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Lot 143
Watercolour on graph paper, signed, dated and inscribed lower right C.F.A. VOYSEY/ ARCHITECT/ 11 MELINA PLACE/ GROVE END ROAD/ ST JOHNS WOOD, NW/ SEPT. 1891, oak frame 49cm x 31cmProvenance: C.F.A. Voysey, until his death in 1941, thence by descentThe Fine Art Society, LondonFootnote: Exhibited: The Fine Art Society, in association with Haslam & Whiteway, Architects for a New Age 2008, No. 80Note: As a designer Voysey paid meticulous attention to detail, designing every aspect of a project whether architectural or in the design of furniture, patterns and metalwork. Concerned by the negative impact of industrialization on design, and handicrafts in particular, Voysey became a major proponent of the Arts & Crafts ideals. He set out to create simple but functional items, inspired by the natural world and produced with the spirit of craftsmanship in mind, thereby enriching the lives and homes of everyday Britain. Whilst many of his contemporaries opted to set up small-scale workshops to achieve this, Voysey forged links with an impressive network of commercial manufacturers and retailers, knowing that this would further disseminate these beliefs and allow beautifully designed goods to be accessible to a much larger market.In 1897, Voysey’s output as a pattern designer for fabrics and wallpapers was significant; he signed three contracts with major manufacturers, agreeing to supply thirty original wallpaper designs per year to Essex & Co., ten carpet designs to Tomkinson & Adam, as well as a further ten for Alexander Morton & Co. Two of the designs offered in the proceeding lots feature marks for Tomkinson & Adam and, together with a further two needlework designs, illustrate a period where Voysey’s energy and originality were at their highest.His fabric designs are typically produced on standard graph paper, used for setting up steam-driven looms. Tomkinson & Adam’s looms were American and so specific grids were required for different types of machinery and weaves. These designs, so charming and vivid in their colours, serve as important interpretation tools for the technicians to bring the designs to life, direct from the master’s hand. To ensure quality and that the end-products remained true to Voysey’s intent, he often made several annotations leaving instructions concerning the repeat and colouring of the design for the weavers, as is exemplified in several of the following lots. Interestingly, in lot 147, he notes that the design was sold Stanway, an influential businessman who bought patterns from designers to be made into cloths and various fabrics for sale in his London and Parisian retails outlets. In lot 149, the design for a gas fire, Voysey also displays a strong sense of refinement and elegant proportion in the balanced linear forms, as well as a clear vision for the finished piece as he indicates his deliberate choice of materials in the annotations.In a similar vein to William Morris, Voysey saw nature as his most important source of inspiration, as is clear from these designs. Arguably the motifs most synonymous with his work are the bird, heart and crown, the latter two representing love and loyalty: sentiments which he valued dearly. Rather than copy directly from what he saw, he believed that abstraction and inventiveness from the artist’s imagination was crucial in achieving good ornament. Indeed, it was this belief that set his designs apart from Morris and others. Towards the end of his career his patterns tend to be figurative, as illustrated in the design for ‘The Sower’. Suitably charming and always beautifully coloured, these designs represent the talented mind of one of the most prolific architect designers of his generation.
