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Lot 107
After Charles and Ray Eames (American, 1907-1978 and 1912-1988), Chair and ottoman, Model No 670 and 671, originally designed 1956, the chair 82cm high x 82cm wide x 88cm deep, the ottoman 46cm high x 66cm wide x 55cm deep (2)Condition Report: OttomanThe leather is generally in good condition, with a few white spots in places. Woodwork has some scratches and a blemish near the baseChairAreas of wear to the head rest and the seat leather has some wear and slight marks/fold marks.Head rest was loose, but has been tightened in the saleroom.There is a button missing from the seat cushion. All cushions are secured to the base by press studs and hooks.There are no makers marks to this chair, or company labels to indicate a manufacturer.
Lot 84
Niels Otto Moller for JJ Moller, a set of six Model 75 teak dining chairs, with paper corn woven seats, labels to seat rail for Danish Furniture Makers Control and J J Moller, 76cm high, together with a teak extending dining table, with three central leaves, 74cm high x 115cm diameter, extended 265cm wide (7)Condition Report: Overall the chairs are firm and stable with no loose members.Seats in good condition and colour. When viewed to the underside there are supporting hooks for the weave and labels. There are some staples in the weave which are probably original to the manufacture.Surfaces of woodwork exhibit light wear and staining to the base of the legs and there is some light wear to the seat rails causing some whitening to the high points.Table has signs of wear to the top and the leaves have a slightly deeper colour that to the table top.
Lot 103
Ford Madox Brown (1821-1893); the "Argyll" ebonized corner armchair, 19th century, possibly for Liberty & Co, with cruciform lattice backs above a drop in rush worked seat, Supported by a spindle turned underframe. 41 cm wide x 41 cm deep x 71 cm overall height, 42 cm height to the seat.Private estateSigns of woodwormThe joints seem fairly firm and when tapped a very small amount of frass can be seen this could indicate recently emerged insects and activity.
Lot 104
A Chippendale-style mahogany triple chair back settee, early 20th century, with shaped cresting rails, carved and pierced ribbon splats, over serpentine stuff over seat flanked by 'Shepherds Crook' arms supported by square section legs with blind fret decoration. 155 cm wide x 50 cm deep x 92 cm overall height, 48 cm to the seats, together with a pair of 'Chippendale Ladderback' open-arm elbow chairs with stuff over seats.Sofa: Damage to right-hand arm support, evidence of old woodworm in seat rails that have been filled with tinted plaster.With a crack to the central splat, and a chip to the arm junction with the back upright, the frame has a fair bit of movement across the back and seat frame and will need work to firm upThis item will require restoration to make good.The accompanying pair of chairs are stuff over upholstered Not drop in.The frames are good but flex a little at their joints, especially at the armrests,both items in this lot will require cleaning.See the extra images for details of damage to sofa.
Lot 106
A French carved oak salon suite, of Régence style, early 20th century, comprising a three seat canape and pair of fauteuils, with camel backs and close nailed stuffover upholstery, the frames moulded and carved with shells and flowers. 168 cm wide x 60 cm overall depth x 105 cm overall height, 52 cm height of seat, the canape. the fauteuils 68 cm wide x 60 cm overall depth x 102 cm overall height, 48 cm to the seat..
Lot 89
A probably American 19th-century walnut "Hound's Mask" armchair, stamped C.W. Pat, with high-turned pillar support and a carved cresting rail above arms each terminating in well-carved dogs heads; with stuff over seat arms and back. Supported by turned and carved fore supports. 68 cm wide x 124 cm overall height x 68 cm deep, 42 cm height to the seat.
Lot 98
A French Louis XV-style carved wood and gilt gesso matched salon suite, late 19th century, the set comprises a pair of fauteuils and two-seat canape, with carved shell and floral bouquet crestings, each with moulded outlines and pale blue stuff over upholstery to the serpentine seats, supported by slender shaped cabriole supports, together with a similar carved wood and gilt gesso foot stool. 134 cm wide x 78 cm deep x 107 cm overall height of the canape, approximately 50 cm to the top of the canape seat.The cresting of the sofa has some small areas of damage see images.I can't see any signs of woodworm from the small amount of exposed underframe as the chairs and sofa have dust liners fitted.The joints are tight but by their nature have a little "Flex" across their arms.The upholstery on the sofa and chairs is good and cleanThe upholstery on the stool is threadbare on the top
Lot 418
Leslie Hawk (American, 1953-2002). Large sculpture depicting a figure standing next to a chair. Concrete, lead, and opaque glass. The tall, faceless figure is made up of textured lead panels depicting animals, set with a slab of deeply carved glass in swirling designs with similar motifs as the lead. The seat of the chair is likewise set with a slab of carved glass.Height: 67 in x width: 27 1/2 in x depth: 18 in.
