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Live
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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Modern Design & Decorative Art
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Auction dates
21 Nov 2024 10:30 GMT
Viewing dates
17 Nov 2024 10:00 - 15:00 GMT
18 Nov 2024 10:00 - 16:00 GMT
19 Nov 2024 10:00 - 16:00 GMT
20 Nov 2024 10:00 - 16:00 GMT
21 Nov 2024 09:00 - 12:00 GMT
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Featured lots
We found 51 items matching your search
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500 - 800 GBP
ATTRIBUTED TO MAISON RAMSAY
RECTANGULAR COFFEE TABLE; MID-20TH CENTURY
Gilded wrought-iron, slate
41.5cm high x 132cm wide x 82cm deep
Condition Report:
Presents well overall. The gilded frame is solid and in good condition, with no damages or restoration, the gilded patina is nicely/evenly distressed throughout to the desired look. The slate top has two shallow losses, one to a corner (1x2cm) and the other within a natural undulation in the slate (2x2cm), neither are particularly noticeable. And a few scratches, in two places, again difficult to spot. A small loss to the right edge (2mm) and a length of nibbled losses (approx 5cm).
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MODERN
EXTENDING COFFEE TABLE; LATE 20TH/EARLY 21ST CENTURY
Three white lacquer 'puck-shaped' interlocking table tops
35cm high, 90cm width, 90cm depth
Saleroom Notice: Please note: This coffee table model is called 'Rotor'; likely retailed by Ligne Roset.
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IN THE MANNER OF ISAMU NOGUCHI
LOW COFFEE TABLE; LATE 20TH CENTURY
Ebonised wood, glass
39.5cm high, 127cm wide (approx), 93.5cm deep (approx)
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PHILIPPE STARCK (FRENCH, B. 1949)
EIGHT 'HUDSON' CHAIRS; DESIGNED IN 2000; PRODUCED BY EMECO; EARLY 21ST CENTURY
Aluminium; four with brushed finish and four with polished finish.
Stamped to reverse 'EMECO BY STARCK'
84cm high, 40cm wide, 48.5cm deep
Provenance:
Purchased from the Conran Shop directly.
From a private collection in Wiltshire.
Condition Report:
Various signs of wear across the chairs - minor nicks, dints, marks, scratches to the surface in line with use. There is some foxing to one chair seat. There is a patch of water damage to another chair seat. Some dints along the edges of the back rests in places. The chairs are solid and with a clean the look could be improved, with a professional buff/polish, even more so. Please see additional images.
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IN THE MANNER OF WILLY RIZZO
A SLIM CONSOLE TABLE; LATE 20TH CENTURY
Polished steel, inset tinted glass top.
63.5cm high, 132cm wide, 35.5cm deep
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9
(LIKELY OF) GERMAN MANUFACTURE; DISTRIBUTED BY GORDON RUSSELL CONTRACTS LTD.
EIGHT STACKING CHAIRS; CIRCA 1975
Formed plywood, aluminium
81cm high x 45cm wide x 45cm deep
Provenance:
Purchased directly from Gordon Russell Contracts Ltd in 1975.
We would like to thank the Gordon Russell Archive for their assistance in cataloguing this lot.
Condition Report:
Various signs of minor wear to the wood - nicks, dints, marks, scratches to the surface in line with age and use. All surface, only one loss, to the back of one chair found. Some discolouration from the above surface conditions mentioned, but overall they present well and are all very sturdy. The chrome is in nice condition throughout.
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4,000 - 6,000 GBP
λ† LUCY MCKENZIE & BECA LISPCOMBE (ATELIER E.B) 'CIPOLINO-HYRO' SCREEN, 2013 Double-sided folded screen in six panels; one side with mirror panel and silkscreen on velvet mounted on wood, oil on canvas mounted on wood, steel frame 184cm x 390 cm (72½in x 153½in)
'Textile designer Beca Lipscombe and the visual artist Lucy McKenzie run their independent fashion label, Atelier E.B, whose initials stand for their respective locales: Edinburgh and Brussels. The pair created their first paravent - they favour the French term for a folding screen, with its seaside insinuation of protection from bluster - in 2011 for their debut collection, which they called 'The Inventors of Tradition'. It was a sumptuous mix of intarsia knit jumpers, artists' work coats, lavishly ribbed cashmere skirts and Aran sweaters, all made to order in mills in the Scottish Borders and rust belt.' "Paravent I" which had Lucy's brushwork of the Clydebank skyline with the Singer sewing machine factory on one side; and Beca's prints of a tiled Glasgow close on the other, was sold through Lucy's London gallery 'Cabinet' for £25,000. Ten paravents have since been created. ~ The Gentlewoman, No. 25, Spring/Summer 2022 "Our paravents-all of which have one side screen-printed by Beca and the other painted by me-are art-design hybrids and an expression of the individualism we maintain in our partnership. There is space within the collaboration for a certain naiveté about the other's field of expertise, with which we can give one another fresh perspectives. The paravents symbolise that we are a unit, standing back to back, looking in different directions. The notion of the screen mirrors the collaboration, as a space within which we can be both together and autonomous"' ~ Lucy McKenzie with Beca Lipscombe, "Atelier E.B - Back-to-back," in Atelier E.B Passer-by. London: Koenig Books, 2020. Atelier E.B have permanent works held in the collections of the V&A Museum, London, and V&A Dundee. Atelier E.B's 'Faux Sports Shop' is currently on show as part of Lucy McKenzie's 'Super Palace' exhibition at the House of Contemporary Art, Design and Architecture in Hasselt, Belgium. We would like to thank Beca Lipscombe for her assistance in cataloguing this lot. Condition Report: In good (as new) condition. With a small patch of paper label residue to the top left panel (on the canvas side).
