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Lot 792
A GEORGE III MAHOGANY AND CROSSBANDED SOFA TABLE,, late 18th century, the twin drop ends of the rectangular top with rounded corners, above twin drawers to the front and false drawers to the back, a support at each end united by a turned multi-knopped stretcher, each descending to twin splayed legs, with brass paws and castors, 74cm high x 148cm long (opened) x 72cm wide
Lot 1115
GIO PONTI (Attr.le) Produzione Fede Cheti, Italia 1930 ca. Salotto a conchiglia composto da divano a tre posti, due poltrone, due sedie e due puof, struttura in legno, imbottitura e rivestimento in velluto nei toni del bordeaux.Bibliografia: Irene de Guttry, et. al., Il Mobile Italiano Degli Anni '40 e '50, Bari, 1992. Laura Falconi, Gio Ponti: Interni, Oggetti, Disegni, 1920-1976, Milan, 2004. SHELL LIVING ROOM COMPOSED OF A THREE-SEATER SOFA, TWO ARMCHAIRS, TWO CHAIRS AND TWO PUFFS, WOODEN STRUCTURE, UPHOLSTERY AND VELVET UPHOLSTERY IN SHADES OF BORDEAUX. cm 197 x 85 Alt. cm 76 - Alt. cm 76, Alt. seduta cm 40 (sedie) - cm 85 x 85 Alt. cm 79 (poltrone) - cm 50 x 38 Alt. cm 34 (pouff).
Lot 1148
PAOLO BUFFA Produzione Italia 1950 ca.Salotto mod. Bristol composto da un divano a tre posti, due poltrone e due pouf in legno con tessuto originale degli anni 50 nei toni del verde.Bibliografia: (Modello simile) R. Aloi, L'arredamento moderno terza serie, f. 240, Hoepli, 1945. BRISTOL MOD. LOUNGE CONSISTING OF A THREE-SEATER SOFA, TWO ARMCHAIRS AND TWO POUFS, IN WOOD WITH ORIGINAL 1950S FABRIC. cm 74 x 90 Alt. cm 78 (poltrone) - cm 178 x 90 Alt. 78 (divano) - cm 60 x 40 Alt. cm 43 (pouf).
Lot 1242
EBANISTERIA SICILIANA Produzione Italia 1930 ca. Divano art déco in radica di noce, inserito in un mobile basso con mensole, spalliera e seduta in tessuto d'epoca nei toni vinaccia, piede baccellato.Bibliografia: Il mobile déco italiano 1920-1940, De Guttry Irene Maino Maria Paola. Laterza, 2006. ART DÉCO SOFA IN BRIAR OF WALNUT, INSERTED IN A LOW CABINET WITH SHELVES, BACKREST AND SEAT IN VINTAGE FABRIC IN BURGUNDY TONES, PODDED FOOT. cm 266 x 65 Alt. cm 89.
