Designers & Makers Sale page 2. All prices marked up on these sale pages are firm.
Designers & Makers 100
An Anglo-Japanese 6 inch by 12 inch blue printed tile, with gilding and a turquoise wash, of a Japanese woman playing a stringed instrument, probably by Royal Worcester, framed, 38cm long, 22.5cm wide overall
£SOLD.
Click on pictures for larger version


Designers & Makers 101
An Anglo-Japanese ebonised tray, inset with a Chinese silk embroidery and with cast brass bamboo handles, 50cm long, 13cm wide
£750.
Click on pictures for larger version


Designers & Makers 102
A pair of Burmantofts Aesthetic onion shape vases, incised with flowerheads, with a yellow glaze streaking over orange, 30cm high (restoration to the necks)
£175.
Click on pictures for larger version


Designers & Makers 103
Howard & Sons, a Queen Anne revival oak breakfront library bookcase, with Queen Anne revivalist dentil cornice above four astragal glazed doors, four panel doors and a shaped skirt base, stamped 'Howard & Sons Ltd, Bernier St. No. 3469 2128', 216cm high, 136cm wide, 42cm deep Howard & Sons exhibited at the Great Exhibition in 1851 and in exhibitions in America and at the Paris Exhibition in 1900 they won two gold medals and a silver. They had the royal warrant and were commissioned to produce twenty four pieces for the Royal Collection and supplied a number of royal residences with pieces for their private collections.
£4850.
Click on pictures for larger version


Designers & Makers 104
Howard & Sons, an Anglo-Japanese pitch pine hanging bookcase, possibly designed by Edward William Godwin, with paper label inside for 'Howard & Sons Ltd, Bernier StĘ. Although Godwin is not known to have designed for Howard's this piece is very pure design with thinned construction and has many design features relating to Godwin's hanging bookcases. For a fine Japanese cabinet by Howard & Sons see Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition'. PR49.
£4500.
Click on pictures for larger version


Designers & Makers 105
Edward William Godwin (1833-1886) for William Watt, an Anglo-Moorish walnut desk, with a later tooled red leather inset top, blind fret frieze with two drawers, each end with a drawer, the tapered supports with shaped brackets, brass feet, 76cm high, 101cm wide, 61cm deep See sale Gardiner Houlgate 'Antique Furniture Works of Art' Wednesday 14th July 1999, lot 775, for this desk. Lot 773 in the same sale and from the same property in Bath was an oak buffet and a walnut sideboard in the same Anglo-Moorish style both with William Watt, Grafton Street, London labels. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p.267 plate 8 from William Watt's 1877 Art Furniture catalogue under Anglo-Japanese Drawing Room Furniture One can see that the overall form is the same style and has the same large drawer details to each end and identical brass drop handles with curled ends and central disc detail. The legs with identical brass sabots to the feet to the one in the William Watt catalogue of 1877. The spacing of the storage shelves are also the same, although it does not have the same work area overhang it is undoubtedly a variation of the same theme.
£POA.
Click on pictures for larger version


Designers & Makers 106
Edward William Godwin (attributed) for William A. & S. Smee, an Anglo-Japanese walnut spindle back armchair, with a re-upholstered yellow leather seat, metal label, 87cm high. Godwin designed for W.A. & S. Smee, 89 Finsbury Pavement, London and his designs were exhibited by them at the Furniture Trades Exhibition in 1883. See Azlin, Elizabeth 'E.W. Godwin' London: John Murray, p. 22. The front legs and stretcher are almost identical to the next lot and the cloud shape detail to the top is comparable to the chairs in Soros, Susan Weber 'The Secular Furniture of E. W. Godwin', p. 112
£3000.
Click on pictures for larger version


Designers & Makers 107
Edward William Godwin (1833-1886) for William Watt, an Anglo-Japanese beech and caned armchair, 92cm high. An identical armchair with a William Watt label was purchased by Tony Geering and Martin Wolfson from the Auctioneers Warren & Wignall, Leyland approximately six years ago, now in a private collection.
£POA.
Click on pictures for larger version


Designers & Makers 108
Edward William Godwin (attributed), possibly for Liberty & Co., a mahogany oblong table, with splay ring-turned supports, 75cm high, 80cm wide, 55cm deep. Godwin worked in the dress department at Liberty's and there have been two tea/coffee tables identical to the William Watt ones which have appeared on the market with Liberty & Co. labels. It is thought that Godwin may have designed some pieces and certainly influenced furniture design at Liberty's in the late Victorian period. See Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition' PR 32 for a washstand with similar leg treatment.
£SOLD.
Click on pictures for larger version


Designers & Makers 109
Edward William Godwin (attributed) probably for Collinson & Lock, an Anglo-Japanese rosewood side table, the shaped moulded top with a moulded freize and fret brackets, the undertier with oval paterae carving within incised line borders and arched brackets to the splay feet united by a cross stretcher, 65cm high, 68cm diameter See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 152, illus. 216 for the paterae details; on a buffet design, p. 193, illus 313; on a hanging bookcase, p. 210, illus. 334; and on a small cabinet, p. 214, illus. 340
£POA.
Click on pictures for larger version


