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A selection of occasional furniture and a vintage case

Arts & Crafts, Fine Arts and Collecting to include:- Jeffery, Michael  "Christies Arts & Crafts Style", 2001, Pavilion Books Ltd, dust wrapper Carruthers, Annette & Greensted, Mary "Good Citizens Furniture, the Arts and Crafts Collection of Cheltenham" (paperback) "Simplicity or Splendour, Objects from Cheltenham Collections"  Crawford "C R Ashbee", Yale Press Martin, Steven (ed) "Archibald Knox" Livingstone & Parry "International Arts and Crafts", V&A publication and other books relating to the Arts & Crafts movement and assorted volumes on art to include equestrian artists, Toulouse Lautrec, etc (3 boxes) 

The "Lips Sofa" is a distinctive and iconic piece of furniture designed by Italian artist and designer Salvador Dalí in 1936. Officially known as the "Bocca Sofa," it is sometimes referred to simply as the "Lips Sofa" because of its striking resemblance to a pair of red, voluptuous lips. Here are some key details about the Lips Sofa:1. **Designer**: The Lips Sofa was designed by Salvador Dalí, one of the most famous and influential surrealist artists of the 20th century. Dalí is renowned for his imaginative and eccentric works of art, and the Lips Sofa is a testament to his unique artistic vision.2. **Inspiration**: Dalí was known for drawing inspiration from everyday objects and imbuing them with surreal and dreamlike qualities. The Lips Sofa was inspired by the sensual and provocative imagery often found in his paintings and drawings.3. **Design Concept**: The design of the Lips Sofa is whimsical and playful. It features a bright red, lip-shaped seat and backrest, with the two sides of the seat curling upward to resemble a pair of lips in the act of kissing. The upholstery is typically made from fabric or leather.4. **Cultural Significance**: The Lips Sofa is considered an iconic piece of surrealist furniture and a symbol of the Surrealist art movement. It blurs the boundaries between art and design and challenges conventional notions of functional furniture.5. **Limited Production**: The original Lips Sofa was produced in limited quantities and is considered a collector's item. Authentic vintage examples are highly sought after and can command significant prices in the collector's market.6. **Contemporary Versions**: Due to the enduring popularity of the design, contemporary reproductions of the Lips Sofa are also available. These reproductions adhere to the original design while using modern materials and manufacturing techniques.7. **Versatility**: While the Lips Sofa is often considered a work of art, it can function as a functional seating piece in various settings, including living rooms, lounges, galleries, and art studios. Its bold and provocative design can serve as a focal point in interior spaces.The Lips Sofa is a testament to Salvador Dalí's ability to infuse everyday objects with surreal and artistic qualities. Its eye-catching and unconventional design continues to captivate art and design enthusiasts and serves as a reminder of the playful and imaginative spirit of the Surrealist movement.Measures 7 x 2.75 x 2.5.

The Ball Chair is a famous and distinctive piece of furniture designed by Finnish architect and designer Eero Aarnio. Here are some key details about the Ball Chair:1. **Designer**: The Ball Chair was designed by Eero Aarnio, a Finnish designer known for his innovative and iconic furniture designs. He created the Ball Chair in the early 1960s.2. **Design Concept**: The Ball Chair is a manifestation of the Pop art and Space Age design movements of the 1960s. It is characterized by its futuristic and playful design, resembling a round ball with an opening for seating.3. **Materials**: The chair is typically constructed using a fiberglass shell, which is molded into a spherical shape. The interior is often lined with foam and upholstered in fabric or leather for comfort. It is mounted on a swivel base, allowing for rotation.4. **Functionality**: The Ball Chair is both a functional piece of furniture and a work of art. Its round shape cocooning the user provides a sense of privacy and insulation from the surrounding environment. It was designed to create a private space within a room, while still allowing for interaction with the outside world through its open front.5. **Iconic Appearance**: The Ball Chair's distinctive design and appearance have made it an iconic piece of furniture. Its playful and futuristic look is instantly recognizable.6. **Versatility**: While it is often considered a lounge or reading chair, the Ball Chair's design allows it to fit into various settings, including living rooms, offices, and modern interior spaces.7. **Cultural Impact**: The Ball Chair has had a significant cultural impact and has appeared in numerous films, television shows, and advertisements. It became a symbol of the Space Age design aesthetic of the 1960s.8. **Collector's Item**: Vintage and authentic Ball Chairs are highly sought after by collectors and design enthusiasts. They are considered valuable and iconic examples of mid-century modern design.9. **Continued Production**: The Ball Chair is still in production today, with various manufacturers producing authorized reproductions. These reproductions ensure that the design remains accessible to new generations of design enthusiasts.Eero Aarnio's Ball Chair represents a bold and imaginative approach to furniture design. Its unique and futuristic appearance continues to captivate the imagination of those who appreciate innovative and iconic design.Measures 3.75 x 4.5 x 3.5.

