x 15cm, framed

101

Lot 101 A Kayser patinated spelter desk stand in the form of a racing car, by Wilhelm Zwick (1839-1916), cast as a Mercedes Benz racing car, with an inkwell to the bonnet, and a stamp holder to the boot, signed to the side ‘W Zwick’ with cast mark and ‘28’ to the underside, 40.5cm wide 22cm deep 15.5cm high £1,000 - 1,500

Lot 102 Two WMF silvered figural candlesticks, each modelled and cast as an Art Nouveau maiden holding a vase, the sconce with a circular brass drip pan, stamped ‘WMF EP as I/O’, 28cm high (2) £300 - 500

Lot 103 Théodore Rivière (French, 1857-1912) a cold-painted bronze figure of a nude, covering her face, inscribed ‘Theodore Riviere Susse Frs Edt Paris’, raised on an octagonal, tapering, veined marble plinth, 17.5cm high £300 - 500

Lot 104 A WMF silvered pewter figural candlestick, modelled as an Art Nouveau maiden with a single branch issuing from her back, with a single sconce, moulded ‘269’ and stamped marks, 27cm high £150 - 200 Lot 105 A silvered bronze figure, modelled as a nude clutching a bunch of grapes, unsigned, on a square plinth, 19.5cm high £150 - 200

104 105

103

Lot 106 An Art Nouveau figural bronze table lamp base, modelled as a lady in a long dress forming the base, her hands holding cups, no mounts or shades, indistinctly signed, 44cm high £300 - 500

106

Lot 107 A WMF Art Nouveau card tray, cast with a maiden, the handle formed with orchids, cast ‘290’ and stamped marks, 33.5cm wide £400 - 600

107

108

Lot 108 A WMF Art Nouveau dish, centred with a figure of a maiden, the dress forming the dished sides, stamped marks, 34.5cm wide 21.5cm high £350 - 450

Lot 109 A matched pair of WMF silvered four-branch figural candelabra, each modelled and cast as an Art Nouveau maiden holding a vase issuing sinuous stemmed flowers, the petals can be turned up or down on the sconces, stamped ‘WMFB I/O OX’, 50.5cm high (2) £1,000 - 1,500

109

Lot 110 An Art Nouveau patinated and gilt-bronze paper knife, cast with a scaled ground with flowers and leaves, signed ‘Bretin’, 31.7cm long £150 - 200

110

111

Lot 112 A Secessionist brass inkstand, centred with an hinged inkwell and embossed banding, with a dished plinth and a glass inkwell, loaded and stamped ‘E’, 26.5cm wide £100 - 150 Lot 111 An amusing Art Nouveau patinated bronze inkwell, modelled as a girl laughing and holding a basket as a dog leaps out, forming the cover, no liner, 9.5cm high £200 - 300

112

113

Lot 113 An Amalric Walter pâte-de-verre paperweight, by Henri Berge, modelled as a seated rabbit, one of its ears raised, signed ‘Berge’ and ‘A Walter Nancy’, 8cm wide 5.7cm deep 6.7cm high £300 - 500

Lot 114 Émile Gallé (1846-1904), a small cameo glass vase, with a squat body and taller neck on a low foot, cased in green with a pink ground, cut with flowers and leaves, cameo signature, 9.5cm high £250 - 350

114

Lot 115 An ebonised oak Secessionist table, the moulded top over an undertier, raised on a chamfered and turned column stand, with carved panels, on a stepped plinth and squat ball supports, 59.5cm square 58.5cm high £400 - 600

Lot 116 A Clément Massier pottery twin-handled lustre vase, dated 1887, with ‘batwing’ handles, painted with cornflowers on a mustard ground, with monogram and dated ‘1887’ and numbered ‘?310’, 23.5cm high £250 - 350

116

Lot 117 A near pair of Rozenburg Den Haag twin-handled porcelain vases, one dated 1911-12, the other 1914, each of twin-handled form, with painted decoration of peacocks and flowers, both decorated by Samuel Schellink, with painted and stamped factory marks to the underneath, signed with decorator monogram for Samuel Schellink, one with a crescent moon date stamp, used during 1914, 8cm square 19.5cm high (2) £1,500 - 2,500