Designers & Makers 110
Edward William Godwin, an Anglo-Japanese walnut firescreen, with a 'Pagoda' style top and a silk Japanese country scene to the front, the reverse with a worn silk backing with a peacock within a circle, 109cm high, 92cm wide See Azlin, Elizabeth 'E. W. Godwin: Furniture & Interior Decoration' London 1986, p. 90, illus. 75 (second to last crest right hand bottom). The 'peacock within a circle' follows the designs, with spiky plumes to the head and wings displayed within the restraints of a circle, particularly the peacock designs he did for Jeffrey & Co., which were also in a circle. The kissing birds, amongst others, from a selection of drawings of Japanese crests designed by Godwin in about 1870 held at the Victoria & Albert Museum
£POA.
Click on pictures for larger version


Designers & Makers 111
Edward William Godwin (1833-1886), a rare set of Anglo-Japanese ebonised hanging book shelves, with an extending lower shelf and a two door hanging book cupboard beneath, brass hinges and escutcheon, 128cm high, 88.5cm wide, 19.5cm deep. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 178, p. 184, illus. 305 and p. 226 plate 6. This set by Godwin has the reeded moulded edge to the sides and front of the extended shelves identical to the one illustrated on p. 266, pl. 6 shown in William Watts catalogue of 1877. This differs from the one illustrated on p. 184 which has had its extended shelf restored. To the front of the top two sides as they start to angle back it has the unique details of a 'circle above an acute pyramid', which can be clearly seen on the hanging shelves in p. 266 plate 6 and on the hanging shelves on p. 184, illus. 305. The sides, doors and extended shelf on this example are made from mahogany yet the three upper shelves and the back are made of deal. Godwin's first pieces of furniture were made from deal which he later discarded for the preferences of mahogany due to its instability. In an article in 'Architect', he describes his early furniture to be made of deal and to be ebonised '.... but I found deal to be a mistake and had very soon to get rid of it and have a new lot made of mahogany'. This may suggest that this set of hanging shelves is more likely to be a prototype or experimental piece possibly in the transitional period of changing from deal to mahogany as Godwin was still trying to keep the costs down and he admits using deal as it is a less expensive but softer wood. Godwin particularly liked his hanging bookcases, claiming it was 'the best and cheapest thing I ever designed'.
£POA.
Click on pictures for larger version


Designers & Makers 112
Edward William Godwin (attributed) for Collinson & Lock, an Aesthetic Movement carved oak coal box, 47cm high, 31cm wide, 50cm deep. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 126, illus. 171, p. 127, illus. 172 and p. 99, illus. 119 for comparable finials. The incised scroll detail to the sides is also used by Godwin on a number of pieces.
£SOLD.
Click on pictures for larger version


Designers & Makers 113
Edward William Godwin (attributed), a set of six simulated rosewood and caned dining chairs, 87cm high (two without the cane) See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 102, illus. 122. Chairs similar to this were known to be in the possession of both Godwin himself and Ellen Terry.
£2750.
Click on pictures for larger version


Designers & Makers 114
Edward William Godwin (attributed), an Anglo-Japanese walnut side chair, circa 1875, probably by William Watt, with a lattice back, a later overstuffed gilt embossed leather seat, on square part-fluted supports, 75cm high See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 113, illus. 137 for a comparable example. See also Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition', 14th-20th March 2008, PR33 for a comparable chair.
£POA.
Click on pictures for larger version


Designers & Makers 115
Edward William Godwin (attributed), an Anglo-Japanese ebonised side chair, circa 1875, probably by William Watt, with a lattice back, a later overstuffed leather seat, on square part-fluted supports, 74.5cm high See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 113, illus. 137 for a comparable example. See also Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition', 14th-20th March 2008, PR33 for a comparable chair.
£POA.
Click on pictures for larger version


Designers & Makers 116
Edward William Godwin (1833-1886) for William Watt, a set of four Anglo-Japanese rush seat chairs. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 125, illustration 168
£POA.
Click on pictures for larger version


Designers & Makers 117
Edward William Godwin (attributed), an Aesthetic Movement ebonised and needlework three-fold screen, possibly by Collinson & Lock, worked in colours with birds amidst foliage, 164cm high, each panel 57.5cm wide.
£POA.
Click on pictures for larger version


Designers & Makers 118
Edward William Godwin (1833-1886) for William Watt, an Old English or Jacobean ebonised curved back elbow chair, with a re-upholstered leather seat, on tapered supports with X-stretchers, 86cm high. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin' for similar chair with high stretchers. See also Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition', London 14th-20th March 2008, p. 53.
£POA.
Click on pictures for larger version