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RONAN & ERWAN BOUROULLEC (FRENCH, 1971- and 1976-)
'ALCOVE' HIGH-BACK SOFA; MADE BY VITRA; DESIGNED 2006
Chromed tubular metal feet/frame, fibreglass, red fabric cushioned upholstery; with throw cushions.
137.5cm high x 150cm wide, 84cm deep
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6,000 - 8,000 GBP
ELIZABETH GAROUSTE AND MATTIA BONETTI
PAIR OF 'S&M' ARMCHAIRS; MID 1990s
Produced by David Gill (London, UK)
Red leather, gold-coloured metal cord.
Each: 95cm high x 82cm wide x 90cm deep
Provenance:
Purchased directly from the David Gill Gallery in the mid 1990s
Acquired by the current owner
Literature:
Alex Buck & Matthias Vogt, Garouste & Bonetti , Art Books Intl Ltd, 1996, p.102 - for this model in black leather.
Élizabeth Garouste and Mattia Bonetti began their illustrious design partnership in 1981, designing furniture and lighting on the forefront of a new romanticism that celebrated whimsy, absurdity and luxury. The duo were named 'Designers of the Year' at the International Furniture Fair in 1991. Examples of their work is held in at the Cooper-Hewitt Museum, New York and the Musée des Arts Décoratifs, Paris.
Condition Report:
Various indicators of wear - with minor nicks, dints, marks and scratches to the surface, in line with age and use. The ropes on each corner are worn, particularly to two of the ones at the back. There are a few more prominent scratches and there is one deep one (perhaps has even cut in/through the leather), though it is small and out of view. The leather has softened and darkened a little in places, you would expect from use - particularly at the arms. There are more nicks, dints and marks around the cylinder feet but these are out of view. Please see additional images. Overall the chairs do present really well.
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1,000 - 1,500 GBP
CHRISTIAN LIAIGRE (FRENCH, 1943-2020)
'ASPRE' CHAIR; 2007
Macassar ebony; with upholstered fitted cushions in light grey
74cm high, 89cm wide, 91cm deep
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CHRISTIAN LIAIGRE (FRENCH, 1943-2020)
LOVESEAT; EARLY 21ST CENTURY
Upholstered in beige/grey fabric
73cm high x 122cm wide x 90cm deep
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3,000 - 5,000 GBP
CHRISTIAN LIAIGRE (1943-2020) 'MISAINE' TABLE; 2017 Wirebrushed 'Tamarin' oak base and white lacquered oak top (custom finish) 230cm x 150cm x 72cm
Provenance: Purchased by the current owner directly from LIAGRE in 2017.
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MARIO SABOT
SIX 'TOPAZIO' CHAIRS; CIRCA 1975
Brass frames, rattan panels and turquoise blue velvet upholstery.
Each; 89.5cm high, 52cm wide, 55cm deep
Condition Report:
In overall great condition. Very stable and comfortable and the fabric is clean. There is just one seat with a splash type light water staining. The rattan differs slightly in colour from panel to panel, but this is natural looking, there are some darker patches to the rattan, particularly to one panel on one chair. The metal frames are tarnished, with some discolouration at the soldered joins, they would benefit from a polish.
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27
Quantity
1
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1,200 - 1,800 GBP
LUDWIG MIES VAN DER ROHE (GERMAN/AMERICAN, 1886-1969)
SET OF EIGHT 'MR10' CHAIRS; DESIGNED IN 1927; CIRCA 1970
Chrome-plated steel, wicker.
80cm high, 47cm wide, 80cm deep
Provenance:
Property of a Gentleman
Literature:
Werner Blaser, Mies van der Rohe: Furniture and Interiors , 1982, Barron's Educational Series Inc., ppg. 40-41
Christiane Lange, Mies van der Rohe and Lilly Reich: Furniture and Interiors, Hatje Cantz, 2007, front cover.
Condition Report:
Various indicators of wear - with minor surface dints, marks and scratches, in line with age and use. Some foxing particular to the bottom of four of the chairs. The wicker overall is in really good clean condition, the seats with some slight unravelling/losses at the edges, minor, again to four out of eight of the chairs. The top seat bars, the chrome is generally in really good condition, just two with some foxing. All the chrome/foxing could be cleaned to look better, professionally cleaned to look even better.
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700 - 900 GBP
Y MERROW ASSOCIATES (BRITISH)
SIDEBOARD; CIRCA 1970
Rosewood and chromed steel; two sliding doors.
75.5cm high, 183.5cm wide, 45.5cm deep
Article 10 certificate has been obtained for this lot (ref. 24GBA10940FHG).
