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Lot 1100
A 19TH CENTURY ANGLO-INDIAN CEYLONESE, COROMANDEL BANDED, SATINWOOD SOFA TABLEOn spiral fluted column and four downswept supports 102cm wide; 72cm highCondition report: Overall in good condition. Signs of wear, including small nicks and chips, minor crackling to the timber surface and other general minor shrinkage and movement of timbers, commensurate with age. Some small losses, notably a small missing section to the edge of the coromandel moulding where the drop-leaf hinges. The same area on the other side has been repaired. Inevitable minor chips to the edges and to the feet. Some repair work to tips of feet.The drop leaves are slightly less sun faded. The handles to the drawers and faux drawers are mother of pearl inlaid horn bun handles.
Lot 956
A MODERN GREEN UPHOLSTERED TWO SEAT SOFAOn turned ebonised supports, 180cm wide; 92cm deep; 90cm highCondition Report: The cushions are filled with synthetic fibres, they are not feather filled. The material covering the sofa requires cleaning, with various old marks, dust and dirt commensurate with use and age. There is no apparent label identifying the nature of the material but it looks like a linen - a cotton / wool / synthetic mix. 92 cm deep from the back of the sofa to the front of the seat. The cushions can make the sofa deeper depending if they are tucked in tightly, or not.
Lot 968
A GEORGE III SATINWOOD BANDED ROSEWOOD TWO DRAWER SOFA TABLEOn four downswept supports, 94cm wide; 75cm highCondition report: Overall in good condition. Spliced repair to the back leg. Various other scuffs, shrinkage veneers and signs of wear commensurate with use and age. The rosewood has faded and surfaces polished and varnished at some point. The colour is a little red, please see additional images on www.bellmans.co.ukVarious old scuffs, scratches and marks to the top, including an odd spot of clear glue / lacquer.
Lot 970
A FRENCH 18TH CENTURY STYLE STAINED BEECH HUMPBACK OPEN ARM SOFAOn carved block supports, 190cm wide; 116cm highCondition report: The sofa appears to be early 20th century A few small chips and minor losses to the odd edge and corner, notably several small chips to the scroll arms and odd corner of the carved detail on the legs. Otherwise in good sturdy order. The seat rails have not been examined because of the dust sheets. Upholstery in good order but with the typical dirt and dust as to be expected.
Lot 2425
A Victorian brown leather Chesterfield sofa of typical form, with studded decoration to the arms, raised on bun feet, width 198cm, depth 89cm, height 70cm.Additional InformationOne foot is loose but present, general surface wear, some small tears around lower sections and scuffs to leather, height to seat is 35cm.
Lot 3
Michael YoungPrototype 'Magazine' armchair, 1994Steel, vinyl upholstery.66 x 81 x 63.5 cmProduced by Michael Young Studio MY 022, London, United Kingdom.Footnotes:LiteratureThe Victoria and Albert Museum, London, Collections, https://collections.vam.ac.uk/item/O1227036/sofa-michael-young, (accessed September 2021), for an example of the unique sofaBonhams wishes to thank Michael Young for his kind assistance with cataloguing the present lot.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 10
Berthold Lubetkin and Margaret LubetkinUnique sofa, designed for the Penthouse flat, Highpoint Two, Highgate, London, 1936-1938Norwegian yew, sandblasted pine, Cowhide, leather, chromium-plated metal. 77 x 196 x 80 cmFootnotes:ProvenanceBerthold Lubetkin, Penthouse flat, Highpoint Two, Highgate, LondonThence by descentBonhams, London, New Bond Street, 'Important Design', 21 November 2018, lot 169Acquired from the above by the present ownerLiteratureLionel Brett, The Things We See Houses - No. 2, Houses, Middlesex, 1947, p. 49 for the armchairs and daybed'Tall Order', The Architects' Journal, June 1985, illustrated p. 55John Allan, Berthold Lubetkin: Architecture and the tradition of progress, London, 2016, illustrated pp. 303, 305, 307, 562The Victoria and Albert Museum, London, Collections, https://collections.vam.ac.uk/item/O1458096/-armchair-berthold-lubetkin, (accessed September 2021) for the armchairHighpoint by Nick Wright'There are only four kinds of artistic activity: fine art, music, poetry and ornamental pastry cooking, of which architecture is a minor branch.' So began Berthold Lubetkin's speech to the Art Worker's Guild in 1932. Over a fifty-year career he baked many fine pastries.His origins are opaque. A passport showing his birthplace as Warsaw in 1903 was false. He was born in Georgia, a colonial outpost of Tsarist Russia, in 1901. During the Russian revolution he enrolled as a student at the Stroganov School