Designers & Makers 119
Edward William Godwin (attributed), a golden oak small side table, possibly made by William Watt or Liberty & Co., with a mid level drawer and a shelf under, 77cm high, 46cm wide, 33cm deep. For similar see Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 146, illus. 210.
£POA.
Click on pictures for larger version


Designers & Makers 120
A rare Anglo-Japanese walnut and lacquer 'Pagoda' side cabinet, possibly designed by E.W. Godwin, with Japanese fretwork back inset with Japanese lacquer panels, with mirror to the centre and stepped shelved arrangement with upcurves, with conforming Japanese lacquer panels to the doors which also have Japanese style embossed leather, and further Japanese lacquer panels in red to the drawers, and an arrangement of open shelves below with Anglo-Japanese supports on splayed legs, 125cm high, 127cm wide, 37cm deep. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 212, illus. 337; p. 214, illus. 340; p. 219, illus. 347; and p. 165, illus. 234
£SOLD.
Click on pictures for larger version


Designers & Makers 121
Edward William Godwin (attributed), a mahogany four-fold screen, bevel glazed, with woven silk and velvet panels, 136cm high, each fold 52cm wide. This incorporates many design details of Godwin's Anglo-Japanese works. The woven silk and velvet panels as in the Godwin firescreen, lot 96. See also Christie's sale 'Important 20th Century Design' 26th May 2005, lot 51 for another Godwin firescreen.
£3000.
Click on pictures for larger version


Designers & Makers 122
Edward William Godwin (attributed), an Anglo-Japanese ebonised side chair, circa 1875, probably by William Watt, with a lattice back, a later overstuffed gilt embossed leather seat, on square part-fluted supports, 74.5cm high See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 113, illus. 137 for a comparable example. See also Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition', 20th March 2008, PR33 for a comparable chair.
£POA.
Click on pictures for larger version


Designers & Makers 123
Edward William Godwin (attributed) probably for William Watt, a carved oak and ebonised spindle armchair, with later part gilt leather upholstery, 101cm high. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 126, illus. 171 for a comparable example.
£3000.
Click on pictures for larger version


Designers & Makers 124
Edward William Godwin (attributed) probably for William Watt, a set of four dining chairs, 94cm high. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 126, illus. 171 for a comparable example.
£2800.
Click on pictures for larger version


Designers & Makers 125
An Anglo-Japanese ebonised and carved coal purdonium, possibly by W. E. Nesfield or Edward William Godwin and possibly made by William Watt, 1870s, 110cm high, 40cm wide, 38cm deep. See Cooper, Jeremy 'Victorian & Edwardian Furniture & Interiors', p. 146, illus. 361. This purdonium shows similarities to a four-fold screen made for Richard Norman Shaw as a wedding present which is attributed to W.E. Nesfield.
£2500.
Click on pictures for larger version


Designers & Makers 126
Edward William Godwin (attributed) probably for William Watt, an Anglo-Japanese ebonised armchair, with a re-upholstered leather seat and back, the casters stamped 'Copes Patent', 97cm high. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 106, illus. 127 for similar lattice work on a couch; p.109, illus. 130 for on a sofa; and p. 119, illus. 146 for a design for a settle
£POA.
Click on pictures for larger version


Designers & Makers 127
Edward William Godwin (1833-1886) for William Watt, a rare Anglo-Japanese armchair, with a pad centred open curved back, downswept arms and a re-upholstered seat The design for this armchair was illustrated in William WattĘs Art Furniture Catalogue (1877, plate 3), priced at ś3.10s.0d and a line drawing is illustrated in Soros, Susan Weber 'The Secular Furniture of E. W. Godwin', p. 113 pl. 138. One can see that this armchair has identical legs and tramline detailing which also follows the side chair identically, sold by Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition', 14th-20th March 2008, see PR 33 for a comparable chair.
£POA.
Click on pictures for larger version


Designers & Makers 128
Edward William Godwin (attributed), an Anglo-Japanese ebonised chaise longue, with later part gilt tooled leather upholstery, turned supports and spindles, with casters, 69cm high, 171cm long. A design for a chaise longue is illustrated in William Watt's Art Furniture Catalogue (1877, plate 3), priced at ś3.10s.0d. The overall form is remarkably similar in many ways, the angular form to one end and in particular the carved rosette to the chaise head rest and the turned bulbous detail to the right-hand end of the back rest. The square section and turned spindle details are also used by Godwin on many other pieces, particularly on the Florence cabinet. See Soros, Susan Weber 'The Secular Furniture of E. W. Godwin', p. 185, illus. 306; a nursery buffet, p. 194 illus. 314; an ebonised armchair made by James Peddle, p. 132, illus. 179; a drawing room cabinet, p. 209, illus. 333; and on another chaise longue, p. 106, illus. 127. The latter also has very similar legs and a similar angular form to one end, which he has used again on both ends of a settee, p. 109, illus. 130.
£SOLD.
Click on pictures for larger version


