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Crocodile skin leather cased silver travelling set , 15 pieces of silver and glass dressing table items, together with silver handled manicure set complete with original notepad and pencil, the case printed with initials 'E.M.R', 43cm x 33cm. For condition reports go to www.peterwilson.co.uk
Edwardian mahogany "surprise" cocktail cabinet, the square top table with two flaps opening with patent design revealing rise and fall compartment containing three bottle Tantalus, glass framed tray, tambour covered compartment, various recessed spaces to hold drinking glasses, square section tapering legs with brass articulated casters, width 60cm (24"), depth 56cm (22"), height 79cm (31"). For condition reports go to www.peterwilson.co.uk
Victorian mahogany hall stand, top section with central rectangular mirror, supporting carved crest eagle with feather in beak, replacement coat hooks to frame, grey veined marble table top with single drawer, platform base with metal drip-trays, width 130cm (51"), depth 37cm (14.5"), height 234cm (92") For condition reports go to www.peterwilson.co.uk
George III mahogany side-table, rectangular top with ogee edge above one long drawer flanked by two deeper drawers, brass escutcheon and handles, fretted shaped frieze, moulded legs, width 89cm (35"), depth 48cm (19"), height 75cm (29"). For condition reports go to www.peterwilson.co.uk
George III mahogany dressing table mirror, the rectangular glass with moulded frame on stick supports, box base fitted three drawers, all standing on bracket feet, width 48cm (19"), depth 23cm (9"), height 67cm (26"). For condition reports go to www.peterwilson.co.uk
ATTRIBUTED TO DANIEL COTTIER (1838–1891)AESTHETIC MOVEMENT BURR WALNUT AND EBONISED CENTRE TABLE, CIRCA 1880 the circular quarter-veneered top with ebonised and line inlay, above turned, blocked and inlaid legs with wheel-spoke stretchers centred by an urn stand121.5cm diameter, 72cm high
LEONARD F. WYBURD (1865-1958) FOR LIBERTY & CO., LONDONART NOUVEAU MAHOGANY GAMES TABLE, CIRCA 1900 the rectangular hinged top opening to reveal a baize-lined interior with dished Guinea wells to the angles, above a single drawer, above square tapered legs united by stretchers, bears ivorine maker's label to the interior LIBERTY & CO. LTD./ LONDON76cm wide, 76.5cm high, 38cm deep (closed)Exhibited: Madrid, Fundación Juan March and Barcelona, Museu Nacional d'Art de Catalunya 'William Morris and the Arts & Crafts Movement in Great Britain' October 2017-May 2018, No 180.
ENGLISH SCHOOLMAHOGANY FRAMED MODERNIST SOFA, CIRCA 1930 with loose back, seat and arm cushions covered in a geometric fabric, in a rectangular block frame with foldout chromed table shelves to each arm, all above two hinged flaps to the base187cm wide flaps up, 153cm wide flaps down, 71.5cm high, 69cm wide (frame)
WILLIAM ARTHUR SMITH BENSON (1854-1924)ARTS & CRAFTS BRASS AND COPPER TABLE LAMP, CIRCA 1900 the original brass framed shade with pleated cream silk above an ovoid reservoir on central turned support with four curved brackets raised on cast quadruped base67cm highLiterature: Hamerton, Ian (ed.) 'W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design', China, 2005, Appendix 1A, p. 249, pl. 9 where the design for this lamp is illustrated (no. 224A)
AFTER EDWARD WILLIAM GODWINAESTHETIC MOVEMENT EBONISED OCCASIONAL TABLE, CIRCA 1880 the triangular top with canted angles, above fretwork apron, on ring-turned legs linked by lower tier with corresponding fretwork gallery43cm across, 71cm highLiterature: Soros, Susan Weber 'Aesthetic Movement Architect and Designer' Yale University Press, 1999, p. 160, pl. 226 for a table by Godwin with similar stylistic characteristics.
WILLIAM ARTHUR SMITH BENSON (1854-1924) FOR MORRIS & CO.ARTS & CRAFTS GREEN STAINED PINE CENTRE TABLE, CIRCA 1890 'joiner made', the rectangular top above a shaped apron and turned splayed legs joined by a horizontal stretcher139cm wide, 73.5cm high, 59cm deepLiterature: Ian Hamerton, W. A. S. Benson, Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, Suffolk, 2005, pp. 169-170, where a similar table attributed to Benson is illustrated.
