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Lot 211
JOINED ELM CORNER SETTLE, c.1800, panelled backs above box and open seat sections, 214 x 123 x 139cms hThe seat depth is 40cm’sThe overall depth is 43cm’sThere is some general wear. There are light scratches, scuffs and water stains to the seat.One hinge is broken to the seat cupboard.There are some panels that are cracked, one on the front and a few on the back, the main cracks are on the corner panels.Feels nice and solid when sat on, no worm.
Lot 205
Le Corbusier, Pierre Jeanneret and Charlotte Perriand for Cassina Chaise Longue model number 306, chromium plated frame with black enamelled base and adjustable leather bolster, horse hair seat, frame with facsimile signature and numbered 'LC/4 10811'(70cm high, 54cm wide, 163cm long (27.5in high, 21.2in wide, 64.2in long))
Lot 208
Le Corbusier, Pierre Jeanneret and Charlotte Perriand for Cassina 'Basculant' Chair model number 301, chromium plated tubular frame, leather arm rests with horse hair seat, the frame with facsimile signature and serial number '93605'(63.5cm high, 60cm wide, 63.5cm deep (25in high, 23.6in wide, 25in deep))
Lot 25
Finn Juhl (Danish 1912-1989) for France & Søn Chair, designed 1959 model FD192, teak and vinyl seat, makers label 'AF FRANCE / 6255671'(83cm high, 70cm wide, 58cm deep (32.6in high, 27.5in wide, 22.8in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-31 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.
Lot 56
Verner Panton (Danish 1926-1998) for Vitra 'Heart Cone' Chair, designed 1959 with 'Vitra' label (under the seat pad), stainless steel and wool(89.5cm high, 103cm wide, 60cm deep (35in high, 40.5in wide, 23.6in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-47 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.
Lot 303
Two similar George II style wing back fireside armchairs, early 20th century, with mushroom coloured stuff over upholstery. Supported by cabriole legs with carved claw and ball feet. 90 cm wide x 70 cm deep x 115 m overall height, 53 cm height to seat of the slightly larger chair.Private estateNo apparent defects
Lot 305
A pair of George IV mahogany shell backed hall chairs, possibly by Gillows of Lancaster, Each with solid seats and typically turned cluster column fore supports. Unstamped. 44 cm wide x 44 cm deep x 86 cm overall height.Private estateBoth chairs have loose seats as most of the glue blocks have lost their grip and it can be seen that some of the glue blocks are replacements.One chair is slightly loose at the joint between the rear legs and the seat rails. The other chair has cracked at the point of the mortices where the seat rail meets the rear legs but strangely the rear legs are quite firmOne chair shows an old crack to the bobbin area of turning on the front legTheir is a little bit of movement in the joint of the back upright and the seat rail on both chairs
Lot 320
A close pair of George III style wingback fireside armchairs, early 20th century with cream plaid upholstery and matching bolster cushions and loose saving covers, supported on cabriole legs. 78 cm wide x 85 cm deep x 110 cm high, 52 cm high to the seat.The chairs are in good decorative order but the one chair has some slight flexibility in the joints of the arms,wings and back other than the natural flex one can expect on a traditional framed chair.The feet are a little scuffed through use.The upholstery is free from holes and any visible stains.
Lot 321
A pair of Harrods camel back two-seat sofas with stuff over pale gold Damask upholstery with scroll arms and each with a pair of squab cushions and a heavy tasselled gimp, concealing castors. 193 cm long x 90 cm overall depth x 85 cm overall height, 52 cm high to the top of the squab cushion.Private estateA slight mark to the one armStructurally goodIn good decorative orderNote: Slight discrepancies in the dimensions of pairs of traditional upholstered furniture will always occur due to their nature.