Designers & Makers 129
A rare and early Anglo-Japanese ebonised tall chest of drawers, circa 1875, with gilt painted swallow, stylised bamboo and plant forms with rosettes, with a later black marble top, the lower drawer a double, 147cm high, 59cm wide, 54.5cm deep The painted rosettes are in the manner of Edward William Godwin or possibly W.E. Nesfield.
£3500.
Click on pictures for larger version


Designers & Makers 130
Edward William Godwin (1833-1886) for William Watt, a set of four side chairs with rush seats, 84cm high.
£POA.
Click on pictures for larger version


Designers & Makers 131
Edward William Godwin (attributed) for William Watt, an Anglo-Japanese ebonised display cabinet, 1870s, applied label, 146cm high, 85cm wide, 38cm deep. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 214, fig. 341. If one looks carefully at the illustration one can see in the left hand corner just where the top meets the main body there is a little white mark in the photograph which is on this cabinet. There is a slight split to the right hand side just below the carved half chrysanthemum and the front right hand leg has a chip off the front. This then seems indeed to be the actual cabinet which was photographed in 1973. Susan Soros has noted the whereabouts of this cabinet were unknown when her book went to print in 1999. Anthony Geering re-discovered this piece in 2003
£POA.
Click on pictures for larger version


Designers & Makers 132
Edward William Godwin (attributed), an Anglo-Japanese ebonised side chair, circa 1875, probably by William Watt, with a lattice back, a later overstuffed gilt embossed leather seat, on square part-fluted supports, 74.5cm high. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 113, illus. 137 for a comparable example. See also Sotheby's with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition', 14th-20th March 2008, PR 33 for a comparable chair.
£POA.
Click on pictures for larger version


Designers & Makers 133
Edward William Godwin (attributed) for Collinson & Lock, a fine set of hanging oak wall shelves, 1870s, with turned supports, 102cm high, 100cm wide, 24cm deep See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', This wall shelf has almost the identical turnings to a drawing room cabinet made by Collinson & Lock, p.209, illus. 333 and also the Florence cabinet, p. 185, illus. 306. It also has the identical lower arched section to a wall shelf in the Collinson & Lock catalogue of 1871 and the same turning on chairs also from that catalogue.
£POA.
Click on pictures for larger version


Designers & Makers 134
Edward William Godwin (attributed), an Anglo-Japanese ebonised elbow chair, with a curved lattice back, a caned seat and turned supports with stretchers, 88cm high. Known as the Jacobean or Old English chair, probably made by William Watt. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 90, fig. 109 for a similar example. This model is a light variant of the armchair in keeping with Godwin's strict design philosophy in such that he would make furniture as light as possible and as strong as possible so that a maid can move pieces to clean and he likened to cane seats which were more hygienic. He was one of the very first to incorporate an element of hygiene into furniture design.
£2500.
Click on pictures for larger version


Designers & Makers 135
Edward William Godwin (attributed), an ebonised low elbow chair, with a lattice back, a later overstuffed gilt embossed leather seat, on ring-turned legs with stretchers, 72cm high. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 113, illus. 137. The tramline details to the lattice back and arms are identical to the side chairs in this illustration.
£2500.
Click on pictures for larger version


Designers & Makers 136
Edward William Godwin (attributed), probably made by William Watt, an early mahogany and inlaid single drawer chess table, 75cm high, 48cm wide, 37cm deep.
£POA.
Click on pictures for larger version


Designers & Makers 137
Edward William Godwin (1883-1886) for Collinson & Lock, a walnut and glazed side cabinet, with open shelves below on brass sabots, stamped 'Collinson & Lock 7245', 182cm high, 193cm wide, 47cm deep. A design with much thought and consideration encompassing his Hygienic approach to furniture design and incorporating many similar details to his most famous Anglo-Japanese cabinets with open voids and spaces. (See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 176 to 183). The eight tapering legs all with brass shoes quite unique to Godwin in this country. The back legs are designed an inch forward to compensate for skirting boards allowing it to fit tight against a wall, with open shelf to the base and open cupboards, the top set slightly back to a three-door display area to the top with adjustable shelf. The tramline scribed detail to the side and fronts of the legs and the cornice with dentil moulding are identical to the famous Butterfly fireplace painted by James McNeil Whistler and exhibited in the Paris exhibition of 1878. See Soros p. 369. See also Christie's, London 'Important 20th Century Design', 26th May 2005, Sale no.7130, lot 50.
£POA.
Click on pictures for larger version


Designers & Makers 138
Edward William Godwin (attributed), an oak hanging bookcase, with portrait medallion roundels in moulded vulcanite, 94cm high, 51cm wide, 15cm deep. This cabinet has some design features associated with Godwin's work. The tops are quite similar to the bookcases he designed for Dromore Castle, see Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 191, illus. 311.111 and a design for a buffet, p. 222, illus. 356 and in the left-hand corner of a line drawing for parlour furniture, p. 230, illus. 374.1. The elongated bottoms are a similar detail to hanging cabinets he also designed.
£POA.
Click on pictures for larger version


