A pair of Royal Worcester blush allegorical figures of Joy and Sorrow, circa 1895; together with another small Royal Worcester figure of a seated girl (unmarked), and a pair of Royal Dux figures (5)The pair of Royal Worcester figures with slight rubbing to the gilded surfaces, the pair of Royal Dux figures with small chips to the bottom base rim, small scratches in parts to the figures, the small seated figure with damage around the neck and old restoration, signs of glue marks around the neck, the figure's hat with chips and restoration to the figures shoe, and the seat leg
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A glass top rectangular coffee table on metal work stand, with scrolled supports and leaf decoration, 122cm by 66cm by 40cm; together with a Barcelona style stool with X frame supports in chrome, a cream leather upholstered seat, a cream leather upholstered square form stool, and a contemporary marble effect pair of nesting side tables (5)
CIJ of France Circa 1927 tinplate, electric and clockwork model of a Nervasport Convertible Roadster, comprising red body with yellow interior, blue steering wheel (A/F), driver figure and passenger, working boot section to reveal internal seat, model requires restoration to steering wheel, light and hinge on drivers side door, rare exampleLength 33cmClockwork mechanism in working order.
REVELL 89c issue Highway Pioneers 1.32 plastic kits, H-45 Sears Buggy, H-44 Oldsmobile Delivery ‘Gowlands Bakery’, H-39 Cadillac Limousine, H-53 1907 Renault Limousine & H-54 1913 Mercedes 4 seat Tourer. All in sealed bags/original boxes & inc figures, ex London, Ontario shop stock - 5 kits
Matchbox Lesney King Size boxed group of 3 to include, K3 Mod Tractor and Trailer in metallic blue with yellow seat and upper trailer, with stars and stripes labels (VNM-M,BVNM), K37 Sand Cat in orange with green paint flecks, black roof and interior (VNM-M,BVNM-M), and K39 Milligans Mill in green with an orange interior, silver engine and flames labels (VNM-M,BVNM-M)
Charles Eames (American, 1907-1978) and Ray Eames (American, 1912-1988) for Herman Miller, United States. Lounge chair pieces; plywood, enameled aluminum, enameled steel, rubber, upholstery. The undersides of the seat and ottoman with original Herman Miller manufacturer's labels. Sold as-is.
Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ron AradEarly 'Tree Light', designed 1983, produced mid-1980sStandard English steel conduit pipes and junctions with flexible goose-neck tubes, concrete base.154 cm high fully extended Produced by One Off Ltd., London, United Kingdom. Base moulded One Off ©.Footnotes:ProvenanceOne Off, Covent Garden, London, mid-1980sAcquired from the above by the present ownerLiteratureDeyan Sudjic, Ron Arad: Restless Furniture, London, 1989, pp. 54, 81, 85Deyan Sudjic, Ron Arad, London, 1999, pp. 21, 32Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 137Turkeys Can Fly By Nick Wright The co-author of Cut and Shut: The History of Creative Salvage, London, 2012. 'I don't like Creative Salvage, as a term and as a band wagon,' Ron Arad said. 'Why?' 'I don't like wings.' Whatever his antipathy to wings, there is an interplay between Arad and Creative Salvage (Tom Dixon, Mark Brazier Jones, Nick Jones and André Dubreuil). Arad staged Dixon's first solo exhibition at One Off and the dialogue continued through their work. Drawing on a lost chair designed by Jean Prouvé, the 'Rover' chair's (lot 23) form was a readymade of sorts, the seat chosen from a scrapped Rover P6. Choice is integral to any design process and Arad's choices were honed at the Architectural Association. Designed by Spen King and Gordon Bashford, the Rover P6 had innovative suspension, an engine bay engineered to accommodate a gas turbine and an ergonomic interior an architect could appreciate. In fact, just how right was Arad's choice of the P6 seat is illustrated by just how wrong the choices of his copyists are: Jaguar seats look antique, the Rolls Royce seats of the Top Gear rip offs are lumpen. The Rover seat seems the only choice for a chair now so famous one thinks of it as a post-production prototype for Jean Prouvé's lost original. Choice