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An Edwardian silver dressing table jewel box, Goldsmiths & Silversmiths Co Ltd, London 1908, shaped lozenge form with relief flowerhead rim, registration no. 508815, 12cm x 7.5cm, 3.8ozNo damage or repair, only light surface wear and a few extremely minor dents on side panels, hinged lid working, hallmarks clear
A George V silver dressing table jewel box, indistinct maker, Birmingham 1910, oval form with engine turned decoration, and fitted interior, 12.5cm x 8.5cm, 8.7oz grossAll feet bent inwards, side panels have a few small dents, cartouche vacant, hinge lid working perfectly, hallmarks slightly rubbed
ERNST TREUSCH - a large German 800 silver table centre fruit bowl, early 20th century, circular scalloped form with scrolled feet, and original German presentation inscription dated 1935, diameter 28cm, 17.1ozNo damage or repair, base has a few small crease dents along with original inscription, mark clear, engraved 835
A late Victorian silver-mounted glass dressing table perfume bottle, Spurrier & Co, Birmingham 1900, floral moulded teardrop glass bottle surmounted by relief embossed floral silver cap, with original faceted glass stopper, 16cmNo damage or repair, no chips or cracks, silver cap has engraved initials MAU, hinge lid working perfectly, hallmarks clear
§ Albert Reuss (Austrian 1889-1975) Seated Woman at a Table monogrammed (lower right), oil on canvas Dimensions:61cm x 71cm (24in x 28in) Provenance:ProvenancePrivate Collection, UK. Note: Out of Context and Out of Time: Works by Albert Reuss Albert Reuss’s work often evoked connections with Surrealism and in particular the work of Salvador Dalí and Giorgio de Chirico. Objects often inhabit and float in space: a dress-maker’s mannequin, three-legged chair or an isolated tree irregularly sit in abandoned landscapes having lost connection to their normal environment, which was presumably partly a reflection of Reuss’s own displacement.Born in Vienna in 1889, Reuss gained success in his own country with his first one-man exhibition held at the Würthle Gallery in Vienna in 1926. The show sold well and brought him the security of a teaching post as well as election to the Künstlerbund Hagen in 1927; he continued to make a living from his art for the next decade in Austria. However, following the Anschluss in 1938 Reuss fled to Britain, leaving behind his reputation and never to return to his homeland.After periods in St Ives and Cheltenham, Reuss and his wife eventually moved to Mousehole in Cornwall in 1948. They largely kept a distance from the thriving artistic community in St Ives and he continued with his distinctive style which was gentle and calm but with a melancholic tone.The Kunsthandel Widder Gallery provided a fitting description of this post-war work:'Objects, floating relinquished through space and having lost any foothold, predominate his imagery...Ripped out of their natural context, those objects tell the story of a voyage, of a kind of abandonment of an object that does not fit in its new environment. Reuss's artwork, style and choice of subject matter invoke an association with Surrealism. Dalí and Chirico are but the two most important artists…[who]…bring to mind Reuss's artwork. Reuss's depiction of people has a similarly estranged air about them as those of his objects. Taken out of context, of time, of place, the pictured people appear oddly strange. Melancholic and lonely, but also calm and gentle, Reuss's creations remind the viewer of the art of Josef Floch.'Reuss’s work is held in numerous significant galleries, notably the British Museum and the Victoria & Albert Museum, London, the Belvedere Gallery and Albertina in Vienna and the Newlyn Art Gallery in Penzance. He held regular one-man shows during his lifetime at the O’Hana Gallery in London from 1953, as well as receiving solo exhibitions in Birmingham and Cheltenham, amongst others.
Marcel Wanders (Dutch 1963-) for Cappellini Rare 'Knotted' Table, design conceived 2001 chromed epoxied rope and glass, made as a prototype for CappelliniDimensions:52cm high, 80cm diameter (20 1/2in high, 31 1/2in diameter)Provenance:ProvenancePrivate Collection, UK. Cappellini exhibited an example of this model at the Salone de Mobile in Milan in 2001.