117

Lot 118 A walnut side chair, by Carlo Bugatti (1856-1940), the swept back forming the supports, the front supports with four turned and copper-mounted columns to each leg, the back and the seat with tan leather pads, mounted with embossed copper studs, labelled ‘Liberty & Co.’, 32cm wide 45cm deep 105cm high, seat 40cm high £300 - 500

Lot 119 Koloman Moser (1868-1918), a highback chair, c.1902, produced by Prag-Rudniker Korbwarenfabrik, Austria, elm, with woven wicker back sections and seat, 43cm wide 42cm deep 125cm high, seat 45cm high £2,000 - 3,000 The design of this chair is a prime example of the artistic achievements of the Vienna Secession movement. Designed in 1902 by one of its leading founding members, the painter Koloman Moser, it stands for the Secession’s quest to create - and its postulation of - a modern, Austrian style fitting to the needs of a self-conscious bourgeoisie. Central to achieving this goal for modern needs, was doing away with the reuse of all historic styles, as well as reforming the negative impact of ersatz materials and techniques on industrial production. All of these were seen as dishonest and therefore responsible for a general decline in taste. In the course of their teachings at the Vienna School of Applied Arts, Moser and Josef Hoffmann busied their students, among other things, in providing modern designs for the wickerwork factory of Prag-Rudniker. In 1903, Das Interieur published a whole series of those designs, among them Moser’s chair and the accompanying armchair model. By 1904, their products were internationally renowned and ‘The Studio’ devoted a whole article to modern Austrian wicker furniture. In accordance with the Secessionists’ belief that the development of a modern style is not the result of a complete break with the past, but instead a necessary need to reconnect with a sense of quality that had gone missing during the industrial revolution, Moser’s design is basically a modern reinterpretation of a traditional 18th century ladder-back chair. He eliminates any decorative detailing (such as, for example, turned elements) in favour of simple geometric forms. Thus the cross sections of the stiles are square, and those of the cross stretchers on the back of the chair, are round. The lone decorative element is introduced via the chequerboard-like grid of the webbing on the seat and the back of the chair. While the horizontal webbing on the seat produces a solid surface, the chequerboard pattern of the back is achieved through a staggering of solid and empty rectangles. This allows for a transparency necessary to balance the extreme height of the back of the chair with its seat. By playing off extremes against each other, the painter, Moser, makes a departure from the security of established norms to embrace the realm of individual creativity. In its simplicity, therefore, this chair speaks with a strong voice. Very few examples of this model survive. What makes it even more rare is the dignity of its original condition. Our thanks to Christian Witt-Dörring for helping us with the catalogue entry for this lot. Literature: Das Interieur (4), 1903, pp. 201 and 204; Das Interieur (5), 1904, p.26; A S Levetus, ‘Modern Austrian Wicker Furniture’. In: The Studio, vol. 3, no. 130 (January 1904), pp. 323-328; ‘The Studio Yearbook of Decorative Art’ (1907), p. 212; ‘The Art Revival in Austria (The Studio Special Issue)’ ed. by Charles Holme, London, 1906, p. DV; Christian Witt-Dörring, ‘Chair’, in ‘New Worlds: German and Austrian Art 1890-1940’, Neue Galerie, New York, 2001, pp. 449 and 467; Christian Witt-Dörring, ‘Koloman Moser. Designing Modern Vienna 1897-1907’, Munich-London-New York, 2013, p. 118; ‘Deutsche Kunst und Dekoration, yr. VIII’, Darmstadt 1904, pp. 117 fol.; ‘Deutsche Kunst und Dekoration, yr. XII’, Darmstadt 1908, p. 37; Eva B Ottillinger, ‘Korbmöbel’, Salzburg and Vienna, 1990, pp. 107 and 110 fol.