MANNER OF WILLIAM BURGESMAHOGANY AND ROSEWOOD TABLE CABINET, CIRCA 1880 of rectangular section, the arched pediment with applied turned and painted roundels, above a single door with applied hoop panelling opening to reveal three oak drawers stained and varnished and with corresponding applied hoop decoration, the sides with blind fretwork panelling, the whole raised on a plinth31cm wide, 38.5cm high, 22cm deepNote: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
ENGLISH SCHOOL, IN THE MANNER OF EDWARD WILLIAM GODWINAESTHETIC MOVEMENT ROSEWOOD CENTRE TABLE, CIRCA 1880 the circular top with a reeded edge on six ring-turned supports linked by pierced stretchers and a circular undertier, the whole raised on flared tapering legs101cm diameter, 76cm highNote: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
ATTRIBUTED TO GEORGE HENRY WALTON (1867-1933)PAIR OF OAK ARTS & CRAFTS UPHOLSTERED ARMCHAIRS, CIRCA 1900 each with shaped arch upholstered backs above open splayed arms with inlaid chequer board panels, with curved apron raised on tapered turned legs united by stretchers, in geometric gold and black fabric (2)71cm wide, 118cm high, 51cm deepLiterature: Moon, Karen 'George Walton: Designer and Architect', White Cockade 1993, p. 119, plate 156 Note: A contemporary photograph dining room at Finnart House, which Walton decorated and furnished for the sugar refiner John Lyle circa 1900, shows an oak dining table and matching chairs. The chairs have Walton's characteristic semi-arched tops to the upholstered backs, and match the table with its sled base. The present lot also displays these characteristics but may have been used in a drawing room as easy chairs with their chequer inlay and larger proportions.
ATTRIBUTED TO EDWARD WILLIAM GODWIN (1833-1886) PROBABLY FOR WILLIAM WATTAESTHETIC MOVEMENT ROSEWOOD CENTRE TABLE, CIRCA 1875 the circular top with moulded edge, raised on ring-turned and blocked legs linked by two ring stretchers and linked by radiating spoke stretchers supporting a central urn stand, the whole raised on square tapering feet104cm diameter, 77cm highLiterature: See Sotheby's, London 'Paul Reeves, The Best of British: Design from the 19th and 20th centuries', 14th-20th March 2008, p. 51, no. PR 31, where a similar table with ebonised finish is illustrated. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
ATTRIBUTED TO CHARLES EDWARD HORTON FOR JAMES LAMB, MANCHESTEREBONISED AND SATINWOOD OCCASIONAL TABLE, CIRCA 1880 the canted rectangular top with boxwood lines and central satinwood panels raised on incised and gilded square legs linked by fretted boxwood panels46cm square, 66.5cm highNote: A table of comparable design by Horton for James Lamb exists in the Victoria and Albert Museum in London, number W.9-1986
WILLIAM ARTHUR SMITH BENSON (1854-1924)ORIGINAL CATALOGUE, LONDON, 1899-1900 including Price List Of Fittings for Oil, Gas, Candle, Table Ware, &C., 4to, colour plates displaying a collection of fittings, modern card covers, in caseProvenance: Bernard QuaritchNote: This is a rare item - another copy of this catalogue is held at the National Art Library, Victoria & Albert Museum, London.
MANNER OF BRUCE TALBERT FOR HART, SON, PEARD AND CO., LONDON AND BIRMINGHAMGOTHIC REVIVAL PITCH PINE & BRASS MOUNTED JEWELLED CENTRE TABLE, CIRCA 1870 the rectangular top with dentil mouldings raised above two ebonised ring-turned columns with inlaid brackets on blocked legs with chamfered brackets, linked by an incised brass stretcher set with agate and clear cabochon stones, raised on sled bases107cm wide, 74cm high, 54.5cm deepCooper, Jeremy 'Victorian & Edwardian Furniture & Interiors', Thanes & Hudson, 1998, p. 110, fig. 250 where the profile of a table by Talbert with similar features is illustrated. Talbert produced designs for the firm in the 1870's.
AFTER WILLIAM BUTTERFIELD FOR GILLOW & CO.GOTHIC REVIVAL WALNUT CENTRE TABLE, CIRCA 1880 the octagonal moulded top with line and dot inlay, above chamfered frieze with decorative carved brackets, the inlaid base with boldly turned column supported by architectural brackets on quadruped base with brass castors, with stamped maker's marks GILLOW & CO. 1834129cm across, 74.5cm high
WILLIAM ARTHUR SMITH BENSON (1854-1924) FOR MORRIS & CO.AESTHETIC MOVEMENT EXTENDING ASH DINING TABLE, CIRCA 1895 the moulded top with D-ends and one additional leaf, raised on ring-turned and blocked legs, on T shaped stretcher bases with castors166cm long (with leaf), 72.5cm high, 122cm deep. 120cm diameter when closedLiterature: Ian Hamerton, W. A. S. Benson, Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, Suffolk, 2005, p.170, where a similar table attributed to Benson is illustrated (plate taken from the Morris & Co. catalogue of circa 1911). Note: The Morris & Co. catalogue stated that "...the early designs of W.A.S. Benson... have always been deservedly popular. Specimens of this work are to be found in many of the most artistic houses in the country.
ATTRIBUTED TO DANIEL COTTIER (1838–1891)AESTHETIC MOVEMENT EBONISED BEECH AND INLAID CENTRE TABLE, CIRCA 1880 the octagonal top with moulded edge, profusely inlaid with a marquetry panel depicting opposed masks and stylised foliage, raised on turned and blocked legs, linked by stretchers and curved brackets, terminating in scroll feet75cm diameter, 63cm high
MANNER OF C.F.A. VOYSEY FOR THOMAS ELSLEY & CO.ARTS & CRAFTS BRASS TABLE LAMP, CIRCA 1905 the filled opaline shade with moulded and carved leaf decoration and etched registration number 458344, bearing a rare etched glass shade by John Walsh Walsh, supported on a baluster turned column with dished base39cm high (including shade)Note: The original drawing for this shade is held at the Public Records Office. The registration is for John Walsh Walsh, dated 8th June 1905 and bears inscription '458344/ Design for ornamenting glass shades in moulding and etching combined' (see illustration).