Designers & Makers 139
A Reformed Gothic hanging bookcase, in the style of E W Godwin with a turned gallery and shelf, the door inset with a Minton 8 inch tile 'Rob Roy in Glasgow Tollbooth', 91.5cm high, 30.5cm wide, 19cm deep
£POA.
Click on pictures for larger version


Designers & Makers 140
Edward William Godwin (1833-1886), an oak and brass 'Pagoda' gong stand, 78cm high, 67cm wide. See Christie's, London 'Important 20th Century Design', 26th May 2005, Sale no. 7130, lot 52 for an identical gong.
£POA.
Click on pictures for larger version


Designers & Makers 141
Edward William Godwin (1833-1886), an Anglo-Japanese oak cheval mirror, 156cm high, 66cm wide. En suite with the last lot, this cheval has the identical sledge feet to the above gong with one Anglo-Japanese upper support.
£POA.
Click on pictures for larger version


Designers & Makers 142
Edward William Godwin (attributed), an Anglo-Japanese ebonised elbow chair, with a turned and lattice back, a re-rushed seat and turned stretchered supports, 90cm high.
£POA.
Click on pictures for larger version


Designers & Makers 143
Edward William Godwin (1833-1886), a rare walnut Old English or Jacobean swivel armchair, with a lattice back and its original rush seat, probably made by Collinson & Lock.
£POA.
Click on pictures for larger version


Designers & Makers 144
Edward William Godwin (attributed) for Collinson & Lock, an Anglo-Japanese rosewood sideboard, with Anglo-Japanese style engraved metalwork, with two glazed doors to the upper section, an open void to the centre and two panel doors below, on squashed bun feet, the metalwork stamped 'Elsley no. 7211', 192cm high, 160cm wide, 155cm deep. Elsley also made metalwork to the designs of C. F. A. Voysey.
£POA.
Click on pictures for larger version


Designers & Makers 145
Edward William Godwin (after), a walnut square occasional table, made by Bruce & Smith, circa 1880, on ring-turned supports with an undertier, 70cm high, 40.5cm square. GodwinĘs original design for these coffee tables was plagiarised by many manufacturers of the day, many much inferior in design and quality. This particular variation has its own merits and is one of the better copies of the period. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 72, illus. 47 for the original.
£SOLD.
Click on pictures for larger version


