig.78 Note: The Cabinet Maker and Art Furnisher of 1887 shows a 'Rough Memory' sketch of a sideboard of this design exhibited at the 1887 Manchester Jubilee Exhibition, and notes that the lines of the Manchester sideboard may be studied, for they are 'fresh'. The sketch is very closely related to the current cabinet and may illustrate the same piece. Manchester was an important part of the Morris & Company empire, as the firm exhibited at the Manchester Fine Art and Industrial Exhibition of 1882, and opened a shop there in 1883. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 13
ENGLISH SCHOOL, MANNER OF CHARLES EASTLAKE’S ART FURNITURE COMPANY EBONISED OAK SIDE CABINET, 1870the pitched roof cornice with an arrangement of open shelves below, above two cupboard doors incised with gilded peacock feathers, the whole raised on a plinth base with open fretwork, retains original key(125cm wide, 202cm high, 40cm deep)
Lot 258
ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK CHEST OF DRAWERS, CIRCA 1900the overhanging top above two short over three long drawers, each with characteristic bronze handles, the whole raised on a plinth, bears maker's label and stamps ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL(83.5cm wide, 92cm high, 51.5cm deep)
Lot 259
ARTHUR W. SIMPSON (1857-1922), KENDAL ARTS & CRAFTS OAK CHEST OF DRAWERS, CIRCA 1920the overhanging top above two short over four long drawers, each with characteristic bronze handles, the whole raised on a plinth, bears maker's label and stamps ARTHUR W. SIMPSON/ THE HANDICRAFTS/ KENDAL(105.5cm wide, 114cm high, 55.5cm deep)
Lot 368
CHARLES RENNIE MACKINTOSH (1868-1928) INLAID MAHOGANY BEDSIDE CABINET, 1916with ebonised plinth and shell-inlaid handles, the upper section with two doors flanked by uprights pierced by squares, the base with single panelled door enclosing a single drawer and a shelf(36cm wide, 122cm high, 35.5cm deep)Footnote: Provenance: W.J. Bassett-Lowke, 78 Derngate, Northampton Mr Cave, Northampton, thence by descent Sotheby's Applied Arts from 1880, 21st October 1988, Lot 101 Private Collection, London Literature: Billcliffe, Roger Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, New York, 1979, p.232, Cat. No. 1917.16 illustrated. Victoria & Albert Museum, Museum no. CIRC.594:1,2-1966 http://collections.vam.ac.uk/item/O129986/cabinet-mackintosh-charles-rennie/ where the pair to this cabinet is illustrated. Note: Following the success of his designs for Miss Cranston’s Ingram Street Tearooms in 1911, Mackintosh spent the next few years struggling to find work, and by 1914 he and his wife Margaret had moved to Walberswick in Suffolk. They remained in close contact with Francis Newberry and his family, who spent their summer holidays in cottages nearby. Mackintosh’s main client during this period was W. J. Bassett Lowke, of 78 Derngate, Northampton. Bassett Lowke had fostered early connections with those involved in the Deutscher Werkbund movement, which played a central role in the development of modern architecture and industrial design. Having not heard of Mackintosh prior to 1914, Bassett Lowke hired him for a project following the recommendation of a close friend. After leaving Glasgow, Mackintosh was keen to explore the inspirations he found during his visit to Vienna in 1900, and this married well with Bassett Lowke’s open-minded approach to the design and manufacturing process. In the current lot, Mackintosh places a clear emphasis on angular lines, minimal decoration and a far more solid sense of form; a departure from the curvilinear and stylised decorative motifs which dominated much of his earlier work. Typically, Mackintosh would have personally advised the furniture maker, amending his designs as the piece was in the midst of construction. However, under Basset-Lowke, Mackintosh had to rely on his drawings to communicate his wishes to the company’s craftsmen, many of whom were German immigrants working on the Isle of Man. Designs focussed on broad planes of timber, polished and waxed rather than stained, enhanced by details of abalone inlay. The result is an array of visually striking furniture with an elegant decorative effect that defines his work in Northampton.
Lot 432
Y DOMINIQUE ALONZO (FL. 1910-1930) GILT BRONZE AND IVORY JEWELLERY CASKET, CIRCA 1900depicting a medievalist girl, the hinged lid opening to reveal a plush-lined interior, raised on an onyx plinth base, indistinctly marked to base C****ET SOREL/ 605Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 48
ENGLISH SCHOOL, MANNER OF BRUCE TALBERT LARGE AESTHETIC MOVEMENT OAK SIDEBOARD, CIRCA 1880with mirrored back flanked by cupboards with panels carved with birds, fish, flowers and animals, the base with two central drawers flanked by corresponding carved panelled doors, the whole raised on turned and blocked legs on a plinth(245cm wide, 167cm high, 69cm deep)Footnote: Literature: Cooper, Jeremy Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau, Abbeville Press, 1987, p. 86, pl. 189 where an example by Talbert, with related carved panels is illustrated.