AFTER JOHN BELL (1811-1895)BRONZE TABLE LAMP, CIRCA 1895 cast as the figure of a boy, crouching down and holding aloft the light fitting, raised on a stepped marble base, fitted with a frilled glass shade28cm high to top of fitting, 36cm high with shadeNote: This bronze lamp base is based on 'The Bride's Inkstand', modelled by Bell and made by the Felix Summerly Art Manufactory around 1847. Felix Summerly was a pseudonym used by Henry Cole (1802–82), who worked closely with Prince Albert on the organisation of the Great Exhibition, and later the South Kensington Museum. The workshop oversaw the production of a number of small-scale works of art designed by contemporary artists intended for the dissemination of good design.
PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO.ARTS & CRAFTS OAK CENTRE TABLE, 1880 the circular quarter-sawn top on six ring-turned legs and central turned column, all linked with corresponding ring-turned stretchers122cm diameter, 72.5cm highLiterature: Whiteway, Michael and Gere, Charlotte 'Nineteenth Century Design: From Pugin to Mackintosh', Weidenfeld & Nicolson, 1993, p.100, pl. 108Parry, Linda, 'William Morris', London, 1996, p.175Lyon & Turnbull, Decorative Arts, April 2004, lot 328 for a similar example in mahoganyNote: In 1861 Philip Webb began collaborating with William Morris at Morris, Marshall, Faulkner & Co. (later Morris & Co.). After designing a similar table for Sir Edward Burne-Jones in the 1850's, the firm later produced several related examples for high-profile commissions. These included Old Swan House, Chelsea, designed by Sir Richard Norman Shaw for the connoisseur Wickham Flower, and Great Tangley Manor in Sussex, where Webb carried out extensions in 1885. A walnut version of this table is in the collection at Standen, the Arts and Crafts house Webb designed in 1891, now in the care of the National Trust.
WILLIAM ARTHUR SMITH BENSON (1854-1924)RARE ARTS & CRAFTS BRASS AND COPPER TABLE LAMP, CIRCA 1890 with flared reflector raised on curved brackets above a conical shade and domed reservoir, the whole raised on tapered column support with moulded domed base on a square plinth61cm high (to top of reflector shade)Exhibited: Madrid, Fundación Juan March and Barcelona, Museu Nacional d'Art de Catalunya 'William Morris and the Arts & Crafts Movement in Great Britain' October 2017-May 2018, No. 184.Note: W.A.S. Benson was admired in the arena of the Avant Garde in Europe and his work was sold through the influential Maison de L’Art Nouveau in Paris. The magazines The Studio, Art et Decoration and Dekorative Kunst all regularly featured his work. The Studio Magazine observed that WAS Benson’s lamps “may ultimately influence the taste of a greater number than the superb Morris-Burne Jones tapestries” whilst The Magazine of Art referred to his lamps as “palpitatingly modern”.Walter Crane in “The Bases of Design” marked W.A.S. Benson’s lamp with a finned copper shade as a good example of modern design. The Studio Yearbook of 1906 praised his experiments with reflectors, as in this example. Hermann Muthesius in his influential book “ Das Englische Haus” stated that WAS Benson was “the first to illuminate dining room tables with light reflected from a shiny metal surface, while keeping the actual source of illumination hidden”.
PHILIP SPEAKMAN WEBB (1831-1915) FOR JAMES POWELL & SONSSET OF SIX GREEN WINE GLASSES, CIRCA 1870 each of swollen trumpet form, with rope twist stem and spreading domed circular foot (6)12cm highLiterature: Rudoe, Judy and Coutts, Howard 'The Table Glass Designs of Phillip Webb and T.G. Jackson for James Powell & Sons, Whitefriars Glassworks'
ATTRIBUTED TO EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATTANGLO-JAPANESE EBONISED OCCASIONAL TABLE, CIRCA 1875 inlaid with satinwood panels, the square moulded top above two drawers and a lower tier with fretwork brackets and two further drawers, the sides with corresponding inlaid panels, the whole raised on incised and ring-turned tapered legs53.5cm squared, 73cm highLiterature: Soros, Susan Weber 'The Secular Furniture of E. W. Godwin' Yale University Press, 1999, p.203, pl. 325 where this table is illustrated.Provenance: Phillips, Edinburgh Sale of the Contents of The Fine Art Society, Edinburgh, 26th May 1992, lot 392Note: The tapered legs, latticed middle supports and U-shaped handles all conform to Godwin's work of the mid-1870's as do the drawer arrangements, a characteristic feature. Soros also asserts that the high elevation of the lower drawer is 'in keeping with Godwin's desire to keep the floor accessible for cleaning.
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1181390 item(s)/page