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Lot 368
A mahogany framed leather gaming chair, circa 1900, bearing a label for Glenisters Patent and listing the Patent and design numbers, leather back and seat, the arms with hinged compartments opening to divisions including two decanters and a glass, with an adjustable leather inset footrest, on castors, 98cm high, 80cm wide, 92cm deep (unextended)
Lot 1048
A YORKSHIRE WINDSOR ARMCHAIR, ASH WITH AN ELM SEAT, 2ND HALF 19TH CENTURY, with double bow back and circular seat, 93cm highThis elegant and dynamic chair was made by a skilled Windsor chair maker and rural woodworker who was aware of an earlier North American Windsor design, known as a `Sack back`, which was a common form made in Connecticut and other East Coast centres circa 1790 - 1800. (See Goyne-Evans The American Windsor Chair. p 337 fig 6-181 for a closely similar example.)This chair has amalgamated a number of features of the American form with other regional elements from the Yorkshire tradition. Specifically, the use of a round in section branch-made top bow, the shaped ends to the arm bow, the `fan` profile of the tapered back spindles. the round seat, pronounced centrally bulbous leg cross stretchers, the legs which are morticed through the seat, and the back spindles which are similarly through-morticed and wedged to secure them are all characteristic of North American design. However, the chair firmly confirms its Yorkshire origin in the particular profile of the under-arm support -turnings (see Cotton B D The English Regional Chair. p 193 fig NE 340 which shows a Windsor chair with closely similar under-arm turnings made by T.Rhodes of Halifax, Yorks fl.1866-1908.) The front leg turnings are a local form too, and have been noted on a number of regional painted Windsor chairs from Yorkshire. The rear leg turnings are of a regional design too, but in this case, in a slightly modified form, from the Thames Valley tradition, particularly in Buckinghamshire. The Elm wood used in the seat is characteristically English, whereas other woods, including Sweet Chestnut are common in American examples.The technology adopted in making this chair where expertly turned parts are combined with back spindles which are facetted and the product of a draw-horse and draw-knife technique, suggest, as it does with West Country Windsors of this type, that this chair was made by a maker familiar with using a draw knife in other rurally based crafts that he undertook: perhaps cart, ladder, sheep hurdle or dry barrel making.This chair has considerable residues of its original blue/green paint over-all and evidence of the white grain filler used under the paint can also be seen along the front edge of the seat. Use over time has rubbed away some of the paint to reveal the wood grain, and in this, the chair has acquired the warmth and evidence of its past that antique furniture often aspires to. Dr. B.D. Cotton
Lot 1062
AN UNUSUAL VICTORIAN ROCKING CHAIR, CIRCA 1890, NORTHERN SCOTLAND, POSSIBLY CAITHNESS OR SUTHERLAND, with slab sides and through tennoned spindle supports, with an arched headboard, front rail and rockers, 101cm x 54cmThis unusual and possibly unique chair embodies construction techniques and design elements which are derived from vernacular chairs made in a widespread tradition in Caithness and Sutherland in the far north east of Scotland. Many chairs from this region were made by crofters for their own use with naturally shaped, continuous back and seat frames which were joined by thin branches. Others, as in this case, were made by `wrights`, or trained joiners, using sawn timbers in a more orthodox way. (See Cotton B D Scottish Vernacular Furniture pp216, 219)This chair creatively combines the spirit of this vernacular form in adopting the back and seat rail structure of cross rails which are then through mortice and tenoned through the shaped sides, made of planks; the profile of which are also well known forms in some simply made children`s chairs. (See Cotton B D Scottish Vernacular Furniture p247 Illus 452) These vernacular features are imaginatively united within a sophisticated over-all design which probably owes its inspiration to the Lowland Scottish Arts and Crafts movement.The construction of this important chair shows evidence that it was made by a trained `wright` who worked briskly with his tools, leaving process marks in place, to create what is a complex and fashionable design. The cross spindles are morticed and tenoned through the sides of the outer plank supports, and wedged to secure them, forming an attractive curved pattern of spindle ends along the line of the back and seat. The top spindle has a flat head-rest behind it to aid comfort, and probably a soft thin cushion or sheep`s fleece would have been placed over the back and seat rails.Below the seat, two rectangular cross rails support the sides and are mortice and tenoned through the sides with decorative exposed ends, as does the rail at the top of the back. The sides are also mortice and tenoned into the shallow rockers which are additionally secured with wire binding in two places each side and a round, wedged peg towards the front. This is a remarkable chair which illustrates the affection and high regard which the followers of the Arts and Crafts movement often had for the use of natural materials and the furniture designs produced by working people on a regional basis for their own communities. Dr. B.D. Cotton
Lot 817
A Continental late 19th Century salon suite, double seat sofa and four matching chairs, mahogany oval back with elaborate scroll and acanthus carving, central fan shape walnut insert with satinwood and mother of pearl inlay, later velour upholstery, cabriole legs and pad feet, sofa (121cm width)
Lot 1
C19th Victorian Spoon Back Walnut Framed Nursing Chair on cabriole front supports with cranked rear supports, brass & ceramic castors, show wood frame, serpentine front & deep buttoned back, Low Nursing Chair with button back & seat on ebonized turned front supports & Victorian Footstool on 4 raised turned supports (3)
Lot 1016
-Click here to bid - 1964 Ariel Leader 250cc Reg.no. CGN 561B Frame no. T33234B Engine no. T33234B The Leader was produced between 1958 and 1965 with a radical design of being fully enclosed with an integral windscreen, and was the first British motorcycle to have optional flashing indicators. It was built using a 250cc two-stroke engine suspended in a pressed steel ‘backbone’ frame, welded down the middle for strength. The fuel tank was hidden inside this structure and accessed by lifting the hinged dual seat. This Leader has covered approximately 54,000 miles from new and is sold with a very thick history file. Its previous owner, who lived locally in Chippenham, had this bike from new. Over the years this motorcycle has had rebuilt wheels fitted, with a new battery, new tyres and tubes fitted. It is sold with a V5c.
Lot 1108
-Click here to bid - 1997 Jaguar XJR 4.0 Litre Supercharged Reg.no. C10 YAN Chassis no. SAJJPALF3BP798729 Engine no. 9KPDNB172321 In 1994 Jaguar introduced their X300 range, intended to evoke the more curvaceous Series XJ, and they were powered by six cylinder in-line engines. Whilst this range was in production, Jaguar introduced the supercharged XJR, which was the first supercharged road car manufactured by the company. This engine gave this luxurious saloon a top speed of around 150mph. This example, which cost £41,617 new from Westover Motors Ltd, in Poole, was fitted with the optional cruise control and metallic paint at the time. The history file contains the original bill of sale, the original handbook, full service history to 83,506 miles and a V5c. The car has some minor wear to the driver’s seat, however overall the condition is very good.
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