Condition Report:
Various signs of wear - marks, scuffs, scratches and dints in line with use and age. The chrome is in overall good condition, with some speckling to the back of the legs. The top has one small dark stain, a small lightened patch, a larger splotchy lightened area (hard to spot), some longer scratches against the grain direction and a knock/bruise to the edge in at least two places. The doors are in very good condition, with just a few small scuffs and scratches at random. Inside with a few more scratches/marks. Have captured as much as possible in the additional images. Overall good condition, as nothing major, and presents really well.
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LIGNE ROSET (FRENCH)
A SOFA BED; LATE 20TH/EARLY 21ST CENTURY
Brown leather, chrome, silver-painted feet/frame
98cm high x 200cm long x 90cm deep
Condition Report:
In very good condition. Presents well. The leather has softened and puckered a little in a nice way. Various signs of minor wear - a few nicks, dints, scratches to the surface in line with use. A couple of scratches along the top section - captured in the additional images.
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31
PIERRE PAULIN (FRENCH, 1927-2009)
'PUMPKIN' TWO-SEATED SOFA; MADE BY ROCHE BEBOIS; DESIGNED IN 1971; SECOND HALF 20TH CENTURY
Light grey leather
65cm high x 176cm long x 78cm deep
Condition Report:
In overall good condition. A few surface scratches and marks to the leather, only a couple on the deeper side. Soften leather feel, some slight puckering to the central panels, but not too distracting. See additional images provided.
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Y ERIK BUCH (DANISH, 1923-1982) SET OF THREE STOOLS; PRODUCED FOR DYRLUND; CIRCA 1960 Rosewood, upholstered seat; low t-shaped lumbar support, slender legs with stretchers. Underside with Dyrlund paper labels. 89 x 45cm (35 x 17½ in.).
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600 - 800 GBP
HANS J WEGNER (DANISH, 1914-2007)
THREE 'CH23' CHAIRS; DESIGNED 1952; MID-20TH CENTURY
Oak, teak, cord
Incised stamp 'Made in Denmark/Y Carl Hansen & Son/Odense Denmark/HB64/Designer Hans J Wegner'
75cm high x 47.5cm wide x 47.5cm deep
Literature:
Christian Holmsted Olesen, Wegner: Just One Good Chair , Hudson & Thames, 2014, p.172
Oda, Hans J. Wegner's 100 Chairs , Corona, 2002, p. 55
Condition Report:
In overall good condition. The chairs present well. The wood tones differ from each-other slightly. The seat to one chair has come loose/unravelled at the front in two places. There is some water damage/discolouration but only to the back of the chairs. Multiple small nicks, scratches, marks in line with age and use; particularly around the feet. Please see additional images provided.
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BORGE MOGENSEN (DANISH, 1914-1972)
'MODEL 160' SIDEBOARD; DESIGNED IN 1954; MID 20TH CENTURY
Teak, beech; sliding doors, with two internal shelves on left side, four internal drawers on right side
Reverse with printed stamp (rubbed) and 'MADE IN DENMARK'
85cm high, 155cm wide, 45cm deep
Condition Report:
Minor scuffs, scratches and marks to the surface, in line with age, some darker, some lighter (fresher) scratches, particularly to the top surface, around the handles and feet. Loss of veneer to one back bottom corner (approx 4cm x 1.5cm) quite out of view.
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700 - 900 GBP
ARNE HOVMAND-OLSEN (DANISH, 1919-1989)
PAIR OF LOUNGE CHAIRS; CIRCA 1960
Teak, black leather, brass
Stamped 'MADE IN DENMARK/DESIGN HOVMAND-OLSEN'
76cm high x 72cm wide x 72cm deep (approximately)
Provenance:
Purchased by two prominent local Newbury businessmen directly from the Milan Trade Only Furniture Exhibition around 1960.
Condition Report:
Various indicators of wear - with minor nicks, dints, marks and scratches to the surface, in line with age and use. There is a larger scratch to the leather back of one back rest. There is a blob of paint to the upper edge of the back rest on both, where they have leant against (wet paint perhaps?), it could certainly be professionally cleaned off. One of the armrest with some white scratches too. The wood with some discolouration (lightening) to the back legs of both chairs in a small patch. A very minor loss around one of the fixings. Overall the chairs present very well, in original condition, but with obviously careful previous owners.
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FINN JUHL (DANISH, 1912-1989)
PAIR OF TABLES; MODEL NO. 535; CIRCA 1960
Probably produced for 'France & Sons'.
Teak, with rectangular lipped/ridged edged tops.
Each; 44cm high,76cm wide, 53cm deep
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38
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1
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Estimate
3,000 - 5,000 GBP
ITALIAN; AFTER A DESIGN BY CARLO MOLLINO (1905-1973)
A LARGE MULTI-PURPOSE CABINET; MID-20 TH CENTURY
Main body in bold polychrome - red, yellow and grey, with detachable carved natural finish oak folding table and leg (with brass foot) and two glass shelves.
Main unit; 218cm high, 258cm wide, 38cm deep
Detachable table; 80cm x 135cm x 75cm
Provenance:
From the private flat of Attilio Lutrario.
Attilio Lutrario was the owner of the Sala da Ballo Le Roi designed by Mollino in 1959. The cabinet was commissioned by Attilio Lutrario on the model of the original one existing in the Ballroom.
