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Click here to subscribeA late 19th/early 20th century oak framed Orkney chairOf typical form, with classic woven straw back issuing twin scroll carved open arms above the removable rattan seat, standing on tapering square section legs united with stretchers. 61.5 cm wide; 106 cm high. CONDITION REPORTS: Some wear and losses to back predominantly to top rail, slightly dirty, some scuffing and scratching, some fading to wood finish, some minor wear to seat, general wear.
A late 19th century Chinese hardwood stargazing chairOf typical form, the curved angled panelled back issuing twin elongated open arms above the curved panelled seat, standing on shaped tubular legs united with stretchers. 57 cm wide. CONDITION REPORTS: Generally in good condition, some general wear.
A 19th century Continental carved walnut open armchairThe high back carved with twin shield bearing lions flanking the mask centred pierced cresting, above a panel carved with putto riding dolphin above the upholstered back section centred with a crest, issuing twin mask headed open arms above the overstuffed seat, standing on carved caryatid capped legs united by a carved undertier. 168 cm high; 63 cm wide. CONDITION REPORTS: Some scuffing and scratching, some chipping, side top moulding lacking, rips and wear/losses to fabric covering, one front leg lacking, split to back panel, general wear.
A pair of Victorian profusely carved oak hall chairsEach scroll carved top rail above a carved crest flanked by twin scrolling birds above rams masks and a carved circular central scene, flanked by twin winged lion masks entwined with snakes, one carved with a snake entwining a lion amongst leaves, the other with a snake entwining a deer amongst leaves, the florally scroll carved solid seat above the leaf and animal carved frieze, standing on lion mask scroll carved legs with lions paw feet, the back legs of square form carved with trailing leaves. Each 55 cm wide; 118 cm high. (2) CONDITION REPORTS: Some minor scuffing, scratching and staining, one with plank separation through back, some minor chipping, general wear.
An incredibly rare original WWII Second World War Avro Lincoln crew seat / chair, from the Crew Rest area. Aluminium frame, with original leather seat and adjustable backrest present. Still mounted upon its adjustable 'handbrake' style mount (in working order). Retains original seat restraint. A rare survivor. Measures approx; 82cm tall (height adjustable).NOTE: Proceeds from this lot are being donated towards the ' Attack On The Sorpe Dam ' film project. The film tells the story of the famous Dambusters raid of WWII, and features testimony from George 'Johnny' Johnson himself. A preview of the footage completed so far, as well as an appearance by George 'Johnny' Johnson, is taking place on February 9th at The Watershed Cinema in Bristol. Tickets can be purchased here: www.dambusters.eventbrite.co.uk )
Late 19th century upholstered sofa, sprung seat, back and arms, two loose feather filled cushions, all standing on four square section tapering legs with brass articulated castors stamped with makers name, one leg stamped Howard & Son's Ltd, Berners Street, width 210cm (83"), depth 86cm (34"), height 74cm (29"). For condition reports go to www.peterwilson.co.uk
JOHN HASSALL (1868-1948) PROBABLY RETAILED BY LIBERTY & CO, LONDONARTS & CRAFTS STAINED OAK SIDE CHAIR, CIRCA 1910 the shaped back with circular piercing above a solid seat and planked support linked by a stretcher, branded facsimile signature to front J. HASSALL45cm wide, 91cm high, 50cm deepNote: John Hassall was an illustrator and designer who became one of the early 20th century's most influential poster artists. Hassall was also a regular contributor to publications including the Illustrated London News and The Sketch. He was best known for the poster 'Skegness is so Bracing' (1908), which was imitated by generations of poster designers and became one of the most iconic posters in British history. These interesting chairs are rare and other no other examples have come to light. Similar chairs appear in his illustrations for NORMANS AND SAXONS AND SUCH, by Marriott Edgar and published by Francis, Day & Hunter Ltd., London in 1949 (see illustration).
GEORGE HENRY WALTON (1867–1933)OAK HALL SETTLE, CIRCA 1900 the panelled back enclosing broad solid arms with curved and pierced bracket supports above a solid seat on square tapering front legs linked by stretchers129.5cm wide, 145cm high, 67cm deepLiterature: Moon, Karen 'George Walton', White Cockade 1993, p.82, pl. 106 where built-in settle of similar design is shown.
