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Click here to subscribeCHRISTOPHLE, A PAIR OF SILVER PLATED COCKTAIL SHAKERS, AND A STANDIN ART DECO TASTEWith removable cap and upper section to the cylindrical body, and on a tray stand26cm high overallTogether with a set of twelve spirit glasses en-suite, 5cm high, and a lemonade jug, 27.5cm highCondition Report: Please see additional images for visual reference to conditionCondition Report Disclaimer
A STAINED WALNUT AND GREEN ONYX MOUNTED CENTRE TABLE IN ART DECO TASTE20TH CENTURY74cm high, 115cm diameter Please note the original diameter mentioned was incorrect, this is correctly 115cm diameter and has been updated to our platformCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, especially to the edges of the top and the edges of the faceted base, the top is a natural product and therefore has organic faultsPlease refer to additional images for visual reference to condition Condition Report Disclaimer
AN ART DECO ALABASTER AND PATINATED METAL GROUP OR CENTREPIECECIRCA 1925Probably depicting a stylised Diana and her hounds, on a shaped plinth base, signed LIMOUSIN to one front edge 42cm high, 91cm wide, 26cm deepCondition Report: The head is composition, this has perished and is in three main pieces, there are some signs of old glue from a previous repair, this will need some repairs before display in a domestic settingPlease see details of this on our additional imagesCondition Report Disclaimer
λ A POOLE POTTERY BLUE GLAZED WALL PLAQUE 'AWARD FOR MERIT' FEATURING THE LOGO OF THE FESTIVAL DESIGNED BY ABRAM GAMES DATED 1951 The circular plaque with raised white glazed text and decorated with the emblem of the festival, reserved on a pale-blue ground 39cm diameterThe Festival of Britain was held in the United Kingdom in the summer of 1951. The distinctive logo for the festival which appeared on brochures and other ephemera and advertising was designed by Abram Games OBE (1914-1996). The notable graphic designer educated at St. Martin's School of Art. Only 19 buildings appear to have received this award for merit, the vendor's grandfather worked for Laing Construction during and just after the war and it is believed from here it entered the vendor's family's possession and was perhaps destined for a building Liang Construction designed?Some of the wall-mounted plaques can still be seen around the kingdom, those in London include: Junction of The Paragon and South Row, SE3; Somerford Estate N16; St John's Road, SE20; Newbury Park Bus Shelter; the Churchill Gardens Estate Pimlico; Heath Park Estate, Dagenham; Oak Hill Court, IG8.Further information on the plaques can be viewed at londonremembers.com. Condition Report: Some surface crazing but no serious damage or restoration Condition Report Disclaimer
A GROUP OF FOUR BELGIAN L'AN VERT ART GLASS VASESSECOND HALF 20TH CENTURYOf tall bottle form, three with clear signatures, comprising; a lime green and white cased glass vase, 97cm high, an amethyst vase, 104cm high, a green glass vase, 100cm high, and a clear glass example with crazed basal section, 116cm highCondition Report: The amethyst example has a bruise in the rim (see image available from Dept.)Condition Report Disclaimer
λ A PAIR OF OAK AND STONE TABLE LAMPSOF RECENT MANUFACTUREEach of square section and in the manner of dry stone wallingEach 29cm high excluding fitmentsCondition Report: Marks, knocks, scratches, abrasions consistent with age and useSome small chips and losses to the stone bodiesPlease note these are sold as decorative works of art and furnishing items only and not as working electrical lamps - these would need to be rewired and tested by a professional electrician prior to use in a domestic setting. Condition Report Disclaimer
A MINTONS JAPONISME VASEDATED 1873Of square section baluster form, decorated with gilt bamboo, iris, and insectsImpressed marks including date cypher for 1873 and shape number 171727cm highCf. a vase of identical gilt decoration albeit on a white ground is held in the collection of The Metropolitan Museum of Art, Accession Number: 2018.62.32A very similar example was offered at Bonhams, Knightsbridge, 19 Apr 2013, Decorative arts from 1860, lot 202.Condition Report: Cracked through base. Slight domestic paint spatters.Condition Report Disclaimer