We would like to thank the Museo Casa Mollino in Torino for their assistance in cataloguing this work.
Condition Report:
Various/multiple signs of wear - nicks, marks, scratches in line with age and use. A large hole with holes around where an old fashioned telephone box was once fitted. Multiple repairs, particularly along the top grey panel, with some overpainting, and at the vulnerable corners of the cabinet in various places. Some knocks/bruises/repairs at the edges of the cabinet. The table top with some scratches and marks. Two losses at the bottom edge corners on one side. Two old paper labels. The cabinet would benefit from a professional clean/restoration attention. The yellow door has a key, inside are chest of drawers and a mirror. The red door is locked, without a key. Please look at the additional images.
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39
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1
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Estimate
1,500 - 2,500 GBP
PIERO FORNASETTI (ITALIAN, 1913-1988)
PAIR OF 'CAPITELLO IONICO' CHAIRS; DESIGNED 1980; CIRCA 1990
Produced by Atelier Fornasetti in lithographically-decorated lacquered wood.
One chair with two Fornasetti paper labels; the other with a paper label and a transfer label.
95cm high, 42cm wide, 52cm deep
Provenance:
The private collection of Count Manfredi della Gherardesca
Literature:
Barnaba Fornasetti/Andrea Branzi/Mariuccia Casadio, Fornasetti; The Complete Universe , Rizzoli New York, 2010, p. 401
Created to go with the already popular 'Corinthian Capital' chair - this was an immediate success. It became a bestseller and an average of fifteen are made each year.
Condition Report:
Both present well with clean white column backs. One seat has a surface loss/damage to one of the seat's front corner, and a smaller nick. The other chair's seat has a white scratch to the front corner edge. Legs clean in the most part with an area of lighter scratches, at the back, out of view.
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ATTRIBUTED TO FORNASETTI
LARGE OVERMANTEL MIRROR; SECOND HALF 20TH CENTURY
Bevelled edge mirror glass, rectangular convex gloss frame, decorated with bricks and perching owls.
101.5cm x 70cm
Simple brick structures (architectural themes) and owls are strong and constantly revisited themes of Piero Fornasetti's designs.
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2,000 - 3,000 GBP
ITALIAN; ATTRIBUTED TO GIO PONTI
CENTRE TABLE; CIRCA 1955
Mahogany and beech; the circular quarter veneered top (possibly associated), above a cross-form stretcher and with brass feet
77cm high, 110.5cm diameter
Provenance:
Purchased from Casa d'Aste della Rocca, Turin, 21 April 2016
The private collection of Count Manfredi della Gherardesca.
Condition Report:
Structurally sound and ready to use. With very minor markings and discolouration, the top edge with some minor indentations. The brass slightly tarnished. The top may possibly be associated.
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ITALIAN
SET OF SIX LADDER-BACK CHAIRS; SECOND HALF 20TH CENTURY
Cream leather seats, pale hardwood, metal (capped front feet)
97cm high x 45cm wide x 48cm deep (approx)
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ANTONIO CITTERRIO (ITALIAN, BORN 1950)
SET OF SIXTEEN 'SOLO' CHAIRS; MANUFACTURED BY/FOR B&B ITALIA; SECOND HALF 20TH CENTURY
Chromed steel, upholstered in three complimentary textured fabrics, the green and the brown fabric is horsehair and the cream fabric is ribbed ottoman
90cm high x 42cm wide x 50cm deep
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1,500 - 2,500 GBP
ANDREW NEBBETT DESIGNS (FOUNDED 1984)
A LARGE INDUSTRIAL 'REFECTORY' TABLE; LATE 20TH/EARLY 21ST CENTURY
Bespoke made; the polished zinc table top, above a patinated wrought-iron base.
78cm high, 91cm wide, 200cm long
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MODERN 'A' FRAME TABLE; SECOND HALF 20TH CENTURY Steel and glass; rectangular top. 77cm high, 170cm long, 79cm deep Provenance: Property of a Gentleman
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3,000 - 5,000 GBP
MARCEL BREUER (HUNGARIAN/AMERICAN, 1902-1981)
PAIR OF 'MODEL NO. 308' ARMCHAIRS; PRODUCED BY EMBRU-WERKE; DISTRIBUTED BY STYLCLAIR; CIRCA 1935
Brown leather, duralumin, ebonised wood.
Underside with foil label 'MEUBLES STYLCLAIR LYON PARIS' and impressed no. 308
Each; 80.5cm high x 56cm wide x 56cm deep
Provenance:
Purchased by a private French family in the 1930s
Stayed in the same family by descent
Christie's, Design - Day Sale , 23 November 2015, lot 23
Literature:
A. Bony, Les années 30; éditions du regard , Paris, 1987, p. 885 for the same model exhibited at the Museum and Art Gallery of Bristol,1933
Pioneer of modernist furniture design, Marcel Breuer, created Model No.308 chairs as part of the broader Bauhaus movement. As a key member of the German art school, Breuer was instrumental in shaping the aesthetics and functionality of early 20 th century furniture. Both his architectural and homeware designs reflected the Bauhaus ethos; the integration of art, craft and technology, aimed at producing objects that were not only beautiful but also utilitarian and affordable.
