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Lot 340
Folke Ohlsson - Gimson and Slater - A superb pair of retro mid 20th Century Swedish armchairs / easy lounge chairs of teak wood construction. Each chair having purple fabric upholstered button backed cushions and seat cushions with covered armrests. Raised on decorative teak show wood angular supports. Each chair measures 100cm x 75cm x 89cm.
Lot 360
Brandon Range - G Plan - A good retro vintage 1950's mid 20th Century two seater sofa settee having a shaped wingback backrest with dark grey / blue button back upholstery. Shaped broad arm rests complete with two seat cushions. All raised on shaped wooden splayed legs. Measures 94cm x 131cm x 67cm. Matching armchairs in lot 370.
Lot 365
Conran - A quality contemporary modern designer leather armchair / lounge chair and matching ottoman / footstool. The chair having slender padded backrest, armrests with cushioned seat rest having a zipped tan brown leather upholstery raised on a splayed tubular metal supports. Chair measures 84cm x 60cm x 65cm.
Lot 377
Arne Jacobsen - Fritz Hansen - A set of four original late 20th Century 1995 Danish retro vintage stacking dining / side chairs formed and moulded from bentwood shaped shell seat with each finished in grey raised on chromed tubular legs. Labels to undersides. Each measures 79cm x 48cm x 48cm.
Lot 378
Giancarlo Piretti - Castelli - DSC Axis 106 - A good set of 12 20th Century retro vintage Italian dining / office stacking chairs. The chairs having a blue fabric pad upholstered seat and suspended backrest supported by a polished steel brace with ash grey plastic coated tubular legs and floor leveling feet. Mould mark for Castelli to the underside. Each measures 75cm x 53cm x 45cm.
Lot 55
Giancarlo Piretti - Castelli - DSC Axis 106 - A good set of six 20th Century retro vintage Italian dining / office stacking chairs. The chairs having a blue fabric pad upholstered seat and suspended backrest supported by a polished steel brace with ash grey plastic coated tubular legs and floor leveling feet. Mould mark for Castelli to the underside. Each measures 75cm x 53cm x 45cm.
Lot 550
After Ludwig Mies Van der Rohe & Lilly Reich - Barcelona Chair & Footstool - A contemporary low easy / lounge chair / armchair and matching ottoman footstool having a chromed steel ' X ' frame with black leather strapping and leather button backed cushions for backrest and seat. Measures: 75cm x 76cm x 77cm.
Lot 569
Chippy Heath - A mid 20th Century retro vintage telephone table / seat of teak wood construction by Chippy Heath. The seat having a raised side with pull out slide and open space below flanked by a fabric covered seat to the right. Below twin sliding doors with cupboard space. Measures 57cm x 84cm x 38cm.
Lot 730
Victor B. Wilkins - G-Plan - Fresco Range - A 20th Century 1960's retro vintage dining suite comprising of a Fresco teak wood round extending dining table raised on tapering supports. Together with a set of four matching round G-Plan chairs having brown fabric seat pads and backrests. Table measures 74 cm x 122 cm.
Lot 733
Greaves & Thomas - A superb 20th Century retro vintage teak wood sofa settee by Greaves and Thomas of London. The lounge sofa having teak show wood frame with shaped armrests and elongated upholstered backrests with cushioned seat rests, all upholstered in a cream patterned fabric. Raised on tapering supports with rounded feet.
Lot 740
An impressive retro vintage front seated Thai Rickshaw bicycle bike pedal taxi having a teal painted tubular frame with twin spoked wheels and single front facing seat having painted vibrant coloured flag to side panels. Single bike seat behind the front section with painted cover to wheel. Measures: 157cm x 103cm x 275cm
Lot 80
Arne Jacobsen - Fritz Hansen - A set of four original late 20th Century 1995 Danish retro vintage stacking dining / side chairs formed and moulded from bentwood shaped shell seat with each finished in different colourways (Orange / off yellow / blue and grey) all raised on chromed tubular legs. Labels to undersides. Each measures 78cm x 50cm x 50cm.
Lot 100
Lucian Ercolani - Ercol - 391 - All Purpose Chair - A set of ten mid 20th century retro vintage beech and elm stick back side / dining chairs having a saddle seat and stick back backrest attached to the top rail and leg spindle stretcher. All being raised on spindle legs. The chairs being finished in the blonde colourway. Measures: 80cm high x 39cm wide x 35cm deep.
