Sale Catalogue (Furniture)
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Furniture & Woart 2019 Text.Indd
ESTABLISHED 1884 ‘Loewer’ and Pierre-Adrien Dalpayrat (1844–1910), Bear, circa 1900 Private collection Furniture and Works of Art PO Box 6374, London, W1A 3UR e-mail: [email protected] Telephone: 020 7493 0444 Facsimile: 020 7495 0766 www.blairman.co.uk By appointment Mayfair, London Eric Sharpe (1888–1966), Zodiac Bookcase, circa 1930 Made for Sir George Trevelyan (1906–96) Private collection All objects are offered for sale, subject to their remaining unsold Dimensions are in centimetres, height × width × depth Exhibiting: Masterpiece, London 27 June–3 July 2019 (private preview 26 June) Pavilion of Art and Design (PAD), London 30 September–6 October 2019 (private previews 28–29 September) Winter Show, New York 24 January–2 February 2020 (private preview 23 January) TEFAF, Maastricht 14–22 March 2020 (private previews 12–13 March) © H. Blairman & Sons Ltd, 2019 ISBN 978-0-9954573-1-7 It is with pleasure that we offer the twenty-fourth edition of Furniture and Works of Art. The present catalogue ranges between two Anglo-Indian day beds dating from about 1710 (no. 1) to the last piece of furniture made by Peter Waals (no. 22). Other highlights include a rediscovered cabinet made for William Beckford’s residence in Lansdown Crescent, Bath (no. 2); a pair of rainwater hoppers from the Palace of Westminster (no. 4), and a remarkable Russian desk designed by Ippolit Monighetti (no. 9). Each year, objects pass through our hands that, had they still been available, would have featured in Furniture and Works of Art. One such is the carved oak Zodiac Bookcase (opposite), and another is the remarkable enamel Florencia by Charles Lepec (below). -
Early History of Christ Church Chalford
Early History of Christ Church Chalford The chapel at Chalford was originally built in 1724-5; the nave with its Romanesque pillars dates from this time and there was also a gallery along the north aisle. In 1840, an appeal went out for subscribers to fund an enlarged church and also open a graveyard, so that the new 'ecclesiastical district' of Chalford could be formed, separate from the parish of Bisley, of which it had hitherto formed part. In 1841, the church was extended to the east, in accordance with plans drawn up by Foster of Bristol, the existing walls being lengthened and the new rectangular sanctuary constructed. The south porches were added in 1857, and the gallery dismantled in about 1890. The chief glory of this parish church lies in its Arts and Crafts Movement furnishings. These represent a late flowering of the style which took inspiration from the ideas of William Morris and which had been nurtured and developed in the Sapperton workshops of Ernest Gimson and Ernest and Sidney Barnsley. The organ gallery was built by Peter Waals' workshop and erected in 1927. Peter Waals had moved to Halliday's Mill, Chalford in 1919 after the early death of Gimson, whose foreman he had been since 1902. Most of Gimson's skilled craftsmen moved with Waals to the new workshop, where they continued to work to the very high standards of craftsmanship demanded by Waals. 1n 1932, the chancel screen, designed by Norman Jewson (the 'Arts and Crafts' architect and designer) and made in Peter Waals' workshops, was erected. -
Decorative Arts & Contemporary Ceramics
& Contemporary Ceramics Contemporary & London I 19 June 2019 Montpelier Street, Decorative Arts Decorative Decorative Arts & Contemporary Ceramics I Montpelier Street, London I 19 June 2019 25322 Decorative Arts and Contemporary Ceramics Montpelier Street, London | Wednesday 19 June 2019 at 1pm BONHAMS ENQUIRIES IMPORTANT INFORMATION DAMAGE AND RESTORATION Montpelier Street Mark Oliver The United States Government For your guidance, in this Knightsbridge, Tel:+44 (0) 20 7393 3856 has banned the import of ivory catalogue our senior specialists London SW7 1HH [email protected] into the USA. Lots containing have, as far as possible, recorded www.bonhams.com ivory are indicated by the symbol all significant defects, cracks and Duane Kahlhamer Ф printed beside the lot number in restoration. Such descriptions of damage cannot be definitive, and VIEWING +44 (0) 20 7393 3844 this catalogue. [email protected] in providing condition reports, Sunday 16 June, we cannot guarantee that there 11am to 3pm REGISTRATION Emily Mayson are no other defects present Monday 17 June, IMPORTANT NOTICE +44 (0) 20 7393 3997 which have not been mentioned. 9am to 4.30pm Please note that all customers, [email protected] Prospective buyers should satisfy Tuesday 18 June, irrespective of any previous themselves by inspection, as to 9am to 4.30pm activity with Bonhams, are the condition of each lot. Please SALE NUMBER: Wednesday 19 June, required to complete the Bidder see the conditions of sale printed 9am to 11.30am 25322 Registration Form in -
The Architect and Key Craftsmen for St Edward’S Church, Kempley
The Architect and Key Craftsmen for St Edward’s Church, Kempley Arthur Randall Wells (1877 – 1942) Randall Wells, the son of an architect, was born in Hastings. In 1901 – 02, he worked with William Lethaby as his resident architect for All Saint’s church at Brockhampton‐ by‐Ross, where Lethaby's experimentation with the direct employment of labour under a site architect, and few drawings, gave Wells freedom to evolve the design as the building rose and to engage in the physical activity of building. In parallel to collaborative projects with other architects, Wells developed an independent practice. He built the Church of St Edward the Confessor, Kempley as a chapel‐of ease (1903‐4), for the 7th Earl Beauchamp. It has similarities to All Saints, Brockhampton and to St Andrew's, Roker, which it pre‐dates. St Edward's, described by Betjeman as "a mini‐cathedral of the Arts and Crafts movement", was built under his direction from local materials by local labour. He subsequently worked on many other projects including building modifications at Madresfield Court. Ernest Gimson (1864 – 1919) Gimson was born in Leicester in 1864, the son of an engineer. He studied at the Leicester School of Art and at 21 years had gained some experience working in an architect’s offices. He was inspired by William Morris who recommended him to John Dando Sedding for whom he worked for 2 years. He developed an interest in craft techniques, especially using natural textures and surfaces, naturalistic detail of flowers, leaves and animals, always drawn from life; he believed in a close involvement of the architect in the simple processes of building and in the supervision of a team of craftsmen.