Bauhaus refers to a renowned art school that operated in Germany between 1919 and 1933. It was founded by architect Walter Gropius in Weimar and later moved to Dessau and Berlin. The school's name, Bauhaus, translates to "building house" in English, reflecting its focus on the integration of art, craftsmanship, and technology in architectural and industrial design.The Bauhaus had a profound impact on modern art, design, and architecture. Its approach emphasized functionalism, simplicity, and the idea of merging art with everyday life. The school sought to break down the barriers between different artistic disciplines, combining fine arts, crafts, and technology.The curriculum at the Bauhaus was comprehensive and included courses in areas such as painting, sculpture, architecture, typography, graphic design, industrial design, and theater. Prominent artists and designers, including Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Marcel Breuer, taught at the school.The Bauhaus also had a significant influence on architectural design, promoting principles such as the use of clean lines, open floor plans, and the integration of technology and industrial materials. Many iconic pieces of furniture and household objects associated with the modernist movement were designed at the Bauhaus.Despite its relatively short existence, the Bauhaus had a lasting impact on design and aesthetics. Its ideas and principles spread internationally, influencing subsequent generations of artists, architects, and designers. The legacy of the Bauhaus can still be seen in contemporary design, particularly in the areas of modernist architecture and functionalist industrial design.Measures 23.6 x 31.4.

A collection of games, to include a dolls house and furniture

A rustic yew stool, on three splayed legs, stamped BITTESWELL HALL LAKE, LEICESTERSHIRE, 31cm wide, together with a clerk's desk and various 19th century and later occasional furniture (5)

A pair of Ely Farmhouse Furniture bar stools with painted bases - Height 76cm x 45cm x 22cm - in good condition

A collection of Soviet badges, glass drawer or cabinet knobs, M'dina and Langham glass paperweights and Dinky Toys street furniture **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

A collection of Sindy furniture, bath, toilet, shower and hairdryer, boxed

An American Arts and Crafts Stickley Brothers, Quaint Furniture range oak bookstand #4600

A Reproduction Knoll Furniture Bedroom Suite, comprising a pair of cherrywood and ebonised single beds and a pair of wardrobes, 88cm by 48cm by 188cm This lot has been imported from outside the United Kingdom under the Temporary Admission scheme. VAT will be charged at 20% on the hammer price and 20% on the buyer's premium.

A 19th Century Swedish Gilt and Gesso Bevelled Glass Marginal Mirror, with original mirror plate divided by moulded and ropetwist borders, the C scroll apron surmounted by cherubs, the decorative plume surmounted by a vase issuing flowers and garlands 163cm by 101cmProvenance: Harrods Knightsbridge, Antique and Fine Furniture DepartmentThis lot has been imported from outside the United Kingdom under the Temporary Admission scheme. VAT will be charged at 5% on the hammer price and 20% on the buyer's premium. The mirror is in very good cosmetic condition previously regilded (some age to regilding) various small areas of repair to a good standard small losses and some natural cracking throughout but in good decorative order.

Famille rose porcelain vase decorated with different coloured furniture from the 19th century - Weight: 5.10 kg - Shipping unavailable - Region: Chine - Sizes: H 580 MM D 230 MM - At first glance: normal wear / patina of use - Condition details: petit coup au col

(2) Pair of Chinese porcelain vases decorated with furniture on a white background and red on the sides - Weight: 3.50 kg - Shipping unavailable - Region: Chine - Sizes: H 360 MM L 140 MM - At first glance: good condition

METALWARE COLLECTABLES INCLUDING A BRONZE FACE DOOR KNOBCopper furniture mounts, photograph frames and sundry

A LARGE GROUP OF EARLY TO MID 20TH CENTURY DOOR FURNITURE, METAL, PLASTIC AND SUNDRY

THREE EARLY 20TH CENTURY FRAMED ADVERTISING POSTERS (3)Including Krum's Miniature Kandies, Glasser & Sons Men's Clothing and Kosches Furniture, each 58cm wide; 33cm high

A group lot of furniture, to include; a small black painted cabinet, a small green painted cabinet formed as a miniature dresser, a two tier wall shelf, a brass tray, and an abstract carved oak sculpture on a wall bracket (5)

A group of furniture to include a shoe stretcher and paintings.