of Applied Art. He studied carpet design in Berlin, architecture in Warsaw, concrete construction in Paris under August Perret, though achieved few if any formal qualifications. Nonetheless, he worked on the Soviet Pavilion in the Paris Exposition of 1925 and, in partnership, with Jean Ginsburg whose bona fide degree facilitated planning permission, had built an apartment block on Rue de Versailles by the age of 30.Arriving in Britain with two passports, no family or verifiable CV, he was free to become the architect of his own identity. His nationality was International, his faith communism, the denomination Modernism. The penguin pool he designed for Regent Park Zoo became instantly emblematic of the movement. More commissions came; suburban houses in Plumstead, a beach house in Aldwyck, a bungalow cut into the chalk hills of Whipsnade. Then, following the Tottenham factory designed for Gestetner Ltd, he designed Highpoint. 'Nothing,' he said, 'is too good for the ordinary person' and Highpoint is the physical embodiment of that ideal. New materials, concrete, glass, and steel were presumed impervious to the elements, the elemental design to fashion. Although undeniably 'an achievement of the first rank' to quote Le Corbusier, Highpoint now appears very much of its time. Rather than housing the workers of an office equipment manufacturer the apartments were sold to private individuals whilst the white-washed concrete appears an homage to white liner modernism, new in Britain but rehearsed the decade prior on the Mediterranean coast and already rust streaked.It is the adjacent Highpoint II which appears the more prescient, bridging as it does the stark modernity of its elder sibling on one side with Georgian Highgate on the other. Indeed, it's startling to realise that what one takes to be a low linear building shares a roofline with its high-rise neighbour and this dual aspect continues throughout. The choice of Staffordshire blue brick nods to the Victorian engineers such as Brunel whom Lubetkin admired. The glass bricks of the stair wells were contemporary. Then there are the caryatids. Classical figures cast at the British Museum support the modernist portico, these draped ladies passed water though pipes cast within but remain a source of debate. Are they 'pastry decoration'? Are they a recreation of the figures on a childhood home? Or are they the earliest post-modern joke, an acknowledgement that a function of architecture is to entertain? In 1951 Lubetkin wrote 'for too long modern architectural solutions were regarded in terms of abstract principles, with formal expression left to itself as a functional resultant. The principles of composition, the emotional impact of the visual, were brushed aside as irrelevant. Yet this is the very material with which the architect operates.' Alessandro Mendini said much the same fifty years after Highpoint's construction.Preeminent among the residents of Highpoint II was Lubetkin himself who had designed the penthouse for his family and the apartment displays the same meld of old and new. A vaulted ceiling recalls the breakfast room at John Soane's Pitzhanger, suspended from it was a mobile made and installed by Alexander Calder. Expansive glass affords views of London, in the free space below was a suite of furniture designed in the vernacular style of Lubetkin's native Georgia.John Allen writes of Lubetkin: 'No longer content merely to revere the grand tradition of architects who design their own furniture – Aalto, Le Corbusier, Mies, Rietveld – he now steps up to join it. The low chairs and sofa were unique pieces of soft sculpture made personally by Lubetkin and his wife Margaret from hand chosen lengths of Norwegian yew and cow hide from Argentina.' Such a quest seems indulgent but careful selection of the timber is necessary to the design. The rear posts all require the same curvature, even the knots are regularly spaced to create symmetrical aprons and, as with the building for which they were designed, the traditional and avant-guard coexist; fitted into the rustic frames are airfoil sections adjusted via engine-turned bosses.These pieces of furniture are of real architectural significance - evidenced by the Victoria and Albert Museum's acquisition of the third chair. They were designed by the architect responsible for much of Britain's post-war social housing and the Finsbury Health Centre, effectively the first hospital for the NHS. They drew on his early life in Georgia yet sit well in his home on top of Britain's preeminent modernist building. Indeed, so attached was Lubetkin to the furniture that on leaving Highpoint in 1955 the suite went with him. Images of the farm cottage to which he relocated show sofa and chair wedged beside the hearth. Then when he retired to a terraced Georgian house in Bristol the pieces again accompanied him. Throughout a transient life it was as though this suite represented home more than any building. Perhaps home had always been Georgia.Bonhams wishes to thank Nick Wright, co-author, Cut and Shut: The History of Creative Salvage, London, 2012.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 50