Lot 390
patinated gilt bronze, with Daum mottled glass shade, stamped E. BRANDT, engraved DAUM NANCY FRANCE with Cross of Lorraine160cm highFootnote: Literature: Kahr J. Edgar Brandt: Master of Art Deco Ironwork, New York, 1999, pp. 156-7, pl. 166.Kahr J. Edgar Brandt: Art Deco Ironwork, New York, 2010, p. 133, pl. 184 et p. 134 for a view of the design in the Brandt showrooms at 101 boulevard Murat, Paris in about 1923.Note: Edgar Brandt was a celebrated Art Deco designer working in metal producing both private and public works. He celebrated the past but was also thoroughly modern. He understood traditional materials and chose to explore their potential, besides using hand-tools, he also relied on machines. Brandt set up a workshop in 1901 and by 1925 was exhibiting on the world stage at the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Decorative Arts and Modern Industries). A design he showed on this occasion was La Tentation, a lamp featuring a serpent. A subject of antiquity that appeared in ancient Greek, Roman and Egyptian culture as a creature to both be feared and revered. It was an exotic motif also employed by other leading Art Deco designers including René Lalique, Jean Dunand, Albert Chereut and Paul Jouve. The serpent was a recurrent motif in Brandt’s work appearing on andirons, vases, cachepots, paperweights and incense burners, but is perhaps best remembered in his two lamps designs both of which were produced in bronze between 1920-26. This present example La Tentation being the larger of the two, the smaller being referred to as the Cobra. Both lamps were made to order and available in two sizes and this present lot is the larger version. They were of high quality, not only in terms of the sophistication of the design, but also in their execution and the attention paid to their finishing. Brandt employed specialists to patinate the pieces. La Tentation was a great commercial success and remain highly sought after still today by collectors.La Simplicitée lamp by contrast illustrates Brandt’s passion for iron. The textured circular base supports soaring vertical elements conjoined by scrolling and foliate forms. Brandt’s lamp offered his customers move versatile lighting options than traditional fixed chandeliers provided.IMPORTANT INFO FOR ‡ LOTSLots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.Collection of Purchased ‡ Lots:For items marked with the ‡ (denoting additional VAT payable at a reduced rate of 5% on the hammer price) additional time should be allowed for Customs clearance by HMRC if the item is to remain in the UK. For items being exported out of the UK these items can be shipped via Crown Fine Art or via another approved shipper with a temporary admissions account.
Lot 815
Selection of tools from a watchmakers workshop to include two MKS calipers, Arrow cannon pinion remover, mainspring winder for bracelet watches, case opening tool, AF No. 167.770 - bezel remover, BHT poising tool, two watch bracelet pin removers etc; together with a five drawer chest, 10'' high x 10.5'' wide x 14'' deep (2)-For guidance on the tools included please see images
Lot 816
Selection of Bergeon watch tools to include two Bergeon-Vigor No. 4266 - watch crystal lifter (one lacking base plate); Bergeon-Sibor No. 4266-1, 4266-2, 4266-3 - crystal fitting adapters, Bergeon No. 4000 - truing calipers; Bergeon No. 6033-1 - Rodico cleaning product, Bergeon No. 1896 C - cutting broaches (9)
Lot 823
Burgess Powerline Electric Engraver, model 72, boxed with instructions; together with a vice and a quantity of tools from a watchmakers workshop to include Grueco warding files, Renata watch battery tester, taps, drills, saw and blades, ratchets etc; contained within a five drawer wooden chest; also five wooden compartmented drawers suitable for storing watch parts and accessories
Lot 437
A collection of vintage optician's equipment, including; 25+ pairs of spectacles (including eight Rest-Lite tester pairs), three sample tortoiseshell frames, three pairs of Elloco 'No-Wate' trial frames, a box containing 'The Evans Diagnostic Apparatus' (incomplete), and a further selection optician's tools, eye glasses and frames (Qty) (at fault)
Lot 85
A quantity of boxed / original packaging bike parts and accessories, including Cyclepro bike locks, Shimano Casette Sprockets, Shimano Chainwheel, Tiger stabiliser set, Clarks bar grips, cables, Staywrap chainstay protector, Dirt Wash sproket cleaning brush, D2O tyre tools, Raleigh headlamp, Smart tail lamp, ETC front lamp, various other light sets, Claud Butler multitool, and various other bike tools. (Contents of slatwall racking)
Lot 814
Needlework Tools. A round penwork decorated ivory pin cushion, early 19th c, with rose and inscription A Present from Ramsgate, 38mm diam and various other antique needlework tools of bone or ivory, to include intricately pierced scissors, thread winders, etc, all 19th c (approximately 24) Tape measure, scissors and several of the other items in good condition. Note those incorporating a stanhope - lacking stanhope
Lot 828
Needlework Tools. A Victorian vegetable ivory tape measure, the red tape rewound by rotating the turned bone finial, 55mm h and a French bronzed metal miniature sculpture of the Sphinx, late 19th c, on noir belge base (2) Tape measure and Sphinx both in good condition, base of Sphinx chipped
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