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Lot 224
Early 20th Century oak dining suite comprising: oak draw-out dining table on two carved end standards, sledge feet and platform base, together with a set of five dining chairs to include one carver, each with tan leather upholstered back and drop-in seat and a sideboard with shaped back over drawers and cupboards (7) Condition:
Lot 244
19th Century brass mounted mahogany-framed settee in the French Empire style with brass mounted top rail over similar out scrolled arms, the deep-buttoned loose squab cushion on brass-mounted front seat rail with lion mask and ring handles, raised upon reeded turned tapering supports Condition:
Lot 259
Good quality Wesley Barrell reproduction distressed oak seven piece dining suite comprising: refectory style table fitted two drawers and with two end extension leaves, standing on chamfered square supports united by stretchers, together with six ladder back chairs, each having a rush seat and standing on square supports (2 carvers and 4 standards) Condition:
Lot 969
A modern Fenton iridescent carnival glass epergne, the three horns with crimped rims above shaped circular bowl and spreading foot, diameter 22cm, and a similar basket, height 25cm including rope twist handle (2). CONDITION REPORT: Epergne; good condition, the bowl with surface dirt, the horns appear to seat incorrectly, they might be matched. Basket; good condition. Both; with odd minor manufacturing inclusions.
Lot 160
BRAY ART FURNITURE INDUSTRY ARTS & CRAFTS OAK LOW CHAIR, CIRCA 1910 the simple railed back with moulded seat on square tapering legs, allover Celtic carved decoration, bears paper maker's label under seat BRAY ART FURNITURE INDUSTRY 41cm wide, 72cm high, 42cm deep Note: The Bray Art Furniture Industry was a co-operative society formed in 1905, which employed up to 50 craft workers. Their work included domestic furniture fashioned from native woods, and was displayed in a shop on Bray's Main Street which opened in 1907. The Bray Art Furniture Industry was an important factor in the revival of woodcarving in Ireland, and was associated with the Irish Arts & Crafts Movement.
Lot 223
CHARLES RENNIE MACKINTOSH (1968-1928) FOR MISS CRANSTON'S ARGYLE STREET TEA ROOMS, GLASGOW STAINED OAK ARMCHAIR, 1898 the slightly arched top rail above curved arms and panelled sides enclosing a moulded seat and supported on turned and tapering uprights 63cm wide, 84cm high, 48cm deep Provenance: William Smith Esq., Glasgow Literature: Billcliffe, Roger. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs. pp 10-12, 56-58., illustrations 1898.28 & 1898.30 Howarth, Thomas. Charles Rennie Mackintosh: The Modern Movement. pp 121-128
Lot 224
CHARLES RENNIE MACKINTOSH (1968-1928) FOR MISS CRANSTON'S ARGYLE STREET TEA ROOMS, GLASGOW STAINED OAK ARMCHAIR, 1898 the slightly arched top rail above curved arms and panelled sides enclosing a moulded seat and supported on turned and tapering uprights 62.5cm wide, 83.4cm high, 47cm deep Provenance: William Smith Esq., Glasgow Literature: Billcliffe, Roger. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs. pp 10-12, 56-58., illustrations 1898.28 & 1898.30 Howarth, Thomas. Charles Rennie Mackintosh: The Modern Movement. pp 121-128 Note: In 1898, early in the career of renowned Scottish architect Charles Rennie Mackintosh (1868-1928), entrepreneur Catherine Cranston - known simply as Miss Cranston - commissioned him to furnish her new rooms at her tearooms on Argyle Street, Glasgow. Miss Cranston was to be an important patron for the young architect, who came to rely on a relatively small number of patrons throughout his career. The commission afforded Mackintosh a new freedom to experiment, whilst leading to further projects, including the Ingram Street Tea Rooms (1900) and the Willow Tea Rooms (1903) The work at Argyle Street followed on from his previous work at Miss Cranston's new Buchannan Street Tea Rooms, which had been conceived two years earlier in 1896, together with designer George Walton. In this new undertaking, however, Mackintosh found himself in a role reversal, being fully in charge of the furnishings whilst Walton was preoccupied with designing the interiors. The furniture Mackintosh designed for these new rooms exhibit a new, more robust evolution of his repertoire and established a style for much of his work up to 1900. The bold and simple aesthetic of the designs marked him out from his contemporaries, and the distinctive furniture he produced were also employed by him, for the first time, to define and separate the rooms as designed by Walton. These armchairs were designed for the men's Billiards and Smoking Rooms, which occupied the building's top two floors above the tea and luncheon rooms. The tearooms were a haven from the city for both men and women, however the Smoking and Billiards Rooms were purely a masculine domain and the design and construction of the furniture is a reflection of that fact. Combining English Arts & Crafts and Scottish vernacular design, Mackintosh produced three types of sturdy and generous seating for these rooms; a prominent ladderback armchair, its long, rectangular back rail adorned with ascending wooden slats; a cube shaped tub chair, the current example, which was a version of this chair without the tall back; and a stool, only seen in the Smoking Room from contemporary photographs. All of the furniture was either clear-varnished or dark-stained and waxed. The construction of the tub chair is traditional but the form anything but. The broad panels of sawn timber are stripped of decoration and the solid box shape is lightened with curved aprons and subtle detailing under the arms and back. Gently curved and moulded timbers to the arms and back and the distinctive tapering uprights on the angles demarcate the chair's compact, box-like composition. These details are repeated throughout the rooms, creating a balanced composition of expressive lines and simple organic shapes. The Argyle Tea Rooms closed in 1920, and much of the furniture was dispersed. These armchairs came into the possession of established Glasgow restaurateur William Smith, whose daughter passed them on to the current owner as a gift. The robust construction of these chairs has helped them withstand many years of use, however it is their beautiful and functional design, anticipating the 20th century's Modernist ethos, which has stood the test of time.