Lot 25
Walter Richard Sickert A.R.A. (British, 1860-1942)Portrait of Mrs Barrett signed 'Sickert.' (lower left)oil on canvas50.8 x 40.3 cm. (20 x 15 7/8 in.)Painted in 1906Footnotes:ProvenanceThe Artist, 3 January 1907, from whom purchased byBernheim-Jeune, ParisRt Hon Frederick Leverton Harris, thence by descent toMrs Gertrude HarrisSale; Sotheby's, London, 19 June 1974, lot 66aJ. Moore PollockSir Denis Rickett, thence by family descentPrivate Collection, U.K.ExhibitedParis, Bernheim-Jeune, Exposition Sickert, 10-19 January 1907, cat.no.30 (as Le Canapé rayé)London, Stafford Gallery, 27 June-July 1911, An Exhibition of Pictures by Walter Sickert, cat.no.30 (as The Striped Sofa)LiteratureJames Bolivar Manson, 'Walter Richard Sickert A.R.A.', Drawing and Design, July 1927, p.5 (ill.) (as Portrait)Wendy Baron, Sickert, Phaidon, London, 1973, cat.no.228Wendy Baron, Sickert, Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.320, cat.no.266.1 (ill.b&w) In April 1906 Sickert sent his intimate friend, the society beauty and talented amateur singer Elsie Swinton (Mrs George Swinton), a series of 14 postcards, each containing a cameo sketch in pen and ink, illustrating the paintings on which he had been working in his studio at 8 Fitzroy Street between Good Friday (13 April) and the following Thursday. All were figure subjects set within a room which featured a striped green sofa, a bentwood chair, and a few heavily-framed pictures on the walls. He inscribed each card, some with the timing of his sittings, some with the identities of his four models and several with both. His models were the Belgian Daurment sisters, Hélène and Jeanne, whom he had recently met in Soho; Agnes Beerbohm – elder sister of Max, a talented dress designer, and some ten years earlier one of Sickert's lovers; and a woman identified in three sketches as 'new model'. The new model sat for two head and shoulders strict profile portraits, one on Saturday morning and one on Sunday (New Head of New Model); on Thursday afternoon she sat for a near frontal head wearing a shy smile and a large straw hat which shadowed her eyes. At no other time in Sickert's long career has his precise production over a one week period been so accurately disclosed.The paintings of Aggie Beerbohm in fancy dress and of the racy Daurment sisters are all in character. Not so the three portraits of the 'new model'. Her face and personality seem to have offered Sickert a blank canvas on which he could experiment with old master prototypes. The Thursday afternoon painting (Private Collection) is a free reworking of Rubens's Chapeau de Paille (London, National Gallery); the two profile portraits adapt the well-known Renaissance formula which Sickert regularly returned to from the 1890s to the 1930s. One of the profile heads is on offer here. The other was bequeathed by Roger Fry to the Courtauld Institute of Art. Fry probably bought it from the Savile Gallery where it had been exhibited in February 1928 (31) under the title Portrait of Mrs Barrett. But who was Mrs Barrett? Lillian Browse, in her monograph on Sickert published in 1960 (p.21) had defined her as 'charwoman', a statement which prompted Mrs Barrett's daughter-in-law to inform Miss Browse that her mother-in-law had been a dressmaker, not a charwoman', and that she had died in 1925. This raises the intriguing possibility that Agnes Beerbohm, the dress designer, may have introduced the dressmaker to Sickert. The portrait on offer here is certainly the profile begun on Sunday. The sitter's jacket or blouse on the Sunday sketch is repeatedly annotated 'RED' denoting vertical stripes, consistent with the colour used in this painting, whereas in the Fry version Mrs Barrett wears an olive green blouse, similar in tone and colour to the background wallpaper. The Sunday version is also much enlivened by the introduction of the striped sofa, the title under which it was exhibited at the Galerie Bernheim-Jeune in Paris in January 1907 and at the Stafford Gallery, London in 1911. The red and pink striped jacket worn by Mrs Barrett reappears (together with a pearl necklace) in two more, near full-face, head and shoulders portraits: The Red Blouse (The Carrick Hill Trust, Adelaide) and Le Collier de Perles (Private Collection), the latter identified in the archives of Bernheim-Jeune as La Belle Sicilienne or La Siciliana.Sickert's model, wearing different clothes, also seems to feature in two interiors executed in pastel: Blackmail: Mrs Barrett (National Gallery of Canada, Ottawa); and Mrs Barrett (Tate). Confusion struck when the Ottawa pastel was taken from its frame. Old backing labels and inscriptions were discovered which revealed it had been exhibited at the Salon d'Automne in Paris in 1905 under the title Popolana Veneziana. How can a 'new model' of Easter 1906 have sat for a picture exhibited in autumn 1905? Did Sickert deliberately mislead Mrs Swinton? And why? I have no answers. The confusing plethora of titles is typical of Sickert. He used invented titles to manipulate the characterisation of his Camden Town period models. In the case of the portraits discussed here, fashion may have misled future scholars and collectors. Heavy, upswept, rolled wings of hair are common to Mrs Barrett at Easter 1906, to an extant photograph of Mrs Barrett given by her daughter-in-law to Miss Browse, and to Sickert's 1905 model – whether Sicilian, Venetian or possibly neither. However, it is indisputable that the models for all these pictures are strikingly alike. We are grateful to Dr. Wendy Baron for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 692
A modern upholstered scroll arm sofa bed, two seat, 180 cm wide x 93 cm deep x approx 92 cm highCondition ReportHas general wear and tear conducive to age and use including a couple of small marks to the upholstery. Otherwise mechanism ok and sofa structure sound. Bed itself appears to have been only use a few times. See images for more details.