also lies at the root of Arad's antipathy to Creative Salvage. Lacking his architectural education, Dixon, Dubreuil and Brazier-Jones junkyard choices were based on decorative value. Ornate railings, Victorian fireplaces, overblown castings – 'wings' – were sampled. Moreover, because they fitted no preconceived design, the results were hit and miss. For all the naivety of Creative Salvage however, for all the 'mistakes' – what Andre Dubreuil recalls as the 'stupid things we made' – a development from talented scrap merchants to designers became evident. Dixon first tried something resembling his 'S' chair in 1986. He said the idea came from a chicken. James Garner, his engineer, said it came from the tank badge on his BSA Bantam. The result was a kneecapped turkey. Dixon took another shot. Following Arad's example, he used car components. The base was formed of a steering wheel, the frame continued down from the knee and was wrapped in rubber cut from a Land Rover inner tube. A now resolved form, it was 'the smell of road' which impeded sales. The final version was rushed. They flew.Young designers in 1980s Britain were hindered by a furniture industry uninterested in innovation so they began self-producing using ready-mades. As they developed, both Arad and the other members of Creative Salvage employed fabricators to realise their increasingly complex designs. Dixon employed James Garner (who still makes his chairs), Michael Young and Thomas Heatherwick. Arad worked with Jon Mills, a metal worker from the Black Country making automata in a Brighton workshop. In 1987 Mills came to London to show Arad slides of his work. Six weeks later the 'Little' chair (lot 26) was exhibited at One Off along with larger works like the 'Reading Couch'. Sheet steel mimics upholstery, steel buttons add to the illusion of plush comfort. A similar illusion was created by Arad in his 'Big Easy'. When asked about his pioneering work in volumetric steel Mills replied: 'It would be very nice if Ron had been inspired by something I'd done. I'm sure I'd seen Marc Newson's 'Lockheed Lounge' chair in Ron's gallery'. All designers borrow from scrap yards, from each other. The question is less about where the idea originates than to what extent it becomes recognisably its author's. The 'Big Easy' may resemble an overstuffed Victorian chair rendered in steel but it is Arad's 'Big Easy'. Definitively. Dixon began sampling Victoriana from Chelsea Harbour junkyards yet produced a design classic. No matter its 'spectacularly ugly' antecedents or its borrowings - from a chicken or Bantam, from Rietveld and Marzio Cecchi, even Arad; in its final form the 'S' chair (lot 28) is a beautifully resolved design by Tom Dixon. Definitively.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Ron Arad'Rover' chair, designed 1981, produced mid-1980sChromium-plated steel, cast iron, Kee-Klamps, leather Rover car seat. 74.5 x 69.8 x 91 cmProduced by One Off Ltd., London, United Kingdom. Frame with label printed ONE/OFF/LONDON/01-379 7796.Footnotes:ProvenanceOne Off, Covent Garden, London, mid-1980sAcquired from the above by the present ownerLiteratureDeyan Sudjic, Ron Arad: Restless Furniture, London, 1989, pp. 31, 48Deyan Sudjic, Ron Arad, London, 1999, p. 10Marie-Laure Jousset, Sir Christopher Frayling and Jonathan Safran Foer, et al., Ron Arad No Discipline, exh. cat., Centre national d'art et de culture Georges Pompidou, Paris, 2008, pp. 64, 72Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 138This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Set of four Jugendstil chairs; Austria, ca. 1900.Wood, decorated with bas-relief motifs.Measurements: 95 x 43 x 44 cm.Set of four chairs of Austrian modernist style, or Jugendstil, made in wood and decorated with motifs of naturalistic flowers and sinuous stems forming scrolls in seat and backrest, motifs worked in a light relief in two planes, in a lighter tone that stands out on the dark background of the wood of the structure. They have a circular seat, sinuous front legs and sabre-shaped back legs, joined by curved chamfers. The backrest is open, with a curved upper horizontal blade, with a sinuous upper profile.