Lot 486
§ JOYCE BIDDER (1906-1999) ‘ZEPHYR’, CIRCA 1935Glazed earthenware, depicting a winged young man playing a musical instrument, on ebonised wood plinth, impressed mark: M. JOYCE BIDDER(26cm high overall)Footnote: Exhibited: a similar example exhibited at The Fine Art Society, Joyce Bidder and Daisy Borne, 1987, No. 36. Note: In Greek mythology Zephyr was the gentle Spring wind of the West
Lot 525
Y FERDINAND PREISS (1882-1943) 'BAT GIRL' ART DECO FIGURE, CIRCA 1925patinated bronze and ivory, raised on a stepped onyx plinth base, signed on the base F. PREISS(total height 24cm, figure 18.5cm high)Footnote: Literature: Catley, Bryan Art Deco and other Figures, ACC 2003, p.284 Shayo, Alberto Ferdinand Preiss: Art Deco Sculptor - The Fire and the Flame, ACC 2005, p.177 Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 548
MAX LE VERRIER (1891-1973) ART DECO PATINATED BRONZE FIGURAL TABLE LAMP, CIRCA 1930cast as a nude holding aloft a light fitting, on a stepped circular base, raised on a green marble plinth, signed in bronze LE VERRIER, with later glass shade(figure 27.5cm high (excluding base and light); total height 44cm high)
Lot 83
ATTRIBUTED TO CHRISTOPHER DRESSER OR JOHN MOYR SMITH, POSSIBLY FOR COX & SONS, LONDON AESTHETICthe galleried top with frieze inlaid with florets, the glazed door with lined and shelved interior enclosed by panelled sides, each inlaid with figurative allegorical roundels, the whole raised on a plinth base(68cm wide, 109.5cm high, 50.5cm deep)Footnote: Literature: Lyons, H. Christopher Dresser: The People's Designer, 1834-1904 (Woodbridge, 2004), p.19, 52 and 144; plates 12, 13, 51, 52, 260 and 260A Durant, S. Christopher Dresser, Academy 1993, p.19-20 Whiteway, M. (ed.), Shock of the Old: Christopher Dresser's Design Revolution, New York, 2004, Stapleton, A. John Moyr Smith 1839-1912: A Victorian Designer, Richard Dennis 2002, pp.11-15, plates 11 and 12 Cooper, J. Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.130-132 Woolley & Wallis, Salisbury, 20th Century Design, 14 October 2009, lot 549Note: This fine cabinet, although of conventional form, has particular design characteristics which set it apart; its distinctive gallery and the fine marquetry panels inlaid to the sides. The design of two of the inlays appear to be adapted from colour plates published in Christopher Dresser’s Studies in Design of 1876 - the hares from plate VII; and the duck from bird designs in plates XLVI and VI. There are also strong similarities to an illustration in his Principles of Decorative Design of 1873 (the fish from figure 20); and bird and animal designs for Minton & Co. circa 1871. These designs were, like other output from the Christopher Dresser’s studio, often drawn up and, on occasion designed under Dresser’s supervision by an assistant. In the case of the first two examples this assistant is thought to be the Scottish-born designer John Moyr Smith. The confusion surrounding the attribution of certain designs by Dresser is largely due to a lack of information but also that the stylistic similarities of many of his designs to those of his assistants is so striking. Some assistants were to leave Dresser’s offices and pursue careers of their own and although most believe that Moyr Smith worked for Dresser in his studio for a short period it may also be the case that he collaborated with him in the supply of designs to his projects on an ongoing basis. Whether he worked for Dresser directly or not by 1872 Moyr Smith was an independent designer supplying designs to a number of manufacturers including Cox & Sons in London. The firm of Cox & Sons, originally church furnishers, were involved in the art movements in the second half of the 19th century and commissioned furniture, metalwork, stained glass and ceramic designs from several leading designers, including Bruce Talbert and E.W. Godwin. Cox & Sons also supplied stained glass to some of Christopher Dresser’s interior projects, but if Dresser used them in a wider sense is unclear. He was obliged to distance himself from their output because of the similarities of his designs to those of Moyr Smith. The attribution to Cox & Sons is strengthened by the fact that the firm is known to have used one of the designs used on this cabinet on a single-handled vase (Woolley & Wallis, October 2009, Lot 549). Many of the firms who produced Dresser's textile and carpet designs believed in his abilities as a designer and were all based in the Halifax region. A number of them also commissioned Dresser to design the interiors of their homes. Of those only two domestic commissions survive and are in very poor condition, leaving only clues to the total composition of Dresser's interiors. In 1865 The Furniture Gazette published designs for the panels in dining room supplied by Dresser to J.W. Ward of Halifax, a textile maker who used Dresser’s designs. The panels represented fish, fowl, flesh, fruit, wine and beer. The panels in the current lot, representing Game, Fowl, Fish and Mutton may also have been designed for a similar dining room scheme. The profuse, albeit restrained, marquetry inlay of this cabinet is somewhat at odds with Dresser’s more characteristically austere and pared-down aesthetic. He was, however, known to have been expedient and his ‘theoretical utterances’ did not always get in the way of the success of a busy studio where it was impossible to be entirely pure in intention. Many of Moyr Smith’s published designs of the 1870s were later ascribed to Dresser suggesting their origins in Dresser’s studio. Either way, until further information emerges, the attribution of many of these intriguing pieces remains unclear.
Lot 1321
A GEORGIAN TWIN MAHOGANY LONGCASE CLOCK, the distressed hood with twin half column pillars with brass detail between the reeding at the bottom half, arched glass door enclosing a brass 10' dial, signed Robert Hynam of London, eight day movement, the arch with a strike/silent dial, above a seconds dial and date aperture, between Roman and Arabic numerals, the trunk with a heavy door, above a raised panel base, on a plinth, height 224cm (two door keys, two weights and dismantles pendulum) (condition: various loose components, see image, the movement in need of repair, some minor warping to trunk door, some veneer loss)
Lot 328
JENNINE PARKER (BRITISH CONTEMPORARY) 'ELEVATION', a limited edition bronze sculpture depicting a dancer and two hoops 9/195, impressed initials with certificate, height approximately 48cm including granite plinth (condition: the dancers foot has come loose from the plinth causing scratches to the plinth, the hoops are still attached to the plinth) (A)
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173487 item(s)/page