Bauhaus as a movement was founded by Walter Gropius in Weimar Germany just after the end of World War I in 1919. Their aim was to unify fine art, craft and industrial design by rejecting past styles that, in their eyes, boasted an excess of ornamentation. Breuer's furniture designs, including Model No.308, emblematised this modernist philosophy. A sleek elegant silhouette is achieved by its tubular duralumin frame. This aluminium-copper alloy industrial material was revolutionary in its use as it severed the traditional process of wood craftsmanship, showcasing a new aesthetic aligned with industrial progress. Not just aesthetic in its use of material, but also democratising - these chairs are a testament to the modernist idea of making high-quality, affordable furniture accessible to the common person.
Model No.308 boasts a cantilevered structure, devoid of rear legs which results in a feeling of weightlessness and flexibility. This design was likely a result of Breuer's experiments with tubular steel and his observations of seeing similar materials being utilised in bicycle construction. He is credited as the first person to use bent and polished tubular steel as both a supporting framework and a decorative element for furniture in 1925 in his famous Wassily Chair. Upholstered in a rich, deep brown leather the chairs' seats and backs provide a touch of warmth that contrasts the coolness of the steel frame. Here, Breuer is balancing the use of modern industrial materials with the need of traditional comfort to balance utility with beauty.
Clean lines, innovative use of materials, and ergonomic design posit these chairs as timeless pieces that are as relevant today as they were in early 20 th century design.
Condition Report:
The chairs are in good original condition. The feel is very solid. There are various signs of wear - minor scuffs, scratches, dints and marks in line with age and use. The leather looks smooth when looking over, but on close inspection it has a craquelure surface in places/patches, no splits but a deterioration/softening of the surface and a few minor scrapes. The ebonised armrests with multiple knocks and paint loses along the edges. The chrome scratched and scuffed and there is mild foxing, mainly to the back legs, but this could be polished/improved if desired with professional attention, it is all minor. Please see additional images available.
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2,000 - 3,000 GBP
GUY LEFEVRE FOR MAISON JANSEN (FRENCH)
LARGE 'MODEL NO. 160' DESK; CIRCA 1970
Dark brown leather, nickel-plated steel; the four drawers with hinged ring pulls
77cm high, 181cm long, 101cm deep
Provenance:
Property of a Gentleman
Condition Report:
Various signs of wear - minor nicks, dints, scratches, marks to the surface in line with age and use. The table top has multiple scratches and signs of wear, and a few water rings. Each drawer has quite a split to the drawer fronts extending both side from the loop handle. One drawer with a dark mark/scratch too. The drawers are mahogany and in very good condition. The chrome frame shows some age but is in overall very good condition.
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10,000 - 15,000 GBP
JACQUES QUINET (FRENCH, 1918-1992)
'BERCEAU' COFFEE TABLE; DESIGNED/MADE 1952
Gilt bronze and glass
45.5cm high, 110cm long, 49cm wide
Provenance:
The table's first owners, were cousins of the French painter Jean René Bazaine (1904-2001), who acquired it directly from Quinet for their apartment in Paris, 1952.
Christies Paris, 'DESIGN VENTE DU SOIR', 22 Nov 2016, lot 120
Literature:
Guitemie Maldonado, Jacques Quinet; Les Editions de l'Amateur , Paris, 2000, p. 43 - 46 for the same model that belonged to Jacques Quinet
French designer Jacques Quinet (1918-1992) was renowned for his minimalist yet refined approach to furniture design, which balanced functionality with elegance. The 'Berceau' coffee table, patinated in bronze and glass showcases his penchant for understated luxury. The works sweeping bronze legs evoke a sense of both grace and strength, resembling an elegant cradle- the translation of the French word 'berceau'. The juxtaposition of these smooth, curved metal lines with the transparent glass top, underscores Quinet's skill in blending modernist sensibilities with classical aesthetics.
Born in 1918, Quinet grew up in France where he was shaped by both the pre-war art movements and the profound transformations that followed World War II. He was a private individual, more focused on his craft than seeking the limelight. His background in fine arts and early exposure to the world of furniture-making shaped his design philosophy. He studied at the prestigious École Boulle in Paris which gave him a foundation in both traditional craftsmanship and contemporary design. He often designed several bespoke pieces for upscale Parisian apartments and high-profile clients. Despite his understated personal demeanour, Quinet's work became emblematic of mid-century French sophistication.
The mid-20 th century saw a revival of a neoclassical style, mostly due to the artistic austerity and functionalism of earlier modernist movements such as Bauhaus. Earlier movements had focused on strict minimalism and industrial materials. Designers after World War II looked to bring back luxury and tradition to furniture design without completely abandoning more modernist values. This table exemplifies the combination in his use of patinated bronze and graceful curvature which harks back to classical forms, echoing the influence of ancient Greco-Roman design. He refrains, however, from over-ornamentation and it is this simplified interpretation of neo-classical principles that gives his designs a timeless quality.
The longing for societal permanence and continuity after the upheaval of the war facilitated a demand for neoclassical design. Consumers desired interiors that not only projected stability but also an escape from the chaos. Quinet's emphasis on craftsmanship fulfilled this need by creating pieces that were both luxurious and practical, serving as subtle reminders of classical ideals of beauty and proportion without compromising on contemporary functionality.