Lot 219
dating: provenance: Central Europe, Heavy and strong structure, made with wooden axis. Armrests, seat-back and seat with numerous iron cusps of conical shape. The chair is provided with compression iron bands as well, to push the body on the cusps. One similar bar, but made in wood, is mounted on the two threaded bars, adjustable with wing screws. See a similar specimen in 'Tortura Inquisizione Pena di Morte' by Aldo Migliorini with description on pages 58/59.Provenance: Museum of Torture and Death Penalty in San Gimignano. dimensions 74 x 144,5 x 87 circa cm.
Lot 2822
SOFA IM CHESTERFIELD-STIL GEIGER CLASSICA, Sitz, Rücken, Seiten und Armlehnen mit Lederpolsterung mit Knöpfung, gerade Frontbeine und rückwärtig leicht ausgestellte Vierkantbeine, HxBxT: ca. 90/200/90 cm. Alters-und Gebrauchsspuren. SOFA IN CHESTERFIELD STYLE GEIGER CLASSICA, seat, back, sides and armrests with buttoned leather upholstery, straight front legs and slightly flared square legs at the back, HxWxD: ca. 90/200/90 cm. Signs of age and wear.
Lot 2814
STUHL IM LOUIS XVI-STIL Wohl Paris, um 1900, Mahagoni, Sitz auf gerader Zarge, sich nach unten verjüngende Beine, fein mit Bronzeapplikationen belegte und durchbrochene Rückenlehne, H: ca. 92 cm. Sitz besch. LOUIS XVI STYLE CHAIR Probably Paris, about 1900, mahogany, seat on a straight frame, legs tapering to the bottom, the backrest decorated with bronze applications, h: ca. 92 cm. Seat dam.
Lot 85
Sir Alfred Gilbert, A.R.A., R.A., M.V.O (British, 1854-1934): A rare and probably unique patinated and parcel gilt bronze 'double size' figure of St Georgeordered by John Charles Williams of Werrington Park, Launceston, Cornwall directly from the sculptor and probably cast by Broad & Son, circa 1895-6the figure with helmeted downcast head modelled in contrapposto and clad in elaborate armour with shell cast pauldrons and winged poleyns, one arm raised and with a slightly turned hand, the other arm down and outstretched, his straight sword with a corpus crucifix to the hilt (now lacking finial), on swirling base, raised on an ebonised shallow square plinth, the figure, 88cm high, 93cm high overall including wood plinth base Footnotes:ProvenanceJohn Charles (J.C.) Williams (1861-1939), Werrington Park, Launceston, Cornwall.Ordered by J.C. Williams in 1895 as apparently the first part of a commission for four double size figure replicas, St George being the first figure representing England, the others as the second part of the commission being saints representing Ireland, Scotland & Wales (these three figures apparently never realised).Thence by descent.John Charles Williams (1861-1939) of Caerhays Castle, St Austell, Cornwall was an English Liberal Unionist politician, collector and keen horticulturalist, noted for his philanthropic interests in botany.Affectionately known as 'J.C.', he was the second son of the miner, landowner and banker John Michael Williams (1813-1880) and Elisabeth Maria (d. 1884), of Caerhays Castle and was educated at Rugby School and at Trinity Hall, Cambridge. The Williams family of Caerhays, Burncoose and Scorrier were prominent owners of mines and smelting works for several generations during the Cornish Industrial Revolution. In 1882 'J.C.' Williams acquired the estate of Werrington, an 18th century house with earlier origins (then in Devon, but since 1974 in Cornwall) as his home and set about furnishing with furniture and artworks, some possibly from an earlier dispersal sale of the original contents but the majority acquired himself from other sources following the fashions of the day. His own wealth combined with the fact that his elder brother Michael Williams took over running the family's business interests meant that he was able to devote time to collecting including amassing three major noted mineral collections and in particular his interests in breeding rhododendrons, camellias and daffodils amongst other plants. He married Mary Christian Williams (1861-1922), the second daughter of Sir Frederick Martin Williams, second baronet of Tregullow in 1884 and in that same year he returned to live at Caerhays Castle when his mother died. However, he remained Squire of Werrington Park even when he returned to his ancestral home as he reputedly enjoyed the good hunting on the Werrington estate and as such it is recorded that the he and his family lived partly at Caerhays and partly at Werrington in the late 19th and early 20th centuries. Elected at the 1892 general election as the MP for Truro, he held the seat until he stood down at the 1895 general election and was also High Sheriff of Cornwall in 1888, and Lord Lieutenant of Cornwall from 1918–36.During the Great War Werrington was turned over to the Red Cross becoming Auxiliary Home Hospital Werrington and accepting injured troops from the frontlines in France and Belgium. Mrs Williams is recorded as being 'Officer in Charge and Organising