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Lot 840
A contemporary Stressless spun aluminium and formed laminate framed swivel armchair & matching footstool, the armchair with tilt action, pale leather upholstered, the footstool of conforming design, width of chair 83cm, width of footstool 55.5cm (2)In excellent and original condition throughout.From the 2018/2019 range.Seat level, tilt and swivel action all good.A lovely example.
Lot 4376
Four piece conversation chair, late 19th Century, with button backs, on curving legs, with casters, the sofas 78cm high x 128cm wide x 71cm deep, the chairs 78cm high x 74cm wide x 60cm deep, the whole 78cm high x 185cm wide x 140cm deep (4)Condition Report: The condition is good overall, on one of the blue sofas there is movement to the arms. The joints on the others are fairly firm. The fabric is tired and discoloured and marked in places. On one chair the webbing has sprung and the springs are sticking out. All the ceramic castors are original. The height to the seat edge is approx. 34cm. The four seats link together via flat brass hooks on each end of the sofas which hook round screws on the chairs.
Lot 4410
William and Mary walnut and upholstered three seater wingback settee, circa 1920's, later covered in red fabric with a coat of arms, the padded arms with scrolled facings enclosing three loose seat cushions, legs with S scroll stretchers, H118 x W182 x D76cms, together with a William and Mary style oak stool, the circular upholstered drop-in seat on column turned legs joined by stretchers, H52 x Diam 48cmsCondition Report: Joints loose
Lot 60
From The Estate Of Bill Owen (1914-1999) - Last Of The Summer Wine - Bill Owen's production made Cast / 'Director's' chair, as used daily on-set by Owen during filming of the classic BBC sitcom during the late 1990s. Wooden construction, with blue fabric seat and backrest with white 'Bill Owen' text to the rear. It is well documented in on-set photographs and videos that the main cast were issued with chairs of this type, with this one being the final made for Owen before his death in 1999. The chair was then passed to his son Tom Owen (who would appear in the series after Bill's death as his fictional son Tom Simmonite). Tom Owen used this chair in honour of his father during many theatre productions, and there are photographs documenting it's use in many of Tom's personal scrap books (also included within this auction). The chair exists in used but generally very good condition. A unique and special piece of Last Of The Summer Wine history.
Lot 5
PAUL DE LAMERIE (1688-1751): A GEORGE I SILVER SHAVING MIRROR makers mark of Paul de Lamerie, London 1727, of shaped oval form retaining the original mirror plate, in a moulded border, on simple scroll feet, the top of the frame engraved with the crest of James Medlycott (died 1731) the back in walnut with a simple silhouette baluster strut secured by the original shaped silver hinges, 33cm high Provenance: James Medlycott (1658-1731) of Ven House, Milborne Port, SomersetThomas Medlycott, son of the aboveThomas Hutchings, nephew of the aboveSir William Coles Medlycott (1767-1835), son of the aboveSir William Medlycott (1806-1882)Sir William Medlycott (1831-1887)Sir Edward Medlycott (1832-1902)Sir Mervyn Medlycott (1837-1908)Sir Hubert Medlycott (1841-1920)Sir Christopher Medlycott (1907-1986)Sir Mervyn Medlycott (1947-2021)and thence by descent.Note: It is fitting that Medlycott employed the leading silversmith of his generation for his personal shaving mirror. Having made a fortune as a lawyer and Master in Chancery, Medlycott purchased a seat in Parliament and set about building one of the most beautiful late Baroque houses in the kingdom, Ven House at Milborne Port. The house remained in the Medlycott family until the mid-20th century when many of the contents were transferred to the Medlycott's other seat at Sandford Orcas Manor.Paul de LameriePaul de Lamerie's parents were Huguenots, who probably left France for religious reasons in the early 1680's. After serving as an apprentice to a London goldsmith, Pierre Platel, de Lamerie registered his mark and established his own workshop in 1712. The wide range of styles represented during de Lamerie's 40 year career could not have been made, or even designed, by one individual, but there are some consistent features in quality and "trademarks", such as the fact that his workshop continued to use the higher Britannia standard of silver alloy for some 12 years after it ceased to be compulsory. He supplied clients as far afield as Russia and America, but for the most part his clients at home were not members of the aristocratic elite. Although he was appointed Royal Goldsmith in 1716, his mark does not appear on any Royal plate. Indeed, most of his clients were prosperous landowners and members of the Whig ascendency, much like James Medlycott. After his death in 1751, the obituary which appeared in the "London Evening Post" spoke of de Lamerie as "particularly famous in making fine ornamental Plate, and .... very instrumental in bringing that Branch of the Trade to the Perfection it is now in".
Lot 80
A PRIMITIVE WELSH ELM AND ASH COMB BACK ARMCHAIR late 18th century, the shaped cresting rail over a 'lobster-pot' spindle back, to a slab seat retaining residual iron-red paint, on splayed block legs joined by an "H" stretcher, 107cm high x 54cm wide x 48cm deepProvenance: Acquired in Wales in the 1960'sA private collection of Folk Art, Bath.
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