Condition Report:
Various minor signs of wear - marks, scuffs, scratches and dints in line with use and age. The patination to the metal frame is nicely aged/patched/tarnished. The glass is very clean with a wide bevel. There is a bend to one foot - in the design, this is slightly more pronounced on one side. The table present well and have obviously been looked after by the previous owner.
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MANNER OF LINE VAUTRIN
SMALL MIRROR; SECOND HALF 20TH CENTURY
Convex mirror, talosel, resin, coloured mirror glass pieces, wire, fabric-backed.
14cm by 14cm (5½ x 5½ in.)
Literature:
Patrick Mauriès, Line Vautrin: Miroirs/Mirrors , Paris, 2004, pp. 110-111 (for a design with similar look/design elements)
Condition Report:
Mirror and round frame in good condition. There are a few splits to the applied decorative mirror pieces, could be from the making. There are three/four missing glass pieces. One of the small glass pieces is mounted on a white not green backing. A couple of lines of discolouration to the fabric backing.
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1,000 - 1,500 GBP
CONTINENTAL
ORNATELY DECORATED CABINET WITH 'BIRDS': CIRCA 1970
Marble, malachite, gilt-bronze; the white marble body with borders and bandings in malachite, the upper section with two panel doors centred by gouaches of birds with grille backing and on gilt-bronze fluted columnar hingers, the lower section with a velvet-lined cavity, the sides with diamond-form malachite inlay, the reverse of the upper section with an open back, on spherical castors
92.8cm high, 65cm wide, 48cm deep
Condition Report:
Overall the marble and inlay lapis is in good condition. It would benefit from a clean and a professional clean, to the marble and fabric elements. There are two small repairs to each door, at or near the corners, in line with use. There is a shallow edge loss to the left side back, not very obvious at all. Again a small loss at each bottom corner edge, when the cabinet is placed down, these are out of view. The gilded handles and long door hinges are tarnished, the loop handles on the sides have retained more brightness. Half of the back of the cabinet is off, the upper half, so a new back panel will need to be sourced, unless the item is up against a wall.
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30,000 - 50,000 GBP
EDGAR BRANDT (FRENCH, 1880-1960)
A LARGE CONSOLE; CIRCA 1930
Wrought iron and black Portoro marble
Stamped 'E.BRANDT / PARIS'
98cm high x 208.5cm wide x 54cm deep
(3ft 2in. x 6ft 10in. x 1ft 9¼in.)
Provenance:
Sotheby's, Fine 20 th Century Design, 2010, lot 86
Literature:
Pierre Kjellberg, Le Mobilier du XXe Siècle Dictionnaire des Créateurs , Paris, 1994, p. 94
Edgar Brandt (1880-1960) was a prominent French ironworker, metal designer, and a leading figure in the Art Deco movement. Known for his mastery of wrought iron, Brandt's work blended artistic elegance with technical innovation. He created exquisite decorative pieces such as grilles, gates, and balustrades, often incorporating floral motifs and geometric patterns characteristic of Art Deco. Brandt's designs, both functional and ornamental, gained international acclaim for their craftsmanship and modern aesthetic.
This wrought iron console, which showcases Brandt's renowned craftsmanship, features intricate floral and geometric motifs that highlight the artist's ability to imbue strength and rigidity with a delicate, almost lyrical quality. The elegant scrolls, along with the decorative band that runs the length of the console, are characteristic of Brandt's style, which often blended naturalistic elements with the bold, geometric lines that defined Art Deco. The use of wrought iron, a material traditionally associated with architectural and utilitarian purposes, was transformed by Brandt into a medium for highly decorative and artistic creations. The black Portoro marble top, with its luxurious gold veining, adds a layer of opulence to the design, enhancing the overall aesthetic of the piece.
Brandt's work was widely celebrated during his lifetime, with his ironwork featuring prominently at major international exhibitions, including the 1925 Paris Exposition des Arts Décoratifs et Industriels Modernes, where the term "Art Deco" was first coined. His pieces were sought after by discerning collectors and frequently commissioned for prestigious interiors.
Condition Report:
In very good condition. Presents very well. With no losses or damages to the openwork or patina. The marble is beautiful, and the edges smooth and finished, to one of the stepped plinth base there a very minor shallow loss, out of view - difficult to spot, only found with feel. The work comes apart for logistical ease. The marble top is also re-enforced to the underside with gauze. There is an old Sotheby's barcode to the underside. Please request additional images to see the work on view.
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IN THE MANNER OF RUHLMANN
AN ART DECO DINING SUITE; CIRCA 1930
Comprising a large oval table with black glass top and six chairs in cream velvet upholstered seats. Various polished wood finishes including maple, beech, rosewood and ebonised wood.
Table; 80cm high, 200cm long, 105cm wide
Chairs; 97cm high, 44.5cm wide, 50cm deep
Condition Report:
Various signs of wear, in line with age and use. Although it presents well overall, there are multiple nicks, scratches, marks and small losses. The sweeping table bracket has a repair to the veneer (see additional images) and there are other areas of touched up/cleaned up small restoration. The table top is likely a replacement, there are random light surface scratches and a couple of small shallow edge losses, as well as a bloth-y area of brown discolouration. The chairs are in the most part in okay condition, one of the chairs - the legs needs securing, it is not safe to sit on. There are - as with the table, small losses, scratches and dents, particularly along the tops of the chairs, the fabric to the seats is very clean. See additional images.