Designers & Makers 146
Edward William Godwin (1833-1886) for William Watt, a rare and important Anglo-Japanese walnut bookcase, circa 1871, with brass handles and shield style escutcheon, the lower cupboard with two sliding doors inset with painted panels attributed to Henry Stacey Marks, 217cm high, 99cm wide, 49.5 cm deep See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin' Yale 1999, p. 201, plate 321, for an illustration of a related example. See also Christie's sale 'Important 20th Century Design' 26th May 2005, lot 47 In 1949 Dudley Harbron photographed and recorded a bookcase that he concluded had been made for Dr. George Bird, a friend of Ellen Terry (See Godwin's ledger for 17th September 1871) and the father of Elfrida Bird who married Luke Ionides. That bookcase, now cut-down, together with another corresponding example, was then in the possession of Mrs Lewis Clarke, having been inherited from her grandfather, Alexander Ionides son of Elfrida and Luke. A third bookcase was known to have been in the possession of Mrs Alecco Ionides at about the same time (Soros p.201). Despite Harbron's research and evident interest in these bookcases, they were poorly maintained by their owners, and two were thought to be destroyed (Soros, p.201), whilst one of the examples had its shelved superstructure removed and discarded. Susan Soros notes that this cut-down version is in 'stained oak' but one can clearly see in her illustration (Soros, p.201), it is not made from polished oak at all but exactly like the present example made from walnut. Both being made from walnut and both having identical measurements to their bases gives even more weight towards the most likely event that only one of the three cabinets was completely destroyed and the cut-down version is quite likely to be one of the two thought to have been destroyed, which it partially was. The present example is the only known example in existence to have emerged intact and is therefore unique! The painted panels to the cut-down 'Bird-Ionidies' example depict scenes from Greek antiquity. On the present version there is a painted panel to one side probably by Henry Stacey Marks, the attribution made by Christie's Art department and Susan Weber Soros, and is in good condition. The pencil and watercolour cartoon to the other panel, although quite faded and somewhat distressed, has the feel of Edward Burne Jones's work and interestingly the panels were originally believed to be executed by Burne Jones although Harbron in 1949 maintains the panels were painted by Charles Glidden who died young at 20 years of age. This panel has been attributed to Henry Stacey Marks by Christie's art department. Henry Stacey Marks is well documented to have painted for Godwin, to whom the panel of the present lot is attributed and which is also in the greek style. The figures in the painted panel are of two men helping an injured man and possibly may have been in combat with the knight in the other panel, and again their attire does also point to Greek Mythology. The opposite panel is quite different and depicts a prince or knight about to kiss a maiden or a princess, she is looking into his eyes, reaching out and touching his arm about to kiss. There is a sword lying at his feet and his own sword is held to his waist or in his belt with the blade in view and the point to the earth, it looks as if there may be the tail of what could be a dragon adjacent to the sword and possibly a person that may have been slain lying by the maiden. In the right-hand corner there is a castle with banner flying and a crescent moon beside it. The Ionidies family were probably the biggest and most generous patrons of the arts, building one of the most important and impressive collections in the late Victorian Period, and refined collectors of art from the Aesthetic Movement, Ionides's pool of artists to choose from was thoroughly connected through his high society circle of friends which included Edward Calvert and George Frederick Watts, who painted their family portrait when Luke was a child, James McNeill Whistler, Edward Poynter, George Du Maurier, Thomas Armstrong, Dante Gabriel Rossetti and Edward Burne Jones. William Morris, Phillip Webb, Walter Crane and Thomas Jeckyll, all part of his circle of friends, were commissioned to re-decorate 1 Holland Park, their family home, which is all well documented. Henry Stacey Marks (1829-1898) was a painter, watercolorist and illustrator, who worked as a muralist and decorator for Burges, Godwin and Waterhouse. In 1869 Marks was commissioned by Godwin to execute an allegorical frieze to the dining room of Dromore Castle, but due to the incurable dampness of Dromore's enormously thick walls it never came to fruition. An important point is that on the present example there are two brass lock plates to the right-hand side, one in the middle of the central upright that runs through the middle of the bookcase side and another one in the middle of the same central upright but located in the middle of the lower cupboard, these plates (one now missing) were used for joining two bookcases together and would have utilised a brass thumbscrew (also now missing). The sides of this bookcase and the 'Bird-Ionides' bookcase are completely flat from top to bottom which allows for them to butt up perfectly, a design detail that until now was unknown, and which gives even further strength to this present version being one of the very original pair. The present bookcase has a depositary label to the back of Famine's, Colchester and handwritten 'G.M.LAWRENCE', Mrs G M Lawrence, who was the last owner of it.She was one of the last relatives of the Lawrence's who passed away in her 90s in 2004. The Lawrence family owned a very successful lemonade and ginger ale company with factories and warehouses in Beccles, Bungay and Halesworth, Suffolk. It was removed from Mrs G M LawrenceĘs house by Durrants auctioneers, one of the original houses that were built by the Lawrences in Station Rd, Beccles. At some point in its life it made the journey down from London to Colchester and spent some time there, although exactly where is unknown. It seems its next move would have been from Colchester to Beccles. The measurements of the cut-down version are identical to the lower half of this version, in Soros, Susan Weber ęThe Secular Furniture of E.W. GodwinĘ the cut-down version measures 35 1/4' high, which is the very same height to the open area of this present version, and again the depth and width of both of these examples are identical 19' deep, 39' wide. The present version measures 89 1/2' high.
£POA.
Click on pictures for larger version