120

Lot 120 A Howard & Sons oak octagonal centre table, c.1880, in a ‘reformed Gothic’ style, with an octagonal parquetry top on, ring-turned supports with beaded collars, and a square undertier on a chamfered cross-shaped stand, 81cm diameter 74cm high £800 - 1,200 Literature: ‘English Furniture 1800-1851’, p.143, where it is incorrectly dated to 1850. Howard & Sons, one of the most famous and fashionable of British furniture makers, was founded in 1820 at 24 Lemon Street, London, by John Howard. In 1848, the company moved to 22 Berners Street, expanded in 1853 into 26 Berners Street. The Crystal Palace Exhibition of 1862 saw their first awarded prize for an exhibited suite of library furniture. In 1865, George Howard patented a method for the wood veneering of walls and, in 1867, a patent for the improved production of parquet flooring. The firm exhibited and won medals at the 1878 Paris Exhibition, the 1894 Antwerp Exhibition, the Paris Exhibition of 1900 and were awarded the first of their royal warrants in 1901.

Lot 121 An oak Thebes stool, after the original design by Leonard Wyburd, raised on bobbin-turned supports joined by square stretchers, with a woven string seat, 38cm square 39cm high £200 - 300

Lot 122 A Howard & Sons oak octagonal centre table, c.1880, in a ‘reformed Gothic’ style, having an octagonal parquetry top, on ring-turned supports with beaded collars and a chamfered cross-shaped stand, stamped ‘Howard and Sons, Berners St’ to the underside of the top, 123cm diameter 72cm high £1,000 - 1,500 Literature: ‘English Furniture 1800-1851’, p.143, where it is incorrectly dated to 1850. Howard & Sons, one of the most famous and fashionable of British furniture makers, was founded in 1820 at 24 Lemon Street, London, by John Howard. In 1848, the company moved to 22 Berners Street, expanded in 1853 into 26 Berners Street. The Crystal Palace Exhibition of 1862 saw their first awarded prize for an exhibited suite of library furniture. In 1865, George Howard patented a method for the wood veneering of walls and, in 1867, a patent for the improved production of parquet flooring. The firm exhibited and won medals at the 1878 Paris Exhibition, the 1894 Antwerp Exhibition, the Paris Exhibition of 1900 and were awarded the first of their royal warrants in 1901.

122 121

Lot 123 An oak table, in the manner of A W N Pugin, with a moulded top, chamfered supports, united with a stretcher, branded with a ‘VR’ cypher to one support, on brass castors, 102cm wide 82.5cm deep 71.5cm high £400 - 600

Lot 124 An Arts and Crafts fireplace by Thomas Elsley, the raised fireback with cast fleur-de-lys decoration, with a fire basket and scrolled integral supports, cast ‘T Elsley’ to the reverse, 95cm wide 40cm deep 95cm high £250 - 350 123 124

Lot 125 A Gillows ebonised burrwood and gilt side cabinet, in the manner of Bruce Talbot, with a pierced gallery with a shelf over a mirror, the top with an inlaid border, over a cupboard with painted panels of blossom and insects, a drawer below, stamped ‘Gillow’, with a pot-board, 66cm wide 40.5cm deep 126cm high £800 - 1,200

126

Lot 126 An Aesthetic Movement oak mantel clock, with an enamelled dial with Arabic numerals, striking on a bell on the half-hour, 20.5cm wide 13.5cm deep 32cm high £150 - 250

Lot 127 An Aesthetic Movement walnut dumb waiter, with two tiers, raised on three flared bobbin turned legs, the supports joined by an undertier, 55cm diameter 87cm high £200 - 300 125

Lot 128 An ebonised child’s high chair, designed by Ford Maddox Brown for Liberty & Co., with a rush seat, with a bar, 40cm wide 42cm deep 94cm high, seat 53cm high £200 - 400

Lot 129 An Aesthetic amboyna and ebonised window table, the inlaid top with a moulded edge, raised on turned supports, a galleried undertier and raised on castors, 61cm diameter 65cm high £150 - 250

Lot 130 A pair of Aesthetic wall brackets, each with a spindle gallery and finials, centred with a painted panel of flowers, 39cm wide 18.5cm deep 39cm high, together with a walnut and embossed shelf, 86cm wide (3) £200 - 300 128

129

130 130

Lot 131 An oak occasional table, in the manner of E W Godwin, with an undertier, raised on slanted, tapering, bobbin-turned supports, 52cm square 65cm high £200 - 400

Lot 132 An Eastlake oak side table, raised on tapering turned supports, terminating in block ends joined by reeded stretchers, 66cm square 66cm high £100 - 200 132

The Arundel Society was founded in London in 1849 and named after the 17th century art collector, Thomas Howard, the Earl of Arundel. The society’s purpose was to promote knowledge of the artworks of Italian, Flemish, and other European masters. Much of the work of the Society consisted of publishing chromolithographs of Italian and Northern European artworks, especially frescoes, and raising public awareness for the preservation of these works, which at that time were in danger of decay and damage. The Society was discontinued in 1897.

