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Fortuna upright coin operated disc playing musical box, the walnut case having an arch shaped pediment with spindles below, Art Nouveau stylised foliate fret-work and standing on turned feet. The musical movement having duplex combs and playing 16" discs. Together with twenty discs, 106cm high
GUBELIN: AN ART DECO MANTEL CLOCK, the rectangular dial decorated in ivory, mother-of-pearl and abalone shell with a scene of a unicorn and two figures in a landscape, mounted within a scrolling gilt metal and glass surround, on a gilt metal base, marked "Gubelin. Swiss" to the dial, 11¼" high. See Illustration
AN ART NOUVEAU MAHOGANY AND MARQUETRY TWO SEATER SOFA, the raised rectangular back with a central oval upholstered panel with inlaid panels of stylised foliage against a satinwood ground, with upholstered arms and seat, on square tapering legs, with an applied label "Jas. Shoolbred & Co, Tottenham Court Road, London", 41" wide. See Illustration
CHARLES AND RAY EAMES: A DCM PLYWOOD GROUP CHAIR with black stained back and seat on a chrome frame, with Vitra labels to the base. The DCM or Dining Chair Metal was first shown at the Museum of Modern Art in 1946. Like the cantilever chair, this design attempts to make the seat and back float in the air, supported by the least structure possible. The beauty of this design lies in the subtle curvature of the back and seat, and the angle of the back to the seat. See Illustration
AN ART DECO SATINWOOD AND ROSEWOOD VENEERED DINING ROOM SUITE in the manner of Hille, comprising: a dining table, six chairs, sideboard and trolley. The rectangular dining table with rounded ends with broad rosewood crossbanding, mounted on two rectangular legs with conforming satinwood and rosewood veneers, the table 82" x 38". The chairs with dished and arched backs with all over satinwood veneer, on tapering legs, the sideboard with a shaped front with a central reeded panel flanked by twin shaped doors with Bakelite handles, enclosing a fitted interior with short drawers and shelves, on a plinth base, 47" wide. The trolley with three rectangular tiers on rounded supports and castors, 34½" wide. See Illustration
AN ITALIAN ART DECO DISPLAY CABINET, the upper section with a rectangular glazed cabinet with bevel edged panels, within a burr wood and rosewood frame, resting on four turned ball fittings, the base with curved sides fitted with two cupboard doors with burr wood and rosewood fittings on carved and ebonised ball feet, 66" high x 47" wide. See Illustration
PHILIP WEBB FOR MORRIS & CO: AN OAK CENTRE TABLE, with a rectangular top above a stepped moulded border on turned splayed legs with cross stretchers and a moulded stretcher with four turned uprights on plinth bases with castors, 29" high x 71" wide. Philip Webb (1831-1915) was chief furniture designer for Morris, Marshall, Faulkner and Co, and Morris and Co. A life long friend and colleague of William Morris`s the two met as young men in the Oxford office of George Street`s architectural practice. It was on the strength of Morris commissioning Webb to design a home for himself and his new wife that Webb set up his own practice. The house was the Arts and Crafts masterpiece the Red House, and Webb became a highly successful architect and Morris went on to establish the leading art furnishers of the time. This table relates to a design first produced during the early years of the business when furniture on this scale will have been made to fulfil a specific commission or architectural interior. This table shows Webb`s interest in medieval furniture, his furniture designs demonstrate a solidity and architectural presence with features drawn from his knowledge of early furniture from around the world. An example of the design can be seen in the long drawing room at Kelmscott House where Morris lived from 1878. See William Morris, His Life, Work and Friends by Philip Henderson. A further larger variant example, 96 3/4in long, was sold at auction in London in May 2000. An example of this table is illustrated on p159 of `William Morris` the catalogue edited by L.Parry to accompany the Victoria and Albert museums 1996 exhibition `Willliam Morris 1834-1896`. In this publication it is described as being designed by Philip Webb. However this table is also recorded as a `Joiners Table` by George Jack who may have reintroduced the design at some point after Webb`s retirement in 1890, if this is the case it might best be seen as a collaboration between the two designers. See Illustration
SIDNEY BARNSLEY: A STAINED OAK KNEELING RAIL, with a rectangular top supported on four hexagonal uprights with through tennoned crossrails, above an open rail of five panels with chamfered edges, on sledge type feet with shaped toe, 34½" high, 60" wide. This rail is believed to be a prototype for the kneeling rails that were use in St Andrews Chapel in Westminster Cathedral. The Roman Catholic cathedral at Westminster was consecrated in 1910, and with numerous carvings by Eric Gill, mosaics by George Jack and work by many other leading designers of the time, the cathedral is one of the most spectacular buildings of the period. The chapel of St Andrew was designed by the leading Arts and Crafts architect Robert Weir Schultz who had been put forward for the commission by the Marquess of Bute. The Bute family had a well recorded love of the progressive arts, and it is not surprising that they were involved with the building of the new Cathedral. The choir stalls and clergy seats in the chapel were designed by Ernest Gimson and Weir Schultz, and like the kneeling rails, they were made in ebony inlaid in bone. A prototype for one of the clergy seats from the chapel is now in the collection at Cheltenham Museum and Art Gallery, having previously been in the collection of Weir Schultz (CAGM 1941.225.121). It is likely that this prototype was produced both to assess the design and as an aid to costing. The current lot may well be the prototype for the kneeling rails in the chapel. The examples in use are made of ebony and bone, and this might well explain why the cheaper alternative of stained oak was used for the working model. A drawing of this item by Sidney Barnsley is in the Cheltenham Museum collection, 1972.186:1. the design dated to c1923. See Illustration
ERNEST W GIMSON: A MACASSAR EBONY LIBRARY TABLE, the rectangular top with an edge with two lines of chequered banding of satinwood and walnut, above four short drawer with silvered ring handles, on four pairs of two square tapering legs with conforming stretchers, all with through tennon joints, 30" high x 72" wide. The original design for this table, is in the collection of Cheltenham Museum and Art Gallery (1941.222 377). The drawing is titled `A library table in Macassar Ebony`, and is signed Ernest W.Gimson, Daneway House April 13. 1904. See Illustration
ERNEST W GIMSON: A MACASSAR EBONY STATIONERY BOX inlaid with mother of pearl and abalone shell, the rising lid set with three central "blister" pearls, in a surround of chequered inlay, the front decorated with flowers amongst animals, the sides and back similarly decorated, on a spreading base, 7" high x 12" wide. A number of designs for this and the associated stationery box exist in the Cheltenham Museum and Art Gallery collection. A drawing signed by Ernest Gimson and dated August 23rd 1904 is illustrated in `Originality and Initiative, The Arts and Crafts archives at Cheltanham` by Greenstead and Wilson, fig 92. See Illustration
Jean Baptiste Claude Robie - `Bouquet of Flowers` (Still Life Study of Roses and Other Flowers beside an Overturned Basket of Raspberries and a Sparrow, within a Landscape), late 19th Century oil on panel, signed recto, titled to American Art Association Anderson Galleries Inc label verso, approx 74.5cm x 97cm, within a pine frame.

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