Secretary' and the hospital treated 1128 patients between January 1915 and March 1919.John Charles and Mary Christian Williams had five sons and one daughter: The Honourable Charles Williams of Caerhays Castle, Conservative MP for Tavistock 1918-1922 and Torquay 1924-1955.John Francis Williams, killed in 1916 serving as Sub-Lieutenant of the St. George flotilla on the 'HMS Russell'.Alfred Martin Williams, CBE, Conservative MP for North Cornwall 1924-29.Robert Williams, killed in 1915 serving as Second Lieutenant of the 1st Guards Brigade, 2nd Battalion of the Grenadier Guards at the Battle of Loos.Peter Michael Williams, known as 'PM', High Sheriff of Cornwall, 1952.May Williams, who nursed her father after her mother's death. Alfred Gilbert's St George and The Duke of Clarence MemorialAlfred Gilberts depiction of St George can perhaps be described as the emblematic zenith of the New Sculpture movement. However its conception and realisation on what was perhaps Gilberts most prestigious commission of the his career, that of the tomb of the The Duke of Clarence in the Albert Memorial Chapel at Windsor Castle was also the cause of much controversy.Ten years previously however, Gilberts accent to the position of England's premier sculptor had seemed a natural and inevitable progression following the death of his former master and sculptor to the Royal family, Joseph Edgar Boehm in 1890. His success was subsequently sealed with the most prestigious commission of the day from the bereaved Prince and Princess of Wales to design a tomb for their eldest son, Prince Albert Victor, Duke of Clarence and Avondale who had tragically died from influenza on the 14th January 1892. Summoned three days after the funeral to discuss plans with the royal couple, Gilbert's preliminary sketch for the tomb of her grandson was approved by Queen Victorian on the 6th March 1892.Although the finished tomb itself was a tour de force of the sculptors art incorporating an effigy of the recumbent Prince in his Hussar uniform beneath the figure of a kneeling angel holding a heavenly crown realised in bronze, brass, aluminium and white & coloured marble, it was the extraordinary hybrid Gothic and late Victorian surrounding grill designed to pay homage to the tombs of Cardinal Wolsey / Henry VIII that led to the inception of the figure of St George.After seeing a monograph of the Wolsey / Henry VIII tomb prepared by the scholar Alfred Higgins and also seeing its inspiration which was the earlier tomb of Henry VII, Gilbert decided to emulate the use of such similar grills to these tombs incorporating twelve polychrome niche figures of saints into a fantastically elaborate design. The royal family were then consulted as to which saints should be represented. These were in order around the tomb, St George, The Virgin, St Elizabeth of Hungary, St Michael, St Margaret, St Patrick, St Catherine of Siena, St Edward the Confessor, St Hubert of Liege, St Ethelreda of Ely, St Nicholas of Myra and St Catherine of Egypt. Of these saints, St George is undoubtedly the most famous and was the first to be cast. Epitomizing the last traces of Pre-Raphaelitism merging into Art Nouveau but perhaps also idiosyncratically paying homage to the armour of French and German medieval tomb figures rather than those of the Italian Renaissance, the warrior saint is depicted as a sinuous long limbed effete youth clad in fantastical separately cast armour incorporating swirling shell motifs. The first figure of St George, cast in 'white metal' by George Broad & Son with carved ivory hands and face, was presented to the Prince and Princess of Wales. Delivered to Sandringham in November 1895 and intended as a private 'household' memorial to the Duke of Clarence it was subsequently installed in the Church of St Mary Magdalene at Sandringham.The second figure of St George, cast in aluminium, again by George Broad & Son with carved ivory hands and face was the model that was installed at the tomb. As the first of the twelve saints surrounding the tomb to be cast, it was unveiled by Queen Victoria and positioned in its niche in July 1898. Nevertheless at that moment in time, five figures of saints were still missing and it was not until 1928 that the tomb was actually finally completed, thirty six years after the o... For further information on this lot please visit Bonhams.com
Lot 89
A pair of Italian 18th century walnut open armchairsEach with scroll, acanthus, channelled and scrolled foliate carved frames, with a cartouche shaped back and scrolled arm supports, above a shaped seat frame, on scrolled acanthus-entwined cabriole legs, each approximately: 68cm wide; 107cm high. (2)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
Lot 93