Four: Artificer Engineer A. J. Daniels, H.M.S. Warrior, Royal Navy, who survived the sinking of Warrior at the Battle of Jutland, 1 June 1916 1914-15 Star (Art. Eng. A. J. Daniells. R.N.); British War and Victory Medals (Art. Eng. A. J. Daniells. R.N.); Royal Navy L.S. & G.C., G.V.R., 1st issue (269428 A. J. Daniells, C.E.R.A. 2Cl, H.M.S. Antrim:) good very fine (4) £140-£180 --- The armoured cruiser H.M.S. Warrior was launched on 22 February 1909 and was part of the 1st Cruiser Squadron at the Battle of Jutland, where she was heavily damaged by German shells - having been taken in tow, she foundered on 1 June 1916. A. J. Daniells was appointed Artificer Engineer in H.M.S. Black Prince on 2 January 1914, and transferred to H.M.S. Warrior on 27 October 1914. He served in Warrior during the Great War, and was present at the Battle of Jutland, 31 May 1916. At Jutland the armoured cruisers H.M.S. Defence and Warrior, part of the 1st Cruiser Squadron, were closing with the disabled German light cruiser Wiesbaden, when they came under concentrated fire from the battlecruiser Derfflinger and four battleships at less than 8,000 yards. Defence blew up and Warrior was heavily damaged and was only saved from from further punishment when the German ships switched their fire to the more tempting target in the form of the battleship Warspite whose steering had become jammed. Badly damaged, Warrior was able to make her way out of the battle zone and was eventually taken in tow by the seaplane carrier Engadine who took off her surviving crew. However, the ship could not be saved and she was abandoned the next day and subsequently foundered, with the loss of 70 lives. Daniells was one of the survivors- he subsequently served as an Artificer Engineer in H.M.S. Ossory, before being appointed Warrant Artificer in H.M.S. Midge in October 1919. Sold with copied research including a photograph of H.M.S. Warrior.
Imperial Yeomanry L.S. & G.C., E.VII.R. (150 Sjt: J. E. Nicholls. Denbighs: I.Y. Husrs.) toned, light contact marks, very fine £400-£500 --- Approximately 19 Imperial Yeomanry Long Service and Good Conduct Medals awarded to the Denbighshire Hussars. John Edward Nicholls was born in Everton, Liverpool, and attested for the Imperial Yeomanry at Wrexham on 12 January 1900, having previously served in the 1st Volunteer Battalion, Liverpool Regiment, a fine art dealer by profession. He served with the 29th (Denbighshire) Company, 9th Battalion, Imperial Yeomanry in South Africa during the Boer War from 9 February 1900 to 28 January 1901 (entitled to a Queen’s South Africa Medal with clasps for Cape Colony, Orange Free State, and South Africa 1901), and was awarded his Imperial Yeomanry Long Service Medal per Army Order 24 of February 1906. Sold with copied service papers.
An Edwardian silver chatelaine, the cast art nouveau openwork waist clip in the form of a putto, the five appendages comprising; chain mesh purse, thimble, button hook, pencil, scent bottle and heart shaped pin cushion, by Horton & Allday, Birmingham 1902, approx 28cm Condition Report:Available upon request
A silver tobacco box with engine turned art deco decoration, by Walker & Hall, Sheffield (date rubbed) c.1930's, and a silver cigarette case with engine turned decoration and initialled cartouche by William Neale Ltd, Birmingham 1927, weighable 123 gms (2) Condition Report:the tobacco box has a few dents to sides
A French white metal art nouveau style sewing set, comprising scissors, needle, seam cutter, and other tools, the handles decorated with stylised grape motifs, stamped 800 to collar, thimble is a later replacement, in a leatherette case, and a parcel gilt silver bridge box by Peter Nichols, London (2) Condition Report:Available upon request
A pair of Art Deco silver salt and pepper, Birmingham, Dennison Watch Case So, 1933/34, 59.43g gross; a silver two handled trophy with lid, Birmingham, with engraved inscription "Eugene Sports Association, Awarded for Most Meritous Performance June 1932 G A Elliot", 82.24g gross; and another silver trophy on base, Birmingham, with engraved inscription "S H G C Won by G A Elliott 1936", 107.79g gross including base
C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED graphite and watercolour, depicting a lake landscape, signed and dated in pencil verso C. F. A. VOYSEY/ ARCHT./ APRIL 29/ 1901, and inscribed WORKED, bears printed Tomkinsons Carpets Ltd. stamp, no. V000032(50.5cm x 68.5cm)Footnote: Exhibited: The Fine Art Society, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013 Literature: Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer V&A 2016, pp.84-85 where a similar design is illustrated.