PEP BONET BERTRAN (Barcelona, 1941) for LEVESTA.Tuman armchair, 1969.In chromed steel and black leather.Measurements: 97 x 60 x 82 cm.In this armchair Pep Bonet is close to the rationalist tendency advocated by the Bauhaus and applied by GATEPAC. Thus, his design refers to classic, functional and essential formulations without renouncing formal beauty, combined with an intelligent use of new materials.The Tuman armchair was produced by Levesta (Granollers) between 1969 and 1990, and from 1991 by BD. Pep Bonet created the Tuman armchair out of the need to create a piece of furniture suitable for the spaces he was building, a modern, formally original, comfortable and relatively inexpensive seat. The formal reference for this design is the Tucuman bird, and despite its sinuousness it gives the impression that its structure is composed of a single piece. The large cushion that forms the seat is supported by steel leaf springs, which originally accounted for thirty percent of the production cost, and which give the chair great elasticity and comfort. The original model is upholstered in skai, a symbol of modernity in the sixties and seventies, and in fact the Tuman armchair won Bonet the 1974 design prize in the competition for furniture upholstered in this material at the Spanish Furniture Fair in Valencia.With the passage of time the furniture lost its original dimensions as the springs deteriorated. In 1991 Bonet took the original model as a reference and redesigned it, introducing some changes: the seat height was increased by 5 cm, and new springs were created, as well as the design being upholstered in both skai and leather.Pep Bonet is a Catalan architect and designer trained at the Escuela Técnica Superior de Arquitectura, a member of Studio PER together with Cristian Cirici, Lluís Clotet and Óscar Tusquets, and a founding partner of BD Ediciones de Diseño. He has won awards such as the FAD Interior Architecture Award and the Delta ADI-FAD, among others.
PAOLO DEGANELLO (East, Padua, 1940).Torso chaise lounge for Cassina, 1980s.Seat and back upholstered in off-white fabric and leather, in combination with ochre, blue and green tones.Metallic legs.Measurements: 116 x 150 x 100 cm.Chaise longue designed by Paolo Deganello. Bold design with an asymmetrical structure in the upholstered seat, which incorporates a triangular coffee table.Paolo Deganello graduated in architecture in Florence in 1966. From 1963 to 1974 he worked in urban planning for the municipality of Calenzaro (Florence). In 1966 he founded the Archizoom Associates studio, together with Andrea Branzi, Gilberto Corretti and Massimo Morozzi, which closed in 1972. He continued his private practice as an architect and designer in Milan, with commissions in Italy and abroad. Derganello teaches at several universities and has as many theoretical irons in the fire with articles in leading specialist journals. Since 1991 he has been a professor of planning at the ISIA in Florence. He participates in architecture and industrial design exhibitions internationally. His design projects are always very individual, clearly daring. Among the products he has designed for Cassina, his AEO armchair stands out.
SET OF FIVE VICTORIAN WALNUT DINING CHAIRS,the balloon backs carved with foliage, upholstered tasseled seat, on cabriole forelegsSome marks to the upholstery throughout. Tassle hems have a few loose threads but in generally good condition throughout. Frames have some general surface wear, in keeping with age and use, including some historic dings, nibbles and scuffs. Some spots of discolouration to varnish. Chairs have very slight give but structurally sound. A couple small cracks to carved detail areas. Additional images available.
PAIR OF WILLIAM IV MAHOGANY OPEN ELBOW CHAIRS,the top rails with carved detail, with green upholstered drop-in seats on turned and tapered front supports Chairs are 91.5cm high; 47cm high to seat; 38cm gap between arms at narrowest point of seat; one of the top rails somewhat loose in its fitting to one end; both have movement to frames, one more than the other; one wobbles on a flat surface, has lost base of front left support; heavy general wear to frames with chips, scrapes, nicks, spotting, small splits and stains, bleaching/fading; one with loose section of frame to left of seat and crack to this area; no visible worm; further chips to bases of front supports
SET OF EIGHT CHINESE CHIPPENDALE STYLE BAMBOO COCKPEN CHAIRS,with arched back, padded seat, on four supports joined by an 'X' stretcherA few spots where binding to stretchers has come slightly loose throughout the lot, but still structurally sound. One seat has electrical tape to seat to repair. Some general surface wear throughout, including discolouration/ wear to the varnish. Upholstery in generally good condition with very few marks throughout; seems quite modern/ recent. Some slight wiggle to the chairs but construction generally solid.Height: 97cmWidth: 44cm Additional images available.