Designers & Makers 147
Edward William Godwin (1833-1886) for Collinson & Lock, The Eaton Hall Cabinet, circa 1878, in rosewood, the scroll-carved broken arched Queen Anne pediment above a dentil and moulded frieze, with a pair of astragal glazed doors flanked by shelves beneath fielded panels, above a central drawer and semi-circular cupboards, the moulded top above a pair of panelled doors with an open panelled section beneath, on shaped splayed feet, japanesque engraved brass handles, hinges and lockplates, stamped 'Collinson and Lock, London 7480', the handles, hinges and lockplates all stamped 'Elsleys, Gt Portland St, London', 127cm (50in) wide , 225cm high, 41cm deep. Provenance: Eaton Hall, Cheshire. A previous owner purchased this lot from a sale of the contents at Sweetenhams of Chester, 20th and 21st May 1959, lot 283. This piece has many features, which firmly show Godwin's hand at work, i.e. the Queen Anne broken pediment, (Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', Butterfly cabinet, p. 227; and a Queen Anne cabinet p. 269 and an 'over door', p. 251), the dentil moulding to the top is identical to the Butterfly cabinet, the astragal glazed doors and panelled lower doors identical to a design for a table for Grey Towers (Susan Soros, 'Secular Furniture', p. 157 and similar detail to the doors on two cabinets on pp. 222-223). The semi-circular central side doors and semi circular open shelves above are identical to a dressing table and a sketch for a dresser (Susan Soros, 'Secular Furniture', p. 211), a design for a mantelpiece (Susan Soros, 'Secular Furniture', p. 248) and a design for a buffet (Susan Soros, 'Secular Furniture', p. 265). The integrated design of solids and voids in many of his cabinet designs and the framed back panels to each individual shelf and framed panels to each side is typical of his work. The splayed front feet are identical to the Four Seasons cabinet (Susan Soros, 'Secular Furniture', p. 217). The elongated handles with japanesque engraved back plates simulating Japanese woven rush work (Susan Soros, 'E.W. Godwin Aesthetic Movement, Architect & Designer', p. 303, fig. 11-10 and Susan Soros, 'Secular Furniture', p. 268) a detail he used in many combinations. 'Sheraton & Queen Anne in Japan at Eaton Hall' only Godwin could have designed this exceptional work of art. Possibly part of a larger commission as the Eaton Hall archivist also found a Collinson & Lock billiard table in the inventory at Eaton Hall. Godwin is known to have designed billiard tables for Collinson & Lock, as a design appears in a sketchbook on the 6th of October 1873, carved in the Jacobean style with circular decorations of white storks in relief interspersed with square panels. In a corresponding entry on the 7th of October 1873 it shows that he designed it for the Mclaren house, a large commission that Godwin did at Adison Rd, Kensington. The third Marquis of Westminster, who later became the 2nd Duke of Westminster, commissioned Sir Alfred Waterhouse to substantially remodel and rebuild Eaton Hall. The work began in 1869 and reached its completion in 1883. The large drawing room can be seen in a photograph taken circa 1887, pl. 199 in Cooper, Jeremy 'Victorian & Edwardian Furniture and Interiors', in which Cooper mentions that the Duke had spent ś600,000 on the decoration alone, and that Heaton, Butler & Bayne carried out the work. In 1885, an inventory of the contents of Eaton Hall was carried out, and it is precisely at this point in time that the cabinet receives its first mention. Having occupied a place in the Ormand Sitting Room, 72 on the ground floor of the North Wing of the Waterhouse Hall, the cabinet was described as, 'A Rosewood china cabinet with cupboards beneath and glass fronts at the top, 50ins'. The cabinet is then mentioned again in a 1917 inventory in the Angel Bedroom. The cabinet made its next appearance in 1931 in the 'Declaration of Trusts', which was a valuation of the contents of Eaton Hall, appearing as T86/27 in the Stewards Offices with a similar description, and then finally in the 1959 sale mentioned above. Sotheby's and various other local auctioneers held many sales of the various contents of Eaton Hall from 1955 through to 1961 until the Hall was demolished in 1961. This description was compiled with the generous help and assistance of the Grosvenor Estate's Archive Department, Eaton Hall, Cheshire
£POA.
Click on pictures for larger version


Designers & Makers 148
Edward William Godwin (attributed) for James Peddle, a mahogany swivel office elbow chair, patented 1881, 89cm high. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin', p. 131, illus. 178
£875.
Click on pictures for larger version


Designers & Makers 149
Edward William Godwin (attributed), an Anglo-Japanese ebonised double chair or settee, calico upholstered, 77cm high, 96cm wide.
£SOLD.
Click on pictures for larger version


Designers & Makers 150
Edward William Godwin (attributed) an ebonised armchair, 98cm high. The back treatment of this chair is almost identical to a wicker chair. See Soros, Susan Weber 'The Secular Furniture of E.W. Godwin' Yale 1999, p. 88, illus. 107; and also on the Dromore Castle dining chairs. For these see p. 93, illus. 112 and p. 94, illus. 113; two chairs, p. 96, illus. 115 and 116; and on the armchirs, p. 116
£2500.
Click on pictures for larger version


Designers & Makers 151
Edward William Godwin (1833-1886), a rosewood square two-tiered occasional table, with shaped apron, square section supports united by an undertier with Japanese stretchers and kick-out feet, 67cm high, 56cm wide A drawing in Godwin's sketchbooks for a version of this table annotated 'Done Watt Dec 14 76' was registered with the Public Record Office in November 1876 by the firm William Watt as ornamental design no. 306237. See Soros, Susan Weber, 'The Secular Furniture of E.W. Godwin', p. 160, fig. 226 for A mahogany version. The present lot appears to be the first rosewood example to appear on the market.
£POA.
Click on pictures for larger version


Designers & Makers 152
Edward William Godwin (attributed), an Aesthetic Movement circular wine table, the five turned legs united by an undertier, 46cm high, 33cm diameter The legs of this table are identical to those of the ebonised side tables that were made by William Watt. The use of five also points us towards Godwin's use of multiple legs on his tables.
£POA.
Click on pictures for larger version


Designers & Makers 153

Height . Circa 1900.
£POA.
Click on pictures for larger version


Designers & Makers 154
Edward William Godwin (1833-1886) for William Watt, an ebonised beech and caned armchair, 92cm high. An armchair with an 'Heirloom' enamel label (William Watts representatives) was purchased by Tony Geering and Martin Wolfson from an auction by Warren & Wignall, Leyland approximately six years ago, now in a private collection.
£POA.
Click on pictures for larger version


Designers & Makers 155
Lamb & Co., Manchester, an Aesthetic Movement ebonised and coromandel side cabinet, with a bevelled mirrored and shelved back, a glazed base with a spindle galleried undershelf, stamped to top edge of door, 219cm high, 111cm wide, 43cm deep Possibly designed by W. J. Estall. Lambs were one of the very best cabinet makers of the period: a pure Art Furniture company who's furniture designs were at the forefront in England in the late 1800s
£POA.
Click on pictures for larger version


Designers & Makers 156
Lamb & Co., Manchester, an ebonised and coromandel side cabinet, possibly designed W. J. Estall, with a fret and mistletoe gallery, a shelf, a bevelled mirror, a velvet lined glazed cupboard and further galleried shelves, on turned supports, stamped mark, 123cm high, 106cm wide, 42cm deep.