§ Blott Kerr-Wilson (British 1962-) 'Tide' Table abalone shells, painted tulipwood, with toughened glass insert Dimensions:45cm high, 120cm long, 89.7cm deep (17 3/4in high, 47in wide, 35 1/4in deep) Note: This piece has been made in a collaboration between Charlotte Bowater at Guilded Ltd, and Blott Kerr-Wilson. In ’The Shell’ by Ingrid Thomas, published by Thames & Hudson in 2007, Kerr-Wilson is described as “the most innovative shell artist working today.” Her work is instantly recognisable for its distinctive use of her chosen materials, shells, which give a geometrical yet fluid sense of movement across any surface they are carefully placed upon by the artist. Kerr-Wilson grew up in north Wales where her passion for shells grew as she explored grottos, and shell houses around her, and her desire to push the material further first developed. Following studying sculpture at Goldsmiths, she turned her attention towards shells as a medium when she entered a shell interior into The World of Interior's 'Design A Room' competition - which Kerr-Wilson's bathroom won. She has since received numerous public and private commissions.The abalone shells on this present example of her work (commonly known as Asses Ears) have been set to reflect light from differing angles, to give the appearance of a wave sweeping across the surface.
§ Gerald Leslie Brockhurst (British 1890-1978) Adolescence (Kathleen Nancy Woodward), 1932 (Fletcher 75) signed in pencil (in the margin lower right), from the unnumbered edition of 90, etching on wove paper Dimensions:plate 26.5cm x 37cm (10 1/2in x 14 3/4in); sheet 33.6cm x 45.6cm (131/4in x 17 7/8in), unframed Note: Adolescence is the most famous and virtuoso image of Brockhurst’s career and is widely considered a masterpiece of twentieth-century printmaking.Having shown early promise and commitment to his studies, Brockhurst enrolled at Birmingham School of Art aged just twelve years old. He later entered the Royal Academy Schools in London in 1907. Brockhurst’s trajectory to success was set early on, as in both schools he was awarded many of their highest accolades. After travel in France and Italy before the outbreak of World War One, followed by a five-year period spent living in Ireland, Brockhurst eventually re-settled in the English capital. Over the course of the 1920s he made his name in artistic circles, foremost as an outstanding printmaker at this point in time, while his reputation as a painter of extraordinary skill would come to fruition a decade later.Adolescence is rightly regarded as a significant artistic achievement. In 1924, Hugh Stokes encapsulated the artist’s technique as follows: ‘What…[Brockhurst]…is gradually attaining… is a soft and velvety richness of quality in which line disappears, although the form is based upon line.’ It is a startling process which results in a remarkable level of finesse. Brockhurst’s ability to convey such an extraordinary variety of texture and tone in Adolescence make it a prized work among collectors, as too does its period elegance and subtle sensuality.As with many of history’s great artworks, the backstory can add as much appeal for collectors as can the aesthetics of the image itself. Adolescence is one such example of this. Brockhurst had attracted scandal (with the added benefit of renown) due to his affair with Kathleen Woodward, a 16-year-old life model for whom he subsequently left his wife and former muse Anaïs Folin. In the manner of his friend Augustus John, Brockhurst re-christened Kathleen ‘Dorette’, and she came to feature in many of his most successful and notable portraits. In Adolescence, Dorette is depicted seated nude on her bed, assessing herself in a dressing-table mirror, lost in her interior world. It is an idealisation of young womanhood, a subject that preoccupied much of Brockhurst’s career, but it is also a study of nascent sexuality. It remains Brockhurst’s most overtly sensual image.
Ugo La Pietra (Italian 1938-) for Zama Elettronica, Italia Table Lamp, design conceived 1968 acrylic and metal Dimensions:39.5cm long (15 1/2in long) Provenance:LiteratureBassi, Alberto, Italian Lighting Design 1945-2000, Milan: Electaarchitecture, 2004, p.128, model illustrated.
An adzed oak refectory dining table and six chairs by Derek 'Lizardman' Slater of Crayke, North Yorkshire[Derek Slater was apprenticed to George 'Acornman' Grainger, of Acorn Industries, who himself had worked for Robert 'Mouseman' Thompson of Kilburn, and is one of a number of craftsmen working in the distinctive Yorkshire School style, collectively the craftsmen are known as The Yorkshire Critters]
An adzed oak coffee table by Derek 'Lizardman' Slater of Crayke, North Yorkshire, 107 x 45 x 44 cm[Derek Slater was apprenticed to George 'Acornman' Grainger, of Acorn Industries, who himself had worked for Robert 'Mouseman' Thompson of Kilburn, and is one of a number of craftsmen working in the distinctive Yorkshire School style, collectively the craftsmen are known as The Yorkshire Critters]
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1181390 item(s)/page