Lot 16
A WALNUT AND UPHOLSTERED WING BACK SOFA IN WILLIAM & MARY STYLELATE 19TH CENTURY135cm high, 135cm wide, 83cm deepProvenance: Purchased Dreweatts, Aynhoe Park, 20 January 2021, Lot 198Condition Report: Upholstery and with some wear and marks to upholstery. The carved supports with overall wear, scuffs and losses to the finish.Condition Report Disclaimer
Lot 276
A REGENCY MAHOGANY SOFA TABLE CIRCA 181573cm high, 155cm wide (when open), 66cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use.Old splits and chips. Including various old splits to top (see images). Old repair to edge of one hinged leaf where it meets the centre of the top. Section of replacement veneer to outer edge of one hinged leaf. Some small amounts of filler used in places. No key present, both locks are open. Handles are replacements. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 315
A REGENCY MAHOGANY AND COROMANDEL CROSSBANDED SOFA TABLE POSSIBLY SCOTTISH, CIRCA 181571cm high, 145cm wide (when open), 55cm deep Condition Report: Marks, scratches, chips, splits, abrasions commensurate with age and use; repolished.The fiddleback mahogany top clean; a crack from one edge; the drop leaves slightly bowed; lacking a section of veneer to the edge.Small repairs to the coromandel crossbanding on the drawers.The spirally reeded support, platform and legs with some scratching and rubbing; two of the brass feet slightly loosely fitted.Please refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 332
A REGENCY BLACK PAINTED AND PARCEL GILT SOFA IN THE MANNER OF THOMAS HOPE, CIRCA 181592cm high, 194cm wide, 75cm deep.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old chips, splits and some losses. The upholstery with the expected wear, marks and fading overall - see images. Some small tears and areas of fraying. Parcel gilt elements have been re-freshed at some point and bear the expected chips, rubbing and some losses - see images. Black painted surface is later. It bears the expected chips and wear.Slight movement within frame but sofa is structurally solid overall. Later screws to the outsides of the ends and to the back securing the upholstered panels. Some additional knocks and abrasion to the outer corners of the top rail. One of the lion masks at the top of one front leg is lacking. Caned seat is an old replacement and is in generally good order overall. Dowel or screw repairs to the sides of the rear legs where they meet the frieze. The holes have been plugged to help disguise. Glue residue visible to one of the Egyptian female busts to the ends of the arms. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 349
Y A REGENCY FIDDLE-BACK MAHOGANY, SATINWOOD AND ROSEWOOD CROSSBANDED SOFA TABLECIRCA 181573cm high, 153cm wide (when open), 61cm deepCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use.Some old splits and chips.Some filler applied to the top and leaves in placesSome fading to the timbersKey is present and operates both locksSome ink stains to interiors of drawersCedar and ash lined drawersSome minor warping to leavesPlease refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 1304
A French Hepplewhite Revival mahogany five-piece drawing room suite, comprising sofa and four side chairs, each with an arched cresting rail carved and applied with a flowerhead and acanthus, shaped and pierced splat, stuffed-over seat, straightened cabriole forelegs, the sofa 75.5cm high, 114cm wide, the seat 97cm wide and 41cm deep, the chairs 91cm high, 42cm wide, the seat 31cm deep, c.1900 (5)
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53807 item(s)/page