C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED graphite and watercolour, depicting a Crown, on gridded paper, inscribed with colour scale, signed, dated and inscribed C.F.A. VOYSEY ARCHT./ 6 CARLTON HILL/ NW/ JULY 1898, 2nd,- inscribed verso 7/ 561, bears printed Tomkinsons Carpets Ltd. stamp, no. V000041(55.5cm x 60cm)Footnote: Exhibited: The Fine Art Society, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013 Note: Voysey used the Crown motif extensively in his designs. For further examples see Livingstone K., Donnelly M., and Parry L C.F.A. Voysey, Arts & Crafts Designer V&A 2016, pp.93-97
C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED graphite and watercolour, depicting palm leaves, on gridded paper, inscribed with colour scale, signed with initials and inscribed CFAV/ THIS PATTERN MUST BE KEPT VERY FLAT, signed and inscribed verso C.F.A. VOYSEY ARCHT./ 6 CARLTON HILL N.W./ JULY 1898 and for 4/1600, bears printed Tomkinsons Carpets Ltd. stamp, no. V000068(71cm x 50.5cm)Footnote: Exhibited: The Fine Art Society, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013
BENJAMIN CRESWICK (1853-1946) FOR DELLA ROBBIA POTTERY, BIRKENHEAD ARTS & CRAFTS RELIEF WALL PLAQUE, glazed polychromed terracotta, oak frame(panel 55.5cm x 36cm)Footnote: Literature: Hyland, P., The Della Robbia Pottery Birkenhead 1894-1906, ACC, 2014, p.159 Note: Benjamin Creswick was a sculptor and teacher based in Birmingham. He was a founder member of the Century Guild along with A.H. Mackmurdo and William de Morgan. He lived in Liverpool briefly in the 1880s. He will have been known to Philip Rathbone, and he carved figures for Wallasey Memorial Unitarian Church, designed by Harold Rathbone’s partner Edmund. The full extent of Creswick’s work for Della Robbia is not known, however, the closing sale of the company included a ‘finely modelled panel – “Merry Drinkers” in low relief, By Mr Creswick, of Birmingham School of Art’, possibly this panel.
HAROLD STABLER (1872-1945) (DESIGNER) RICHARD LLEWELLYN BENSON RATHBONE (1864-1939) (MAKER) RARE patinated copper, glass(103cm wide, 88cm high approx.)Footnote: Note: Harold Stabler initially trained in woodwork and stone-carving before being appointed Head of Metalwork at the Keswick School of Industrial Arts in 1898. After a short time there and later at Liverpool University, he moved to London in 1907 where he was Head of the John Cass Institute’s Art School until 1937. Stabler worked with a number of materials, including enamels, metalwork, glass and ceramics, producing designs for mass-production which had a notable influence on the development of modern English design of the 1920s and 30s. He exhibited extensively at The Art Worker’s Guild and in 1936 he was one of the first to be appointed a Designer for Industry by the Royal Society of Arts. A relative of W. A. S. Benson, Richard Llewellyn Benson Rathbone was also the cousin of Harold Rathbone, Head of the Della Robbia Pottery in Birkenhead. He initially trained in metalwork with Benson, before setting up his own workshop in 1908. In keeping with the Arts & Crafts aesthetic, Rathbone’s work proved popular and he is known to have produced metalwork designs for Mackmurdo, Heywood Summner and C.F.A. Voysey. Rathbone also taught metalwork classes at Liverpool University, where he was later joined by Harold Stabler in 1903. By 1905 he moved to London to take a position as Head of the Art School at the John Cass Institute.
ALFRED WATERHOUSE (1830-1905) (ATTRIBUTED DESIGNER), HENRY CAPEL, LONDON (ATTRIBUTED MAKER) walnut, with gilt embellishment, polychrome painted panels inscribed SUMMER and AUTUMN, and incised decoration(77cm wide, 212cm high, 45.5cm deep)Footnote: Note: The Art Furniture maker Henry Capel worked particularly closely with the architect Alfred Waterhouse (see illustration of period advertisement of 'Henry Capel's Art Furniture').