J. S. HENRY, LONDONART NOUVEAU MAHOGANY ARMCHAIR, CIRCA 1895 the tall slatted back carved with stylised plant forms and having oval spacers, with curved open arms, the uprights with leaf and berry carving enclosing a close-nailed upholstered seat on square tapered legs64cm wide, 121cm high, 57cm deepNote: This celebrated chair shows distinct characteristics of the designs of the Century Guild with its linear Art Nouveau lines and swollen square section uprights.J.S. Henry were wholesale manufacturers of Art Furniture based in Old Street, London and were established circa 1880. Most of their furniture output was Art Nouveau in mahogany and satinwood with decorative inlay. At the Arts & Crafts Exhibition Society in 1903 the company showed designs by George Walton and W.A.S. Benson. G.M. Ellwood was their most prolific designer, and although they used designs by C.F.A. Voysey, E.G. Punnett and W.J. Neatby, few designers were named. Examples of this chair are held at the Kelvingrove Museum and Art Gallery in Glasgow and MAK Applied Arts Museum, Vienna.
ATTRIBUTED TO HENRY T. WYSE (1870-1951) FOR THE SCOTTISH GUILD OF HANDICRAFTSARTS & CRAFTS MAHOGANY SIDE CHAIR, CIRCA 1900 the tapered back with inset panel painted in oils with a tree in a landscape, the drop-in seat re-upholstered in Silver Studios woven fabric and raised on square tapering legs linked by stretchers39.5cm wide, 105cm high, 39cm deepLiterature: Cumming, Elizabeth and Jack, Heather 'Henry Taylor Wyse: Artist Teacher Craftsman', Aberbrothock 2016, pp.45-54Note: Between 1897 and 1899 Henry Taylor Wyse was entering competitions in The Studio magazine, including designs for furniture. Whilst living in Arbroath on the east coast, he began exhibiting some of his new furniture at the Dundee Graphic Art Society, produced in collaboration with the cabinetmaker William Middleton. By 1902 he was combining the fine and applied arts by contributing painted panels which were incorporated into Middleton's furniture, which he had designed. This form of decorated furniture reflected sophisticated middle-class taste of the time, initiated by firms like Morris & Co. and promoted at the turn of the century by figures such as C.R. Ashbee and M.H. Baillie Scott. Between 1900 and 1902 Wyse published catalogues of their designs under the title 'Simple Furniture'. The furniture was promoted through the Scottish Guild of Handicraft, inspired by Ashbee's Guild of Handicraft, and set up with his friend Robert Maclaurin in 1898. Essentially a co-operative of independent like-minded craftsmen, the Guild promoted its members works at its gallery in Glasgow before moving to premises in Stirling in 1906.
ENGLISH SCHOOLMAHOGANY FRAMED MODERNIST SOFA, CIRCA 1930 with loose back, seat and arm cushions covered in a geometric fabric, in a rectangular block frame with foldout chromed table shelves to each arm, all above two hinged flaps to the base187cm wide flaps up, 153cm wide flaps down, 71.5cm high, 69cm wide (frame)
GEORGE HENRY WALTON (1867–1933) FOR MISS CRANSTON'S BUCHANAN STREET TEAROOMS, GLASGOWRARE EBONISED AND PAINTED BEECH DINING CHAIR, CIRCA 1896 the tall curved back with central caned panel, supported by spaced spheres in a frame painted in colours with tulips, roses and lily of the valley, the caned seat with rounded angles raised on ring turned and tapering legs with outswept feet49cm wide,115cm high, 48cm deepProvenance: T. & R. Annan & Sons Ltd., GlasgowLiterature: Billcliffe, Roger; Charles Rennie Mackintosh, The Complete Furniture etc. pub. The Lutterworth Press, 1978, illus. 1896G.Moon, Karen 'George Walton', White Cockade 1993, p.53, pl. 63Note: This chair was made for Miss Cranston's new tearoom in Buchanan Street in Glasgow in 1896. This scarce chair, with its tall curved back echoing the stencilled wall decoration and the hand-painted floral sprigs following the colour scheme of the walls. The tall vertical form of the chair continues the 'Glasgow Style' aesthetic whilst the Regency inspiration which the design subverts is still evident, particularly on the matching armchairs with their lower backs. Other versions of this chair were used by Walton in schemes throughout his career but the Buchanan Street chairs are marked out by their painted decoration.
AMERICAN SCHOOLAESTHETIC MOVEMENT EBONISED SIDE CHAIR, CIRCA 1880 the squared panelled back with lion mask finials, carved with a vase of flowers enclosed by low relief carved borders of flowers, above a black and gold silk upholstered seat depicting chrysanthemums, raised on square section legs with corresponding decoration terminating in paw feet56.5cm wide, 110cm high, 50cm deep
GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO.ARTS & CRAFTS MAHOGANY-FRAMED 'SAVILLE' ARMCHAIR, CIRCA 1890 the later upholstered back and seat enclosed by spindle-filled arms on square baluster front legs67cm wide, 94cm high, 70cm deepLiterature: Anscombe, Isabelle & Gere, Charlotte 'Arts and Crafts in Britain & America', Academy Editions 1978, p. 39, pl. 37Note: A similar 'Saville' armchair with turned legs can be found in the entrance hall of Standen, Sussex.