Edvard Kindt-Larsen and Tove Kindt-LarsenRare two-seater sofa, 1946Cuban mahogany, fabric upholstery. 83.5 x 145 x 75.5 cm Executed by cabinetmaker Gustav Bertelsen, Copenhagen, Denmark. Footnotes:ProvenancePrivate collection, DenmarkAcquired from the above by the present ownerLiteratureSnedkermestrenes Medlemsblad (The cabinetmakers Members Magazine), no. 21, 1946, p. 132This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 11
Berthold Lubetkin and Margaret LubetkinUnique daybed, designed for the Penthouse flat, Highpoint Two, Highgate, London, 1936-1938Norwegian yew, sandblasted pine, cowhide. 40 x 233 x 89 cmFootnotes:ProvenanceBerthold Lubetkin, Penthouse flat, Highpoint Two, Highgate, LondonThence by descentAcquired from the above by the present ownerLiteratureLionel Brett, The Things We See Houses - No. 2, Houses, Middlesex, 1947, illustrated p. 49'Tall Order', The Architects' Journal, June 1985, illustrated p. 55 for the armchairs and sofaJohn Allan, Berthold Lubetkin: Architecture and the tradition of progress, London, 2016, illustrated p. 304The Victoria and Albert Museum, London, Collections, https://collections.vam.ac.uk/item/O1458096/-armchair-berthold-lubetkin, (accessed September 2021) for the armchairThis 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 88
Giuseppe PaganoSofa, designed for the Università Commerciale Bocconi, Milan, circa 1939-1942Beech veneered-plywood, fabric upholstery. 71 x 118.5 x 65 cmManufactured by Maggioni Varedo, Milan, Italy. Footnotes:Literature'Uffici Della Nuova Bocconi', Domus, no. 170, February 1942, front cover, pp. 52-59Prof. Dr Mateo Kries and Marc Zehntner, et al., eds., Atlas of Furniture Design, Vitra Design Museum, Weil am Rhein, 2019, p. 326 for the armchairThis 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 268
Dennis Young (British), a teak and caned sofa,c.1960,A scarce model, with caned back and fold down sides, with loose seat cushions, on cylindrical tapering legs,62cm high, 207cm wide, 68cm deepLiterature: 'Furniture in Britain To-day', Alec Tiranti LTD, 1964, No's 103, 104 & 105 (similar model illustrated)Please refer to department for condition report
Lot 408
Rudolfo Dordoni (Italian b.1954), an 'Andersen' L-shaped sofa for Minotti,c.2015, Minotti label to reverse,Upholstered in grey fabric with ten loose cushions, on tapered pewter coloured metal feet,62cm high, width from corner to right end, 288cm wide, width from corner to left end, 268cm wide, 104cm deepPlease refer to department for condition report
Lot 411
Torbjørn Anderssen & Espen Voll (Norwegian), an 'Outline' sofa suite, to include a three seater sofa and two armchairs for Muuto,c.2020,Upholstered in tan leather fabric on black powder coated tubular steel legs,Sofa - 73cm high, 220cm wide, 85cm deepArmchairs - 73cm high, 88cm wide, 85cm deep (3)Please refer to department for condition report
Lot 800
HRH Charles Prince of Wales and Diana Princess of Wales sign Christmas card, signed in black ink 'Aylmer, from Charles and Diana', individually signed in two separate pens, mounted with a colour photograph of the pair with Prince William and Prince Harry sat on a cream sofa, on heavy card with two embossed gilt crests to the front, 20cm x 15.2cm when closed
Lot 630
Duresta - Spitfire - A matching pair of 20th Century designer armchairs / easy lounge chairs and matching footstools / ottomans. Each chair having thick cushioned back and seat rests with barrel armrests with all being upholstered in stitched black leather and raised on block supports. Labels present. Each arm chair measures approx; 79cm x 100cm x 99cm. Please see matching two seater sofa in lot 635.
Lot 227
A large original 1920s advertising poster for Rudolf Pilat,featuring illustrations of their products, including Steyr bicycles, motorcycles, phonographs, weapons, sewing machines, radio, musical instruments, prams and sporting goods. Featuring bold black text set over yellow background, and illustrations of a sewing machine, car and motorcycle, man in hunter's uniform with rifle, a couple on the beach enjoying music, a lady on a bicycle, and a couple on a sofa listening to music. Size 94 x 61cm. For further information on this lot please visit Bonhams.com
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53807 item(s)/page