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A Regency mahogany Gillows style Pembroke table, each flap with moulded edge and rounded corners supported by a recessed frieze fitted with a single end drawer and raised on turned tapered reeded legs terminating in brass capped castors. Width 32.5 ins, depth 20 ins (see illustration).
A Regency mahogany turnover top card table, the rectangular top with rounded corners, with birds eye maple crossbanding, boxwood and ebony stringing opening to a baize lined interior, the frieze with centre birds eye maple panel and boxwood and ebony stringing, raised on flat pilasters with quatreform base and stepped downswept feet being boxwood strung and terminating in brass lions paw castors. Width 36 ins (see illustration).
A 19th century mahogany Pembroke table, the well figured top with drop flap to either side with moulded edge and rounded corners supported by a recessed frieze with drawer with wooden knob handle and cockbeading and with opposing dummy drawer and raised on turned tapered legs. Length 34.5 ins.
A Victorian oak extending dining table, with two leaves and wind out action, the rectangular top with chamfered and canted angles supported by a recessed frieze and raised on four foliate carved turned fluted legs terminating in ceramic castors. Width 48 ins, length extended 102 ins (see illustration).
A Continental 800 standard silver Canteen of Cutlery with rococo pattern by Martin Meyer engraved initial S in oak cabinet with hinged lid above seven drawers viz: 12 table spoons 12 dessert spoons 12 jelly spoons 12 teaspoons 12 coffee spoons 11 dinner forks 12 dessert forks 12 fish knives and forks 12 dinner knives 12 dessert knives pair of fish servers 2 butter knives 4 serving spoons 2 sauce ladles 2 large serving spoons
CHARLES RENNIE MACKINTOSH (1868-1928) (ATTRIBUTED TO) OAK DOMINO TABLE, CIRCA 1897 the circular planked top above a lower lobed tier, linked by four curved and tapering supports, linked by a corresponding circular tier below 44cm diameter to top, 77cm diameter, 67cm high Literature: The Studio, XI, 1897, p. 230. Billcliffe, Roger, `Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs`, Moffatt 2009, page 44, illus. 1897.7 & 8 Note: The design of this table appears to be an amalgam of scale drawings produced by Mackintosh for a domino table circa 1897 and held by Glasgow University, and a table photographed by the Studio magazine in the same year. The measurements of the current lot are broadly similar to the scale drawing, however there are certain differences, namely the shape of the lover tier has a more pronounced lobed shape and the pierced tear shape of the supports does not continue under the base tier. The example illustrated in the Studio of 1897 also demonstrates differences from the drawing including thicker leg supports and angled brackets under the circular top (also shared by this example). It is also not clear if the pierced tear shape continues under the base tier. According to Billcliffe the appearance of the example in the Studio rules it out from being included in the Argyle Street scheme and no images of a domino table appear in photos of Buchanan Street. It may have been a prototype or special commission however it remains untraced.
GEORGE WALTON (MANNER OF) SATIN BIRCH EXTENDING DINING TABLE, CIRCA 1910 the rectangular top above a panelled frieze to each side, and centred by cut-out heart decoration, the whole raised on square legs, two additional leaves 110cm wide, 74.5cm high, 124cm long (closed), 234cm long (extended)
ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW MAHOGANY BEDROOM SUITE, CIRCA 1900 comprising a wardrobe, the projecting cornice above a frieze carved with Glasgow roses in bas relief, above two central doors each inset with two stained and leaded glass panels depicting Glasgow roses, over two short over two long drawers and flanked by mirrored doors raised on a plinth base, 222cm wide, 64cm deep; also a MATCHING WASHSTAND, with tiled rectangular top above twin panelled doors with corresponding carved Glasgow roses, 121cm wide, 77cm high, 56cm deep; a BEDSIDE CABINET, with three quarter gallery above a single panelled door on square legs linked by stretchers; and a WALL MIRROR, to match (formerly from a dressing table), 67cm wide x 106cm high (4) Note: E.A. Taylor was born in Greenock, Scotland, one of seventeen children. He was initially apprenticed as an engineer and designer in the shipbuilding firm Scott and Co, working there until 1898. He then began studying at the Glasgow School of Art, where his fiancée, Jessie Marion King, was also a student. Taylor began work as an interior designer, being particularly influenced by the stained glass and furniture designs of Charles Rennie Mackintosh. He gained employment with the Glasgow cabinet-makers, Wylie and Lochhead, winning great acclaim for his furniture at the 1901 