BRUCE JAMES TALBERT (1838-1881) PROBABLY RETAILED BY PRATT & PRINCE, BRADFORDFINE PAIR OF AESTHETIC MOVEMENT INLAID SIDE CHAIRS, CIRCA 1880 each with original plush velvet upholstery, the backs with upholstered pad and turned and gilt-incised spindle galley above stuffover seat and apron with rosette inlaid frieze, on inlaid and incised turned legs with brass caps and castors, each bears retailer's label under seat rail PRATT & PRINCE/ BRADFORD (2)44cm wide, 84cm high, 43cm deepNote: Bruce Talbert was a prominent member of the first wave of Glaswegian architects and designers, including Alexander 'Greek' Thompson, Daniel Cottier and Christopher Dresser, although this group has only quite recently and retrospectively been recognised as such. Through his various publications he influenced the international design community and he was particularly celebrated in The United States and could be said to be responsible for the design vocabulary of designers and firms such as the Herter Brothers, Kimbel and Cabus, Frank Furness and Daniel Pabst. The chairs in the current lot represent the very best of his work, in terms of design and quality of execution, and are unusual in retaining the original velvet upholstery. The accompanying illustration shows the chairs in a room setting, with minor variants as is common with design suggestions. This illustration was published in 'Gothic Forms' (Applied to Furniture, Metalwork and Decoration for Domestic Purposes by B.J. Talbert, Archt., London.) and published by S. Birbeck in 1867.
AUSTRIAN SCHOOL, MANNER OF JOSEF MARIA OLBRICHSECESSIONIST UPHOLSTERED BENTWOOD ARMCHAIR AND STOOL, CIRCA 1900 the armchair with curved slatted back above the seat, re-upholstered in fabric originally designed by Josef Hoffmann for the Wiener Werkstatte, on tapered legs with brass caps to the front; the stool, en suite, with slatted side supports above the close-nail upholstered seat, on tapered legs with brass caps (2)chair: 52.5cm wide, 86cm high, 48cm deep. stool: 62cm wide, 74cm high, 42cm deep
ART FURNITUREPAIR OF ANGLO-GREEK UPHOLSTERED SIDE CHAIRS, CIRCA 1880 each with an ebonised frame with incised gilt scrolls and leaf carvings, with a sloped curved back and upholstered seat in gold floral fabric with close-nails, terminating in scroll feet and front castors (2)47.5cm wide, 86cm high, 40cm deep
MANNER OF ALFRED WATERHOUSEAESTHETIC MOVEMENT PAINTED AND GILDED ARMCHAIR, CIRCA 1880 the turned fretwork back above open arms and upholstered seat, raised above a chequer frieze on turned and blocked legs linked by stretchers, original painted and gilded surface decoration53.5cm wide, 90cm high, 53cm deepNote: See V&A museum no. W.42-1975 for a chair with similar characteristics by Waterhouse and made by Henry Capel.
ATTRIBUTED TO JOHN POLLARD SEDDON (1827-1906)FINE GOTHIC REVIVAL INLAID SATINWOOD DRAWING ROOM CABINET, CIRCA 1870 profusely marquetry inlaid with stylised plant forms, the moulded top with canted angles above two glazed doors, enclosing adjustable shelves and flanked by panelled doors and canted angles raised on a plinth base, fitted with brass decorative handles and hinges170cm wide, 102cm high, 47cm deepProvenance: By repute formerly the property of Lord Derby at Knowsley Hall.Note: Knowsley Hall, Lancashire, is the seat of the Stanley family, Earls of Derby. The house was remodelled in the Gothic style circa 1820 by the architect John Foster Jr. of Liverpool. Literature: Cooper, Jeremy 'Victorian & Edwardian Furniture & Interiors', Thames & Hudson 1987
JOHN HASSALL (1868-1948) PROBABLY RETAILED BY LIBERTY & CO, LONDONARTS & CRAFTS STAINED OAK SIDE CHAIR the arched plank back with demi-lune piercing above a solid seat on crossed supports, linked by a stretcher, branded facsimile signature to front J. HASSALL35.5cm wide, 81cm high, 50cm deep
EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATTEBONISED SIDE CHAIR, CIRCA 1880 with turned uprights above a rectangular close-nailed Japanese silk panel and cane woven seat, on turned legs linked by stretchers44cm wide, 100cm high, 44cm deepLiterature: Soros, Susan 'The Secular Furniture of E.W. Godwin', Yale University Press, 1999, p. 94 no. 114; p.104 no. 125Provenance: Collection of Roderick Gradidge. Roderick Gradidge AA Dipl. ARIBA was a prominent British architect and writer on architecture, former Master of the Art Workers Guild and campaigner for a traditional architecture.Note: This chair is one of the many variants produced by William Watt after the original dining chair designed for Dromore Castle, Ireland in 1869.They were made in oak or with an ebonised finish as with this example. The model was still in production in 1877 when it appeared in Watt's catalogue as a chair suitable for the library and prices at £4.4s.0d.