Lot 133 A collection of three Arundel Society chromolithographs, each with Renaissance paintings, largest 83 x 59.5cm, all framed (3) £150 - 200

133 part lot

134 part lot

Lot 134 A collection of four Arundel Society chromolithographs, and a hymnal, loose in frame, largest 78 x 63cm (5) £100 - 150

Lot 135 A collection of six Arundel Society chromolithographs, each with Renaissance paintings, a pair of St Peter Baptising and Preaching with cut mounts, Crucifixion by Fra Angelico, and three others largest 86 x 57cm (6) £100 - 150

Lot 136 An Arts and Crafts oak sideboard, c.1890, attributed to Morris and Co., with a shelf over two embossed panels and mirrors, the lower section with two drawers with lion mask handles, a cupboard to the side, with carved supports and united with a pot board, with a mirrored back, embossed panels and brass lion handles, 187.3cm wide 47cm deep 206cm high £1,000 - 1,500

136

Lot 137 A pair of Arts and Crafts walnut side chairs, designed by E W Godwin, each backrest with a triangular lattice pattern, raised on square legs with reeded fronts, with reeded stretchers, the seat upholstered in floral fabric, 45cm wide 58cm deep 74cm high, seat 38.5cm high (2) £1,000 - 1,500

137

Lot 138 A Morris & Co. inlaid and ebonised mahogany cabinet on stand, c.1900, designed by George Jack, with chequer inlaid banding and parquetry sides and back, the shaped top opening to reveal a baize-lined surface, over a central fall front writing surface, the interior fitted with pigeonholes, two drawers and a hinged compartment, flanked with cupboards, each enclosing two adjustable shelves and a drawer, the sides of bowed form, raised on a cushion frieze over an arched apron, with fret-cut stretchers, 141.5cm wide 68cm deep 132cm high £3,000 - 5,000 For a similar cabinet designed by George Jack, see the Victoria and Albert Museum CIRc.40:1 to 10-1953.

138 open

Lot 139 A Parker Knoll Morris-style oak recliner, with an adjustable backrest, with bevelled armrests, raised on turned supports terminating on to block feet, with slatted sides and upholstered seat and back cushions, with maker’s plaque to the front stretcher, 67cm wide 89cm deep 79cm high, seat 40cm high £200 - 300 138

139

140

143

Lot 144 A set of six ‘X’ framed oak chairs, 1930s, in a Tudor Revival style, each with a slung leather seat and back, with copper studded detailing, each support with a carved plaque with monogram ‘CF’, the supports with chamfered stretchers with exposed dovetail joints, 52cm wide 35cm deep 75cm high, seat 44cm high, with two matching carvers, 56cm wide 44cm deep 75cm high, seat 44cm high (8) £300 - 500 Lot 140 An Arts and Crafts copper and brass table lamp, designed by W A S Benson, with an adjustable mount, fitted with an opaline brocade-style shade, in the manner of John Walsh Walsh, with graduated straw to ruby opalescence, the tripod stand stamped ‘Benson’, 36cm high £200 - 300

141

Lot 141 An Art Nouveau copper mirror, of rectangular form, surmounted with a bevelled cornice, the embossed surface with stylised embossed decoration of foliage and trees, with a bevelled mirror plate, 110cm wide 60cm high £200 - 300

Lot 142 An Arts and Crafts oak settle, with an inlaid shield and brass heart motif, with a hinged box seat, 93cm wide 50cm deep 116cm high £250 - 450

Lot 143 An Arts and Crafts oak student’s bureau, the folding front with brass fittings, each with a red enamelled cabochon, opening to reveal a shelf-lined interior, over two shelves, the left-hand side with a towering cupboard with a panelled door and brass handle, over a single shelf with a semicircular apron, 84cm wide 28cm deep 125cm high £200 - 300 142