Lot 231
GEORGE WALTON (1867 - 1933) INLAID MAHOGANY 'BRUSSELS' ARMCHAIR, CIRCA 1900 the moulded serpentine top rail above tall baluster splat inlaid with a marquetry penwork design of wild flowers, the shaped arms on ring-turned baluster supports enclosing an upholstered panel seat on turned and tapering legs with flared feet 57cm wide, 119cm high, 46cm deep
Lot 234
GEORGE WALTON (1867-1933) STAINED MAHOGANY ARMCHAIR, CIRCA 1900 the back with upholstered panel and spindle panels above curved arms and upholstered seat raised on outswept turned legs 58cm wide, 110cm high, 44cm deep Literature: Moon, Karen 'George Walton, Designer and Architect', Oxford 1993, p 70, pl. 84. Note: This chair is an upholstered version of the chairs designed by Walton for Miss Cranston's Buchanan Street Tearooms in 1897, and which he subsequently used in some of his interiors including his own house, Elm Bank, in York in 1898.
Lot 411
EILEEN GRAY (1878-1976) 'TRANSAT' LOUNGE CHAIR black lacquered beech with adjustable back cushion and seat upholstered in black leather, nickel fittings 56cm wide, 80cm high, 74cm deep Note: The 'Transat' chair was designed in 1927 by Eileen Gray for her seaside villa E-1027 in the south of France. The chair's name derived from the word transatlantic.
Lot 471
ROBERT HERITAGE (B. 1927) FOR ARCHIE SHINE (MAKER) AND HEAL & SONS (RETAILER) ROSEWOOD DINING SUITE, CIRCA 1970 comprising a DINING TABLE, with circular top and four drawers raised on a pedestal, 142.5cm diameter, 72cm high; a SIDEBOARD; and a SET OF EIGHT DINING CHAIRS, each with upholstered back and seat, raised on turned legs, 48cm wide, 86cm high, 40cm deep (10)Sold in compliance with CITES regulations, with (non transferable) Transaction Specific Certificate no. 574140/01Note: 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 480
RICHARD YOUNG (B. 1930) FOR MERROW ASSOCIATES ROSEWOOD AND CHROMIUM PLATED DINING SUITE, CIRCA 1970 comprising an EXTENDING DINING TABLE, with single additional leaf, 210cm long extended, 73cm high, 90cm deep; a SET OF 8 DINING CHAIRS, each with upholstered back and seat, 46cm wide, 73cm high, 42cm deep; and a SIDEBOARD, with two sliding doors, 183cm wide, 72cm high, 48cm deep (10)Sold in compliance with CITES regulations, with (non transferable) Transaction Specific Certificate no. 574142/02Note: 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 52
ATTRIBUTED TO E.W. GODWIN FOR JAMES PEDDLE, HIGH WYCOMBE AESTHETIC MOVEMENT MAHOGANY ARMCHAIR, CIRCA 1880 with shaped slatted back with open arms enclosing an upholstered panel seat and raised on ring-turned and blocked legs 78cm wide, 86cm high, 45cm deep Literature: Soros, Susan 'The Secular Furniture of E.W. Godwin', Yale 1999, p. 131, pl. 178 where a similar armchair is illustrated.
Lot 5350
Military Ephemera - Seat of War map, published by Laurie & Whittle, London, A New Map of the Emperors Dominion exhibiting The Post Roads of Germany, Hungary and the Netherlands with thofe of the Adjacent Parts of France, Switzerland, Italy and Poland, linen, marbled slip; Army Book, 136a; Military Books; Chrisamas and New Year folding paper, H.M. Forces; Trench Sketch; etc
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