OAK ORKNEY CROFTER'S CHAIR,with woven rush back and seat, raised on stretchered and tapered supports Some light general surface wear, including scuffs, nibbles and wear of the varnish to the frame. Small split to one side of backrest. The woven rush all in tact. Spot of black residue to the back rest. One arm rest has some wiggle, but construction is otherwise solid. Additional images available.91cm high, 51cm wide, seat 40cm deep
A SET OF FOUR GEORGE III GREEN AND WHITE PAINTED OPEN ARCMCHAIRS Third quarter,18th century, each with cartouche shaped back and serpentine seat covered in petit point floral needlework, on cabriole legs, the needlework distressed, re decorated with traces of earlier layers of decoration, pegged construction Provenance: The Whatley family, formerly Nonsuch Palace, Surrey, and by descent.
A SET OF THREE GEORGE III MAHOGANY HALL CHAIRS Late 18th century, in the manner of Ince and Mayhew. Each with a fluted oval back with crest of an armoured arm holding a dagger, above a shaped solid seat and square tapering legs joined by stretcher, 94 cm. highProvenance: Private collection, Blandford Forum, Dorset
A SET OF SIX GEORGE II MAHOGANY DINING-CHAIRS Mid-18th century, after a design by Thomas Chippendale, each with serpentine toprail above a pierced interlaced 'Gothic' splat, above a padded drop-in seat covered in cream silk damask, on leaf-carved cabriole legs, on claw-and-ball feet, two chairs with original corner blocks, 100 cm high
A REGENCY MAHOGANY SERVING-TABLE early 19th century, the rectangular top with rear gallery with anthemions, the gadrooned edge to the top above four fluted tapering columns, on a solid base with deep incurved central recess, 128cm high x 268cm wide x 80cm deepProvenance: The Earls of Lichfield, London art market, 1997. Perhaps from the Earls of Lichfield's Staffordshire seat of Shugborough where the dining-room furnishings were replaced in the early 19th century, for example a set of at least twenty-one dining-chairs in an austere Grecian design with pierced palmette in the back (NT 1270731). Interestingly, the pair of large serving-tables now at Shugborough are slightly earlier in date (c. 1790) and were transferred from Attingham Park for display at Shugborough around 1966 (NT 1270758.1-2).This serving-table or sideboard is characteristic of the types of splendid furnishings developed in the early 19th century for the adornment of classical dining-rooms. Its design conforms to a much later design published by Henry Whitaker in his Practical Cabinet-Maker and Upholsterers Treasury of Designs, 1847, where it was described as a 'Sideboard and Wine-Cooler. Elizabethan Style' while that design holds for the present piece, its detailing is very different and reflects elements of early 19th century designs published in George Smith's Collection of Designs for Household Furniture and Interior Decoration, 1808.
A Bembe chair Democratic Republic of the Congo the ladder back with carved geometric decoration and a pair of figures to the vertical supports, the dished seat with rows of fish, male figures wearing caps, jackets and boots, and turtles, beetles and a snake, the four legs with figures wearing differing designs to their skirts, 101cm high, 66cm wide, the seat 61cm deep. Provenance Colin Gross, UK.
A Luba caryatid stool Democratic Republic of the Congo the standing female figure supporting the circular seat, having a plain arched back coiffure, narrow elliptical eyes and an open mouth, with raised scarifications to the abdomen and the base of the back, raised on a circular domed base, the base inscribed 26706 Urua - Manjema Gausser and the left leg 26706, 37.5cm high. Provenance Captain Gausser probably Linden Museum, Stuttgart, Germany, inventory number 26706. Roger Todd Collection, London, UK. cf Zemanek-Munster, Germany, 24th April 2021 lot 313 for a Luba ancestor figure that was gifted to the Linden Museum from Captain Gausser and also collected from the Urua - Manjema border, with inventory number 26711.
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