ASSORTED GILT OCCASIONAL FURNITURE, to include small tripod table, caned window seat, caned small chair, and upholstered French style salon chair (4)Provenance: private collection South Wales.

20TH CENTURY TEAK E. GOMME G-PLAN FURNITURE, comprising rounded corner cupboard with three shelves, centre fixed shelf with back lighting plus two adjustable, two door base cupboard, centre drop flap bureau with document storage and two shelves above, two door cupboard below with half depth adjustable shelf, end glass display cabinet with central fixed shelf with up lighting, with further two adjustable glass shelves, above a three long drawers, 188h x 209w x 46cms dProvenance: consigned from West WalesComments: wiring not checked or tested

ASSORTED MID-CENTURY FURNITURE, comprising four G-Plan dining chairs with dralon upholstery, 87h x 49w x 49cms d, oak oval gate leg dining table, 75h x 108w x 155cms d (extended), and small coffee table, 48h x 68.5w x 56cms d (6)Provenance: consigned from West Wales

ASSORTED ANTIQUE FURNITURE including towel rail, suitcase stand, butlers tray and associated stand, cutlery tray, brass swing-arm standing lamp (5)Provenance: collection of the Late Dai Evans, former Director of Picton Castle and former curator of Petworth HouseComments: repairs to butlers tray, suitcase stand frame loose, minor split to side of cutlery tray

MID-CENTURY TEAK BEDROOM FURNITURE, comprising, chest of 6 drawers, 94h x 60w x 41cms d, together with bedside table, 61h x 52w x 38cms dProvenance: private collection Cardiff

ASSORTED BAMBOO FURNITURE, comprising media console table, 61h x 161w x 61cms d, two drawer chest, 61h x 61w x 61cms d, and a small storage chest, 36h x 60w x 40cms d (3)Provenance: consigned from West Wales.

ASSORTED ANTIQUE FURNITURE, including William IV style mahogany tripod table with later carved foliate baluster 74h x 50.5cms diameter, square two-tier stand, 82h x 36cms w, Chinese hardwood side table (one of a quartetto), 55h x 63w x 35cms d, and another tripod table, 72h x 43cms diameter (4)Provenance: collection of the Late Dai Evans, former Director of Picton Castle and former curator of Petworth HouseComments: veneer losses to mahogany tripod table base, tier table converted from washstand, tier damaged, Chinese table stained and split

Books: art reference, English furniture. (9)

Books: furniture art reference, to include volumes by Ralph Edwards; R W Symonds; Percy MacQuoid; and Francis Lenygon. (13)

Books: art reference, English and European furniture and mirrors. (26)

Miniature furniture: a mahogany and line inlaid standing corner cupboard, 31.5cm high.

Books: art reference, antique furniture, mostly Antique Collectors' Club. (16)

WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s.  The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory.  He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career.  Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'.  (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work. 

GEORGIAN OAK THREE TIER DRESSER/WHATNOT, 18TH CENTURY raised on turned supports109cm x 119cmDepth 33cm; appears to be original in its components, whether it once formed part of a larger piece of furniture we can't say, could have been cut down at some point but what is present appears to be original or at least period construction rather than having been 'made up' at a later date. Heavy general wear, historic work visible, somewhat loose in its frame, old cracks and splits, hole to top tier, additional images available

Two late 19th century Welsh vernacular slate furniture models Two late 19th century Welsh vernacular slate models of a miniature bureau and cabinet, all with brass handlesBoth are damaged with large chips and losses mainly to the corners. Brass handles have also been reglued and the bureau is missing two on the front. Please see all images.