JOHN MOYR SMITH (1839-1912)AESTHETIC MOVEMENT GREEK REVIVAL OAK CHAIR, CIRCA 1880 the original embossed silk velvet upholstery with pressed line and serrated design, enclosed by a frame, with carved and incised serrated line decoration, above gothic arched apron and bracket legs terminating in hipped feet with castors46.5cm wide, 87.5cm high, 59.5cm deepProvenance: Supplied as part of a suite to the Earl of IveaghLiterature: Stapleton, Annamarie 'John Moyr Smith 1839-1912: A Victorian Designer', Richard Dennis 2006, pp.28-9, fig. 36 where this example is illustrated.Note: A prolific tile designer of the Victorian era, John Moyr Smith produced at least 18 pictorial tile series for the Minton companies as well as designs for Burmantofts and W.B. Simpson. He was also well known for his work as an illustrator, interior decorator and designer of furniture. This very rare chair was designed by Moyr Smith in the late 1860's. Tantalisingly, the front leg appears in an illustration for piano by Moyr Smith which was published in Building News of 1869. The design in the Greek Revival style shows the influences of Bruce Talbert and Christopher Dresser. Indeed, it is thought that Moyr Smith designed this chair whilst working in Dresser's studio and follows the form of furniture that Dresser illustrated in the Furniture Gazette (see lot 104). It is likely that this chair was made by either Cox & Son or Collinson & Lock. The chair bears label under seat rail MILLAR & BEATTY LTD/ HOME FURNISHERS/ GRAFTON STREET/ DUBLIN.
PHILIP WEBB (1831-1915) FOR MORRIS & CO.RARE ARTS & CRAFTS EBONISED MAHOGANY SOFA, CIRCA 1875 the frame with inset with bobbin decoration, with outward curving back, button-upholstered and with uprights terminating in acorn finials, the upholstered seat raised on six legs joined by H stretchers, each with corresponding bobbin decoration, brass capped castors144cm wide, 86cm high, 65cm deepLiterature: Cooper, Jeremy 'Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau', Abbeville Press, 1987, p. 177, pl. 467 where a similar settee is illustrated.Note: Webb designed this model in 1866, adapted from an 18th century original.
HOLLAND & SONSAESTHETIC MOVEMENT OAK AND ELM HALLSTAND, CIRCA 1880 the rectangular panelled back mounted with hat pegs, with asymmetrical mirrored plate surrounded by Japanese panels, the whole fitted with a glove box and single drawer stamped HOLLAND & SONS, above two pull-down panelled doors surmounted by a leather upholstered seat123cm wide, 183cm high, 46cm deep
ATTRIBUTED TO JOHN ALDAM HEATON (1830-1897)PAIR OF PAINTED LADDERBACK ARMCHAIRS, CIRCA 1890 each with gilt stencilled decoration to the ebonised frame, with serpentine arched back splats above out-curved arms and original rush seat, on turned legs linked by stretchers (2)60cm wide, 118cm high, 46cm deep
ATTRIBUTED TO EDWARD WILLIAM GODWIN (1833-1886) FOR JAMES PEDDLE, HIGH WYCOMBEAESTHETIC MOVEMENT EBONISED ARMCHAIR, CIRCA 1881 the curved top rail carved with sunflower heads and a reeded panel, above fretwork panel and spindle gallery, the later-upholstered seat on ring-turned and tapering legs, bears registration stamp under seat rail for February 1st 188156.5cm wide, 79cm high, 48cm deepLiterature: Soros, Susan 'The Secular Furniture of E.W. Godwin', Yale University Press, 1999, p. 132, no. 179 illus.Note: Godwin designed a number of chairs for Peddle in December 1880 for which, according to his diaries, he was paid £16.16s.0d.
ALFRED WATERHOUSE (1830-1905)PAIR OF AESTHETIC MOVEMENT OAK CLUB ARMCHAIRS, CIRCA 1880 with leather upholstery, the curved padded arms on baluster turned supports, above close-nail seat and turned, reeded and blocked front legs, united by curved stretchers (2)61cm wide, 77cm high, 64cm deepNote: Similar chairs supplied to the National Liberal Club, Whitehall Court, London, designed by Alfred Waterhouse, and completed in 1887 (see illustration).
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