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3,000 - 5,000 GBP
IN THE MANNER OF RAYMOND SUBES
A PAIR OF ART DECO CONSOLES; CIRCA 1930
Patinated wrought iron, openwork design, with black veined marble inset tops.
76cm high, 180cm wide, 50cm deep
Saleroom notice : Please note that we would in fact date the construction of these consoles to the second half of the 20th Century.
Condition Report:
In very good condition. The consoles both present well. The marble on top is very clean without losses, one console's top has some light longer scratches to it, which are minor, and could be professionally buffed out (as so surface). The bases are sturdy and the patination is patchy adding to an intended "aged look". There are minor marks, dints, scratches overall, nothing that stands out.
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1,500 - 2,500 GBP
DAVID LINLEY (BRITISH, BORN 1961-)
A BESPOKE CARD TABLE; 1986
Walnut and boxwood; extendable rectangular top on rectangular plinth with decorative chequered inlay. This lot is offered with the original watercolour design drawing.
Impressed 'LINLEY' stamp.
77cm high x 100cm wide x 49cm deep
Provenance:
Acquired directly from David Linley Furniture Ltd, New King's Road, London in 1986 by Peter and Julia Burke. The table was designed for them as a wedding gift for their son.
Also included with this lot, if of interest, is supporting documentation relating to the purchase, including a letter from Matthew Rice, Linley's business partner.
Condition Report:
Various signs of wear - multiple minor nicks, dints, scratches to the surface in line with age and use. The top with a largish area of textured damage/puckering to the top surface and two small losses to the veneer and some longish light scratches. Some water damage to the opened out card top, particularly along two edges. The foot with more of an accumulation of small knocks, scratches; as expected with use/wear.
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ATTRIBUTED TO JOSEF HOFFMAN (AUSTRIAN, 1831-1904)
SECESSIONIST BENTWOOD THREE-PIECE SUITE; CIRCA 1900
Comprising a settee and two chairs, as well as a matching table. Likely made by J J John, Vienna. Upholstered in 'Paradies' design fabric, originally created for the Wiener Werkstätte by Josef Hoffmann in 1908.
Settee; 75cm x 132cm x 58.5cm
Chair; 75cm x 55.5cm x 55.5cm
Table; 76cm x 69.5cm x 69.5cm
Condition Report:
Overall the suite presents well. The fabric is clean and the wood grain comes through nicely/cleanly. There are various signs of wear - scratches, marks, knocks in line with age and use. There are more of these, mainly scratches to the front seat bars and top of, on the chairs and sofas. Also to the foot of the sofa there are a few (repaired) splits, knocks, a minor loss. The table top with a few areas of light surface scratches and an area of splotchy discolouration/lightening. Second tier with slight undulation to surface.
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ATTRIBUTED TO E.W. GODWIN & WILLIAM WATT, IN THE MANNER OF A W N PUGIN
A SET OF SIX VICTORIAN CHAIRS IN THE GOTHIC REVIVAL STYLE; CIRCA 1860
Oak, dark green leather; with carved stylised cross fixings, the ears with carved ivy leaves.
Each; 97.5cm high, 47cm wide, 54cm deep
Provenance:
Private collection
By repute from Godwin & Watt's commission for Dromore Castle, Limerick for the 3rd Earl of Limerick.
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IN THE MANNER OF JOHN PEARSON
LARGE ARTS & CRAFTS OVERMANTEL MIRROR; CIRCA 1900
Copper, incised relief decoration, against planished surface; mirror glass.
72cm high x 87cm wide
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SHAPLAND & PETTER (BRITISH) ARTS & CRAFTS FIRESIDE BOX; CIRCA 1900 Oak, hinged lid and loop handles, patinated metal panels with embossed roundels, depicting a bird and a fish. Stamped to the back 'R1988/136' 47.5cm high, 53cm wide, 38cm deep
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800 - 1,200 GBP
WILLIAM MORRIS (ENGLISH, 1834-1894)
'OLIVE AND ROSE' FIRESCREEN; DESIGNED CIRCA 1880; LATE 19TH CENTURY
Embroidered panel, coloured silks on silk, glazed in footed mahogany frame.
Frame; 82cm high, 63cm wide
Silk panel; 57cm x 57.5cm
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Literature:
Mason/Marsh/Lister/Bain/Faurby, May Morris; Arts & Crafts Designer , Thames & Hudson/V&A Museum, 2022, p.72
Condition Report:
Panel in good condition. The frame with slight wear and a repaired break to one foot.
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MORRIS & CO.
SQUARE-TOPPED SIDE TABLE; CIRCA 1910
Mahogany; raised on tapering legs, with low crossed stretchers
Underside stamped 'MORRIS & CO./449 OXFORD ST W'
65cm high x 40.5cm wide x 40cm deep
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Condition Report:
Presents well. Multiple minor scuffs, scratches, marks and indentations in line with age. A few heavier indents to the table top surface. The table top has been repaired at the corner, this is more noticeable from the underside.