Lot 337
A "Mid Century Vintage" Merrow Associates 'Bradfield' chaise longue possibly designed by Richard Young C1969, upholstered and chrome-plated flat section steel cantilever frame. 170 cm long x 61 cm wide x 80 cm overall heightPrivate estateThe original (?) upholstery is intact but the foam has perished and will need replacing the chaise retains its removable headrest obviously the upholstery would benefit from a clean.The chrome has some minor pinhead rust spotsThe black plastic foot block is missing from the left-hand side of the headThe spring steel frame still has plenty of tension left in it and holds the seat section at a good angle
Lot 355
A set of six Louis XV style carved wood and gilt gesso salon chairs, early 20th century, with floral crestings, moulded frames ad stuff over the upholstery, supported by slender cabriole legs fore and aft. 45 cm wide x 48 cm deep x 85 cm overall height, 47 cm height to the seat.Private estateNo apparent major defects
Lot 356
A pair of Louis XV style carved wood and gilt gesso side chairs, 20th century. with cartouch carved cresting, channelled frame and stuff over upholstery, on simple cabriole supports fore and aft. 54 cm wide x 46 cm deep x 97 cm overall height, 47 cm height to the seat.Private estateNo apparent major defects
Lot 359
A pair of fine Adam design satinwood "Prince of Wales Feather" and cameo backed open armchairs, late 19th-century probably by S&H Jewel and Co The channelled frames inlaid with marquetry paterea above broad stuff over seats and arcaded serpentine seat rails. Supported fore and aft on finely carved and fluted turned legs.Private estateGood order with all of the minor knocks and blemishes expected from an antique chair but structurally firm and stableOne late corner brace block shows signs of chargingThe seat rails have a light peppering of woodworm flight holes but are not infestedThe upholstery is a little tatty and will need attention to make goodWith old household inventory label bearing the legend mansion house and indistinctly stencilled to the underside of one seat rail.
Lot 362
A 17th-century style oak back stool with carved decoration and a solid seat above a shaped frieze. Supported by turned legs united by a box stretcher. 47 cm wide x 43 cm deep x 96 cm overall height. Together with an oak panel back open armchair with simply shaped arms and panel seat, on squared supports.Private estateBack panel cracked
Lot 366
A good Louis XV style carved wood and gilt gesso salon suite, comprising settee and four cameo back fauteuils, 20th century, with musical trophy cresting, the armrests terminating in rams heads, upholstered in ivory damask stuff over upholstery with swagged valances, on turned and carved supports. 165 cm wide x 77 cm deep x 97 cm overall height, 42 cm high to the seat (the settee)Private estateSome knocks to the high spots of the ram's heads causing losses in the gessoStructurally and cosmetically good
Lot 393
A George II provincial red walnut and mahogany open armchair with shaped and carved cresting above an open elliptical splat bar, out swept arms and stuff over seat. Supported by carved cabriole supports fore and aft united by a carved and shaped apron. 74 cm wide x 68 cm overall depth x 99 cm overall height, 54 cm high to the seat.Private estateExtensive running repairs have been made over its lifetimeThe chair has been through the mill and has seen many bad repairs but is quite sturdy.Please follow the link below for a folder containing multiple images illustrating the above.https://drive.google.com/drive/folders/1Z5Fk83GRT7JON1lTH0QPDYEsDs468N4b?usp=sharing
Lot 429
A George I/II ebonized twin fusee repeat chiming table clock, The inverted bell top case with a well-cast swing handle and sound frets to the door and sides. The square dial with applied mask spandrels, silvered chapter ring and a punch matted centre with faux pendulum and calendar aperture, the bottom of the chapter ring bearing the maker's name. The five pillar movement with verge escapement and florid engraved backplate and hook-shaped "holdfast", chiming on one large and three smaller bells. The clock is supported by compressed bun feet and accompanied by a later ebonized wall bracket. 28 cm wide x 18 cm deep x 46 cmA John Austin of Shoreditch is recorded in Brian Loomes Watchmakers and Clockmakers of the World, pp 29 as reported in 1745 for a lost watch however it is likely that his business predates the date of the report mentioned by some years.The movement seems to be fully wound and runs freely for a few minutes and then the pendulum gives an erratic judder then slowly stops, I have been unable to get the clock to chime at the hours and seems unaffected by the Strike / Night lever, however on a pull of the repeat cord it will strike.I think the seat board is a replacement due to signs of holes and former woodwork is evidentThe backplate of the movement has some surplus holes that I can't adequately explain as the chiming system seems intact.The pull repeat activates chiming on the three smaller bellsThe movement has a cover over the top of the rod of the bob pendulum this metal is of a different colour and gauge.The case is in good order for its age it has some scratches and has had some restoration in the past the feet are not original
Lot 48
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
Lot 1350
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)
Lot 864
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.
Lot 1460
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
Lot 1985
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)
Lot 412
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.
Lot 1
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
Lot 22
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
Lot 23
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
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