English Furniture of the Eighteenth Century Cescinsky (Herbert) Cescinsky (Herbert). English Furniture of the Eighteenth Century. London: Waverley Book Co. In three volumes, half-morocco. Plus a duplicate copy of volume three.Qty: 4

A small group of white metal miniature furniture, comprising a pair of chairs, by Eustace George Parker, import mark London 1899, 4cm high; together with a continental white metal table and three further continental white metal chairs. (6)

Two boxes of doll's house furniture and accessories

A 1930s Triang doll's house with a quantity of furniture. 27" wide.

Five items of modernist design furniture.

A collection of doll's house furniture and accessories

A mirror The plain black frame with a carved gilt slip 198cm high 71cm wideThis mirror has been converted, probably from a piece of furniture, and has the remains of three hinges down the left hand side. The black paint has various knocks and scuffs. There is loss to the silvering of the mirror in places which we have tried to capture in additional photos.

George Smith's Collection of Designs for Household Furniture and Interior Decoration Hardback, together with three other hardback volumes on classical English style, interiors etc.

Louis XVI Furniture by De Ricci, Seymour Cloth bound, worn leather spine, The London Town Garden, 1700-1840 by Todd Longstaffe-Gowan, togetherwith ten other volumes on various subjects.

Architecture Furniture & Interiors of Maryland and Virginia, Newton W. Elwell, 1897 Large folio. Together with a leather bound accounts book: 'Castle Fraser Accounts 1894' (accounts pages removed) and Le Style Empire, Decorations, Exterieures et Interieures Mobilier, Bronzes, Tome 1st (loose pages) and Motifs Historiques Tome 1, (damage, multiple loose leaves)

Gardens Old & New, The Country House & Its Garden Environment Third edition, hardback, with Household Furniture & Interior Decoration executed from the designs by Thomas Hope together with Hone's Works ( Four Volumes ) The Every-Day Book and Table Book; or, Everlasting Calendar of Popular Amusements, Sports, Pastimes, Ceremonies, Manners, Customs, and Events , in Three Volumes. with The Year Book of Daily Recreation and Information; Etc.

John Soane Master of Space and Light, Royal Academy publication Softback, A Directory of Antique Furniture, by F Lewis Hinckley together with 9 hardback books.

English Furniture of the Eighteenth Century, Cescinsky, Herbert, Three volumes, c.1910, Houses of the Wren & Early Georgian Periods, Small & Woodbridge. Together with American Etchers, Vol II Alfred Hutty, New York: T. Spencer Hutson, 1929. Hardcover. 12 Black & White plates, and Buckingham Palace, its Furniture, Decoration & History by H. Clifford Smith

Decoration in England from 1640 to 1760 by Francis Lenygon With gilt embossed red cloth covered board covers, second edition 1927, published by B.T. Batsofrd Ltd 94 High Holborn, London,Furniture in England from 1660 to 1760, Lenygon, revised edition 1924, and English Decoration and Furniture of the Early Renaissance1500-1650, M Jourdain, first edition 1924.

Kitchen furniture A blue and white painted kitchen pine dresser 176cm wide, 216cm high 47cm deep

Kitchen furniture A blue painted plate rack 100.5cm wide

A History of English Furniture, Percy Macquoid Four volumes, Lawrence & Bullin Ltd, London 1904, New York, 1905, 1906 & 1908.

English Homes, Tipping (H. Avray) Period IV Vol I, and two others from the series: Period II Vol I, Period III, Vol II. Together with In English Homes Vol II by Charles Latham, Country Life 1907 and Cescinsky and Gribble, Early English Furniture and Woodwork, two volumes, 1922

Kitchen furniture A pine two-drawer side table supporting an open rack 111 wide, 198 highThese are nicely patinated. The rack doesn't match the table but they sit well together. They are perfectly robust

Great Palaces introduced by Sacheverell Sitwell Hardcover, together with 5 other similar volumes; Great Interiors, preface by Cecil Beaton, Great Houses, Great Gardens etc. Together with World Furniture, an Illustrated History by Helena Hayward, hardcover

A collection of furniture to include kitchen plate rack, occasional table, pine bedside cabinet and another plate rack 

A collection of furniture to include Arts and Crafts oak occasional table, two Edwardian Bijouterie tables, missing glass panels, and a bedside cabinet. 

A collection of furniture to include nests of tables, occasional tables etc

A collection of furniture to include kitchen table, chest, ladder cupboard, cabinet, trunk etc 

A collection of sundry furniture to include wine rack, trunk frame, standard lamp, pub table etc