MINNIE DIBDIN SPOONER (1867-1949) ARTS & CRAFTS CRUCIFIX, CIRCA 1910 painted and gilded wood, inscribed GREATER LOVE HATH NO MAN THAN THIS(57cm x 42cm)Provenance: Purchased directly from the artist circa 1923-4 for either 45 guineas or 49 guineas and thence by direct descent. A hand-written letter provides further information about the purchase of the crucifix and that it was exhibited at an earlier unspecified ‘Art Workers’ Exhibition.Footnote: Note: Minnie Dibdin Davison Spooner, painter, miniaturist and designer, is perhaps best known for her book illustrations - in particular for The Golden Staircase: Poems and Verses for Children selected by Louey Chisholm, 1906. In July 1900 she married Charles Sydney Spooner, architect, teacher and art metalwork designer. They worked together on many projects as co-designers, including St Christopher’s Church, Haslemere, Surrey (1902-4) where Minnie painted the large-scale reredos. Their close friends included C F A Voysey, and Spooner had professional connections with Henry Wilson and Fred Rowntree amongst others. He exhibited regularly with the Arts and Crafts Exhibition Society and the Art Workers Guild.
BARRY PARKER (1867-1947) AND SIR RAYMOND UNWIN (1863-1940) ARTS & CRAFTS BOOKCASE, CIRCA 1904 pine, stained and leaded glass, glass, pewter(228.5cm wide, 202cm high, 38cm deep)Provenance: The Mount, MotherwellFootnote: Note: The Mount was commissioned from Barry Parker & Raymond Unwin by Dr Robert Jack and completed in 1904. Parker and Unwin went into partnership as architects in 1896. They collaborated on architectural writing including The Art of Building a Home (1901), applying the Arts and Crafts Movement to working-class housing and went on to design a model village for Joseph and Benjamin Rowntree in 1902. From 1903 they were responsible for the creation of Letchworth Garden City, and Hampstead Garden Suburb (with Sir Edwin Lutyens). Another notable commission was Goodfellow House, later named Chetwynd House, home of the pottery manufacturer Colley Shorter, whose second wife was the ceramics designer Clarice Cliff. A wardrobe designed by Parker & Unwin for the house was sold in these rooms, 24th April 2004, lot 312.
SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU DRAWING ROOM CABINET, CIRCA 1910 marquetry-inlaid mahogany, set with mother-of-pearl, glass and mirrored plate, stamped R1787/109, bears remains of applied paper label verso(139.5cm wide, 177.5cm high, 39cm deep)Footnote: Literature: Bennett, Daryl Shapland & Petter Ltd. of Barnstaple: Arts & Crafts Furniture, 2005, p.33, pl.3.18, where a cabinet of similar design in illustrated.
DANIEL COTTIER (1837-1891) FOR COTTIER & CO. GRECIAN REVIVAL SIDE CABINET, CIRCA 1870-75 ebonised wood with parcel-gilt and polychrome painted decorations, bears black printed depository label verso GREEN & EDWARDS LTD.,/Depositories, Sailsbury Road, N.W./...(188cm wide, 243cm high, 51cm deep)Provenance: The Peter Rose and Albert Gallichan CollectionFootnote: Literature: en-Doesschate Chu P., Max Donnelly M., Montana, A., Veldink S. Daniel Cottier: Designer, Decorator, Dealer, Paul Mellon Centre 2021, p.64, pl.51 near identical example illustrated. Cooper, J. Victorian and Edwardian Furniture & Interiors, London, 1987, p.291, pl.291 Coleman B., The Best of British Arts & Crafts, Atglen, PA, 2004, p.12 Note: The firm of Cottier & Co. was founded by the artist, designer, decorator and art dealer Daniel Cottier (1838-1891). Cottier had trained as a coach painter in Glasgow but by the 1860s was working as a glass designer in London where he heard lectures given by the critic John Ruskin and received drawing lessons from the artist Ford Madox Brown. Returning to Scotland he eventually opened his own business in 1864, which would grow to become a highly successful international organisation with branches in London, New York, Sydney and Melbourne. Cottier was interested in glass, furniture, ceramic manufacture, and interior design. In the United States he is seen as a 'harbinger of aestheticism….and a profound influence on American decoration'. A key exponent of the aesthetic movement, Cottier developed a very original and highly distinctive style, employing to great effect delicately painted surface decoration often on gold or ebonised ground providing bold contrast. His designs frequently drew on the prevailing Japanese aesthetic associated with the aesthetic movement but also, as in the current lot, on other ancient sources.
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