A French mid-19th century ormolu, silvered metal, aventurine glass and blue coloured glass mounted ebony and ebonised breakfront meuble d'appuiprobably made for the Ottoman or Russian marketWith an onyx top and gadroon mounted edge moulding above a frieze mounted with a trailing branch issuing C- and S-scrolls, foliage and flowers, over a central panelled door mounted with flowers, berried foliage, two cockerels and scrolled acanthus centred by a Flora mask, enclosing one long shelf, flanked by two smaller panelled doors each with a central arched panel inset with scrolled foliage, floral, shell and lion mask mount hung with a ribbon-tied martial trophy pendant comprising fasces di combattimento, weapons, banners, trumpets, drums and a suit of armour, with a floral bouquet and scrolled foliate mount below, interspersed by flowerhead and entrelac chute angles, flanked by projecting canted angles each with concave panelling mounted with pendant C-scrolls, rosettes and rocaille centred by an entwined floral wreath mount, above a shell, scrolled acanthus and floral cast apron mount, on foliate capped spiral reeded toupie sabots, with tortoiseshell veneered rear pilaster angles, some losses and some composition replaced segments to the blue coloured glass, restorations, 165cm wide x 56cm deep x 99cm high, (64 1/2in wide x 22in deep x 38 1/2in high)Footnotes:ProvenanceSir Warwick and Lady Fairfax Collection, Sydney.Within the vendor's family both the offered and following cabinets, lots 94 and 95, were believed to have originally belonged to the celebrated Rothschild Collection, and were possibly even purchased as such during the mid 20th century. And an excerpt from an old valuation with this alleged provenance appears applied to the reverse of the door. However unfortunately we have not come across any records proving that the present cabinet had any connection to the Rothschilds.The collection of Sir Warwick and Lady Fairfax represents a significant chapter in Australian twentieth century history, the Fairfaxes being as they were one of the country's most prominent families. Fairwater, their 19th century harbour-side home that housed their vast art collection, became the most valuable property ever sold in Australia when it came to the market following Lady Fairfax's death in 2017. Until that time Fairwater had become a symbol of Sydney's social scene, a society destination where parties were held amongst artworks by Rodin, Chagall, Degas and Epstein. One party, for instance, was held to celebrate the opening of the Sydney Opera House in 1973 where the 800-strong guest list included names like Liberace, Rudolf Nureyev and Rex Harrison. With Sir Warwick Fairfax at the centre of the dynasty's seat, Fairwater truly became the focal point of the family's story. The young Warwick took over the family publishing business following the death of his father Sir James in 1930, who had become one of Australia's most prominent figures after leading and growing a business that encompassed The Sydney Morning Herald, The Sun Herald, The Age and The Australian Financial Review – many of the country's top news publications. The family's influence was inestimable. During Warwick's tenure as head of the family business he took over the influential architecture, design and interiors review called: The Home. It was at this time that he really started to engage with collecting and decorating the family home at Fairwater. The founder of The Home, Ure Smith, became a close advisor and he introduced Warwick to a number of important figures in the art world who would go on to shape Warwick's collection. The combination of this new milieu and Warwick's marriage to his second wife Hanne, a Danish ballerina who loved the arts, galvanised the businessman's interest in collecting. Regular trips to Europe during the 1940s resulted in acquisitions from renowned galleries such as The Leicester Galleries, London, where Warwick purchased works by Marie Laurencin, Edgar Degas and Maurice Utrillo.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 106
A George IV solid rosewood and parcel gilt suite of seat furniture attributed to Gillowscomprising eight side chairs, a pair of armchairs and a sofaCirca 1825, the sofa with scrolled acanthus and stiff-leaf clasped shaped frames carved with C- and S- scrolls, the seat frame interspersed by alternating lappet and foliate sprays, on C-scroll legs terminating in lobed bun feet with recessed brass castors, each side chair and armchair with a shaped toprail centred by a rosette carved tablet, with scrolled acanthus and lotus-leaf clasped frames, on foliate wrapped baluster turned and linenfold carved tapering front legs headed by paterae angles, with stiff-leaf clasped C-scroll rear legs, terminating in lobed feet and recessed brass castors, the sofa possibly associated; each armchair: 61cm wide; each side chair: 53cm wide; the sofa: 244cm wide. (9)Footnotes:A pair of identical model side chairs to those in the offered lot sold Christie's, London, 9 June 2011, 500 Years Decorative Arts Europe, lot 258. These are closely