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MORRIS & CO.
SQUARE-TOPPED SIDE TABLE; CIRCA 1910
Mahogany; raised on tapering legs, with low crossed stretchers
Underside stamped 'MORRIS & CO./449 OXFORD ST W'
64.5cm high, 45.5cm wide, 45cm deep
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Condition Report:
In good condition. Multiple minor scuffs, scratches, marks and indentations in line with age. A couple of heavier indents and an area of heavier scratching to the table top.
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ARTS & CRAFTS
HALL BENCH; CIRCA 1900
Oak, upholstered in William Morris' 'birds' woven fabric
73cm high, 160cm wide, 28cm deep
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Literature:
Linda Parry, William Morris Textiles , George Weidenfeld & Nicolson Ltd, London, 1983, p.152 for the 'birds' fabric design.
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IN MANNER OF HOWARD & SONS
AN UPHOLSTERED ARMCHAIR; FIRST QUARTER 20TH CENTURY
In later William Morris 'birds' fabric; with metal casters to the two front legs.
95cm high, 72cm wide, 79cm deep
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Literature:
Linda Parry, William Morris Textiles , George Weidenfeld & Nicolson Ltd, London, 1983, p.152 for the 'birds' fabric design.
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IN MANNER OF HOWARD & SONS
AN UPHOLSTERED ARMCHAIR; FIRST QUARTER 20TH CENTURY
In later William Morris 'birds' woven fabric, with cabriole legs
88cm high, 81cm wide, 73cm deep
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Literature:
Linda Parry, William Morris Textiles , George Weidenfeld & Nicolson Ltd, London, 1983, p.152 for the 'birds' fabric design.
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1,500 - 2,500 GBP
HOWARD CHAIRS LTD
AN UPHOLSTERED FOOTSTOOL; SECOND HALF 20TH CENTURY
Upholstered in sections of William Morris 'bird' pattern jacquard woven double fabric, with bullion fringe foot trim.
Underside with 'HOWARD CHAIRS LTD' label.
47cm high, 60cm square
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Literature:
Linda Parry, William Morris Textiles , George Weidenfeld & Nicolson Ltd, London, 1983, p.152 for the 'birds' fabric design.
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3,000 - 5,000 GBP
PHILIP WEBB (1831-1915) FOR MORRIS & CO.
'SUNFLOWER' TABLE; CIRCA 1880
Mahogany; scalloped edged circular top raised on slightly curved legs with leaf carving and linked by stretchers centred with a carved sunflower
Stamped to underside 'MORRIS & CO./ OXFORD ST /1861'
68cm high, 76cm diameter
Provenance:
Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent
Literature:
John Andrews, Arts and Crafts Furniture , Antiques Collectors Club, 2005, pl. 52
Jeremy Cooper, Victorian and Edwardian Furniture and Interiors , Thames and Hudson, 1987, pl. 450
In Cooper's publication the table design can be seen in the foreground of a period illustration of the drawing room of Standen House, which was furnished by Webb for the Beale family, in 1894.
Philip Webb's 'Sunflower table' is a quintessential example of Arts and Crafts furniture that deeply reflects the design principles and craftsmanship championed by Morris & Co. during the late 19 th century. Webb, one of the founding figures of the Arts and Crafts movement was a close collaborator of William Morris.
Emerging in the mid-19th century, the movement was a response to the rapid development of industrialisation that prioritised mechanisation over craftsmanship. It wanted to reunite art with labour, celebrating the skill of the artisan and the integrity of natural materials. Morris & Co., established in 1861, became a cornerstone of this movement, producing everything from furniture and textiles to wallpaper and stained glass, all reflecting the company's commitment to a revived aesthetic and social responsibility.
Webb's role in the company was pivotal. While Morris provided the ideological foundation for the firm, Webb was often the architect of the movement's design ethos, translating its principles into physical forms. Known for his sensitivity to both materials and function, Webb's designs are characterised by simplicity, an appreciation for traditional craftsmanship, and motifs drawn from nature. This table's subtle botanical influences are a fitting illustration of his approach.
The sunflower motif at the centre of the table is a typical Arts and Crafts emblem which embodies the movement's fascination with organic forms. The use of rich mahogany and the scalloped edged circular top exemplify the movement's rejection of Victorian opulence in favour of a more honest, nature-inspired aesthetic.
Webb's most profound legacy is most famously represented by the Red House in Bexleyheath, designed in 1859 by Morris. The house became a model for the Arts and Crafts movement, with its attention to craftsmanship and design serving as a living manifesto for the values Webb and Morris espoused. While smaller in scale, the 'Sunflower' table is imbued with the same design philosophies of form, function and artisanship, making it a significant artefact of both Webb's career and the broader Arts and Crafts movement.
Condition Report:
Various indicators of age - with minor nicks, dints, marks and scratches to the surface, in line with age and use. Particularly around the tables scalloped edge. More particular marks to the top include three longer dark scratches and a cluster of dark indents. Two of the stretchers come out where it attaches at the leg, but also go back in cleanly. Two of the screws on the underside have been re-attached, off centre of the original hole; perhaps a restoration/re-secure happened at some point. Overall the table presents really well.
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