Glasgow International Exhibition. This brought him two major commissions, where he made prominent use of stained glass in his interiors. In 1902, Taylor and King worked together on a series of stained glass panels for the Turin International Exhibition of Modern Decorative Art and, by 1907, Taylor was working as head of furniture design at Wragge and Co, marrying King the following year. The couple then began concentrating on art, moving to Paris where they established an art school known as the Shieling atelier. Prior to her marriage, Jessie M King had purchased a house at Kirkcudbright, and at the outbreak of World War I she and Taylor returned there. Here, they became involved in the Kirkcudbright art community, which was seen as the “Scottish St Ives.” Taylor continued to play a major part in the Kirkcudbright art scene until his death in 1951
CHARLES RENNIE MACKINTOSH (1868-1928) BEECH HIGH STOOL, CIRCA 1894 the circular seat raised above three turned legs linked by stretchers 28cm diameter, 68cm high Literature: Billcliffe, Roger, `Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs`, Moffatt 2009, page 32, illus. D1894-96.1 Note: Made for Queen Margaret Medical College, Glasgow, the treatment of the stretchers appear to echo those of the domino table designed by Mackintosh in1898 for the Argyle Street Tea Rooms. See Illustration.
JESSIE MARION KING (1875-1949) FOR LIBERTY & CO SILVER DRESSING TABLE TRINKET DISH, DATED 1907 of circular form, embossed with four flowerheads and garlands of foliage, maker`s mark `L & Co.`, hallmarked Birmingham,1907 3.75 in. (9.5cm.) diameter Note: A matching dish by Jessie Marion King with enamel decoration is on display at Kelvingrove Art Gallery & Museum, Glasgow, and a similar dish is illustrated in `The Glasgow Style` by Gerald & Celia Larner, plate 199
SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron, raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark `8208` 152cm long, 75.5cm high, 76cm wide Provenance: Liberty & Co. London Furniture from Liberty & Co`s Tudor Shop The following collection of Arts and Crafts furniture was all made in the early 1920s for Liberty & Co`s magnificent Tudor building in Great Marlborough Street. The building was designed by Edwin Thomas Hall and his son, Edwin Stanley Hall, at the height of the 1920s fashion for the Tudor revival, and constructed from the timbers of two 19th century men-of-war battleships. The Liberty board wanted the new building to demonstrate craft of the highest quality and attention to detail, and to reflect the Arts and Crafts values of "truth to material" which had played such an important part in the foundation of the company and the goods that it sold. Engineered around three galleried light wells, the shop was intended to emulate the great atrium spaces of Bon Marché and Printemps in Paris, whilst also remaining true to the design of the original shop in Regent Street in the series of smaller rooms which surrounded these central wells. Under the supervision of the architects, a collection of furniture was made for the rooms and galleries to display the textiles, clothes and luxury goods the shop was so famous for. It is represented by a series of tables, chests and display cabinets, all made in the 16th century style, with pegged construction and decorative details complementing the design details in the building. The finish is either a dark fumed, natural, or limed finish, also a characteristic of the wood finish of the rooms in which they once stood. All the furniture was made in the firm`s workshops in Highgate and demonstrates the same levels of craftsmanship and attention to detail as the building itself. The tables offered here are the remaining pieces from a selection of historic furniture no longer suitable for contemporary retailing at Liberty & Co. Long attributed to Sir Robert Lorimer, they are designed in the 16th century manner, with substantial oak planked tops, either octagonal or rectangular, raised on spirally fluted legs with platform stretchers.
SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark `8963`, later label `857` 152cm long, 76cm high, 74.5cm wide Provenance: Liberty & Co. London
SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset for brass metre rule (lacking), above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark `6963` 152cm long, 76cm high, 75cm wide Provenance: Liberty & Co. London
SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, bears ivorine label `Liberty/ London`, later label `504 152.5cm long, 76cm high, 75cm wide Provenance: Liberty & Co. London
SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top, with inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark `6963`, later labels `595` and `Woollen fabrics` 152cm long, 76cm high, 75cm wide Provenance: Liberty & Co. London
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1181390 item(s)/page