comparable to the seat furniture supplied by the Gillow firm in 1824 for Glynliffon in Caernarvonshire, Wales, on behalf of Thomas John Wynn, 2nd Baron Newborough. It is evident that a pair of solid rosewood bergeres together with conforming sofas were likewise presented by Gillow & Co. of Oxford Street to match the aforementioned group. However the early Neo-Rococo design of the present chairs relates to the Glynliffon models, of which it is thought that twenty-four in total were originally provided, as well as to a set of chairs made for William, 2nd Baron Bolton of Hackwood Park, Hampshire, also during the 1820s. While a plan for a drawing room or saloon of Neo-Rococo furniture designed for G. Bamford, which was produced by Gillow & Co. in the period 1820-30, includes a similar sofa to the offered example. The latter is illustrated in S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, Suffolk, p. 224, pl. 213 & Vol. II, p. 349, pl.E5. Further related chairs sold: Christie's, London, 9 March 2000, lot 104; Christie's, London, 10 March 2005, lot 20; Christie's, London, 27 November 2007, lot 189; Bonhams, 10 February 2016, lot 648.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 23
A pair of George II mahogany hall chairsCirca 1750, each with a shell back centred by an oval tablet painted with a crest depicting a cockerel, above a scroll carved scallop shell seat, on scroll eared cabriole front legs, with a splayed and shaped rear end support and waved stretchers, each chair approximately: 50cm wide x 57cm deep x 99cm high, (19 1/2in wide x 22in deep x 38 1/2in high) (2)Footnotes:An almost identical pair of hall chairs to the present lot sold Christie's, London, 13th November 2018, The Collector, lot 20. Other closely related examples include; a pair of virtually identical chairs, possibly even from the same set as the above, previously from the collection of the Earls of Guildford; a pair of chairs made for Francis Basset, Esq. (d. 1769) at Tehidy Park, Cornwall (sold Christie's, New York, 18 October 2005, lot 450 and again Christie's, London, 18 June 2008, Simon Sainsbury, 'The Creation of an English Arcadia', lot 75); a set of eight supplied to St Giles's House, Dorset (illustrated in A. Coleridge, Chippendale Furniture, London, 1968, fig. 366); and finally two pairs of chairs from the Rovensky collection sold Sotheby's, New York, 5-6 April 2006, lots 419 and 420.The offered chairs follow a hall chair design, with a similarly naturalistic carved back, originally published by Matthias Darly (d. 1780) between 1750 and 1751. Evidently, due to the popularity of the form, this drawing was later re-published in the 1766 Chair Maker's Guide by 'Robert Mainwaring Cabinet-Maker and Others', see C. Gilbert, The Early Furniture Designs of Matthias Darly, Furniture History, 1975, p. 37 and pl.'s 39 & 69. In 1753 Chippendale, who was at the time in the process of compiling the first edition of The Gentleman and Cabinet-Maker's Director, (1754), chose Darly, who quipped about himself as being 'Professor of Ornament to the Academy of Great Britain', to engrave ninety-eight of the total one hundred and forty-seven plates to be ultimately included therein. And it seems very likely that Chippendale imitated or rather adapted his own garden seat pattern, plate XXIV in the third edition (1762), directly from Darly's model.Both designs derive from the Italian Renaissance sgabello chair. Although such hall chairs are often associated with painted grotto chairs since they share a related organic design that, as in this instance, incorporates the scallop-shell form which is representative of the goddess Venus's birth, these hall chairs were never intended to be used outdoors. Hall chairs were usually part of a large set of eight or more intended for the entrance hall and with their coats-of-arms or crests (as in this case) they were as much about dynastic display as for practical use. Chippendale's description of such chairs states: 'They may be made either of Mahogany, of any other Wood, and painted, and have commonly wooden Seats. If the Carving of the Chairs in Plate XVIII was thought superfluous, the Outlines may be preserved, and they will look very well... Arms, if required, may be put to those Chairs'.Among the numerous families documented as having a cockerel for their crest or charge appear the following surnames: Sinclair, Crow, Rigg, Williams, Cockridge, King, Cox, Allcock and Ingram. However, unfortunately the only distinguishing feature of the particular depiction of a cockerel on the offered lot is that he is armed and most likely represented in his proper tinctures. Nonetheless it has not proven possible to discover which specific historic family commissioned this pair of hall chairs nor in fact to which family these directly relate.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
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