Lot 645
Hans Wegner (Danish, 1914-2007) for A.P. Stolen, Denmark. Model AP19 "Papa Bear" chair and model AP29 ottoman, designed in 1951.This stunning early 1960s teak chair and ottoman have been reupholstered in a red-orange fabric using original stitched lines and reinforced in recent years. The chair contains a "Furnituremakers Danish Control" mark along the bottom. The seat cushion on the chair is removable and can be used with either side facing up. The chair comes complete with a double ended cushion to add as a head and/or lower back support. The cushions are tethered to one another and hang over the back of the chair. The ottoman is perfect as a casual bench or stool and is made from solid shaped teak.The name "Papa Bear" was first coined by a journalist who felt as though they were being hugged by the chair and that it had paws where their hands were resting, so they described the chair as the "Papa Bear Chair." Anker Petersen, the director of AP Mobler, liked the name and dubbed the new chair as such. The chair was designed with angled and tapered legs, with the back legs extending through the frame upward to the armrests to provide structural support.Chair; height: 38 1/2 in x width: 31 1/2 in x depth: 30 in. Ottoman; height: 16 x width: 27 3/4 in x depth: 16 in.
Lot 154
AMBROSE HEAL (1872-1959) FOR HEAL & SON, LONDON ‘LETCHWORTH’ OR 'NO. 953' LADDERBACK ARMCHAIR, CIRCA 1905 oak, with rush seatDimensions:58.5cm (23in) wide, 122cm (48in) high, 52cm (20 1/2in) deepNote: Literature: Heal, Oliver S. Sir Ambrose Heal and the Heal Cabinet Factory 1897-1939, Unicorn 2014, p. 247 illustratedNote: This design was produced after a Baillie Scott design that Ambrose Heal made for the showhouse in the New Garden City of Letchworth
Lot 344
GORDON RUSSELL (BRITISH 1892-1980) DRESSING TABLE, 1930, AND ASSOCIATED 'COXWELL' CHAIR, CIRCA 1929 English oak, with walnut handles, mirror plate and brass fittings, the drawers with cedar linings, bears paper label under the drawer inscribed, ‘Design Number 621/1210, Designer Gordon Russell, Foreman F Shilton, Cabinetmaker C Hill, Timber Used English Oak, Date 27/06/30’, the chair, design no. 844 and originally designed in 1929, stamped ‘Gordon Russell Ltd.’ under the seat railDimensions:dressing table 141cm (51 1/2in) wide, 138cm (54in) high, 49cm (19 1/4in) deep; seat 40cm (15 3/4in) wide, 80cm (41 1/2in) high, 29.5cm (15 1/2in) deepNote: Literature: Leigh, R and Chinn, T. Drawn to Design: The work of Sir Gordon Russell CBE, MC, RDI, the celebrated 20th century Furniture Designer The Gordon Russell Trust 2013, p.84 where the original 1927 design is illustrated.
Lot 58
CHARLES FRANCIS ANNESLEY VOYSEY (BRITISH 1857-1941) SIDE CHAIR, CIRCA 1904 mahogany, with a heart-shaped cut out on the centre splat and close nailed drop-in leather pad seat Dimensions:45.5cm (18 in) wide, 103cm (40 1/2 in) high, 44cm (17 1/4in) deepProvenance:Provenance: Dreweatt Neate, Newbury, 9th February 1994, lot 194.Note: Literature: Livingstone K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing, London 2016, pp.159-161 and 197, pl. 204, pls. 338 and 251RIBA catalogue SB115VOY[229], the original drawing for this chairNote: Voysey’s preferred material for furniture was unstained and unpolished oak. He did however specify other materials when he felt them appropriate, in particular, if the other furniture in the house was of a differing material or when specified by a client. He reiterated this to Arthur Simpson of Kendal in 1909 stating that “You must have oak everywhere or nowhere. I will not be a party to the mixture.” A scarce example of his work in mahogany was a commission from the painter Edward Hughes who asked Voysey to design a corner sideboard for his house at 7, Lodge Place in St. John’s Wood in 1898. Voysey obtained quotations for the piece from Frederick Coote in mahogany and deal and mahogany was chosen. Other examples include a fitted scheme in mahogany for Leslie Paton at 29 Harley Street, London in 1919, although no records are known for moveable furniture. An entry in Voysey's black book a G.W. Glynn at 8 Netherhall Gardens in 1910 includes a music cabinet and other unspecified 'furniture'. The current lot and its companion, lot 58, were presumably from a similar commission where mahogany was the more appropriate material.
Lot 59
CHARLES FRANCIS ANNESLEY VOYSEY (BRITISH 1857-1941) SIDE CHAIR, CIRCA 1904 mahogany, with a heart-shaped cut-out in the back splat and close nailed leather seat padDimensions:45cm (17 3/4 in) wide, 103cm (40 1/2 in) high, 44cm (17 1/4 in) deepProvenance:Provenance: Dreweatt Neate, Newbury, 9th February 1994, lot 194.Note: Literature: Livingstone K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing, London 2016, pp.159-161 and 197, pl. 204, pls. 338 and 251 RIBA catalogue SB115VOY[229], the original drawing for this chair
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216995 item(s)/page