Circa 1880.
£POA.
Click on pictures for larger version


Designers & Makers 157
Lamb & Co., Manchester, an ebonised and coromandel side cabinet, possibly designed W. J. Estall, with a fret and mistletoe gallery, a shelf, a bevelled mirror, a velvet lined glazed cupboard and further galleried shelves, on turned supports, stamped mark, 123cm high, 106cm wide, 42cm deep.
£POA.
Click on pictures for larger version


Designers & Makers 158
John Moyr Smith (attributed) for Collinson & Lock, a walnut and ebonised chaise longue, with triangular 'A' frame to one end, ebonised tramlines throughout, with a lower turned gallery and turned feet, the semi upholstered back with open turned gallery and incised zig-zag and dot details, 79cm high, 170cm long, 70cm deep These details point towards the Dresser studios where Moyr Smith designed with Dresser. This chaise is illustrated in the Collinson & Lock catalogue of 1871 for which Smith drew all the illustrations. The incised zig-zag and dot details are not Collcutt's hand and being so particular make it almost certain that Moyr Smith indeed designed this. Michael Whiteway notes that Collcutt designed nearly all of the furniture in the Collinson & Lock catalogue of 1871 which Moyr Smith illlustrated and may have contributed some of the designs. See Whiteway, Michael '19th Century Design', p. 283
£POA.
Click on pictures for larger version


Designers & Makers 159
Yattendon (attributed), a good Arts and Crafts embossed copper cylindrical vase, with scroll foliage and twin loop handles, original patina, unmarked, 18.5cm high The handles here are identical to those used at Yattendon. The Yattendon school of copper smiths was established in around 1890 by Mrs Waterhouse, the wife of the renowned Victorian Architect Alfred Waterhouse whose best known example of architecture is The Natural History Museum in South Kensington.
£SOLD.
Click on pictures for larger version


Designers & Makers 160
Sir Edward John Poynter, PRA (1836-1919) Head of a child Charcoal and white chalk Signed with initials lower left 19cm x 17.5cm
£POA.
Click on pictures for larger version


Designers & Makers 161
William Francis Dixon (1848-1928) for Clayton & Bell (1855-1993), an important Aesthetic Movement leaded and painted glass window panel, emblematic of 'Sculpture', 98cm high, 55cm wide Dixon's work is amongst the very best of British stained glass work of the late 19th century and he worked with various partners, including Edward Frampton, before going to Germany in 1894 to work for Mayer and Co. of Munich. His designs were often heavily influenced by Burne-Jones. This was researched by Bill Waters who was formerly assistant curator of Tullie House Museum, Carlisle and author (with Martin Harrison) of a comprehensive monograph on the work of Edward Coley Burne-Jones called simply 'Burne-Jones' (London:Barrie & Jenkins 1973), other works on Burne-Jones and 'Stained glass from Shrigley & Hunt of Lancaster and London' (University of Lancaster 2003).
£POA.
Click on pictures for larger version


Designers & Makers 162
Carl Almquist (1848-1924) for Shrigley & Hunt, an Arts and Crafts painted and leaded window, of an angel standing with arms raised, 90cm high, 43.5cm wide Almquist was a Swedish stained glass artist who came to London in 1870. He worked as assistant with Henry Holiday early in his career for four years. He was principally the joint chief designer with Shrigley & Hunt of Lancaster, working with them for 40 years. This attribution was researched by Bill Waters who was formerly assistant curator of Tullie House Museum, Carlisle and author of 'Stained glass from Shrigley & Hunt of Lancaster and London' (University of Lancaster 2003), the comprehensive monograph on the work of Edward Coley Burne-Jones (with Martin Harrison) called simply 'Burne-Jones' (London:Barrie & Jenkins 1973) and other works on Burne-Jones.
£POA.
Click on pictures for larger version


Designers & Makers 163
An Aesthetic Movement leaded, stained and painted glass window panel, of a kneeling maiden and a sailing ship, titled 'Floriat' and initialled 'CB', in a recent oak frame, 159cm x 66cm overall.
£POA.
Click on pictures for larger version


Designers & Makers 164
Morris & Co. (attributed), two similar Aesthetic Movement ebonised circular wine tables, one with Ashbourne Pietra Dura top a method where Slate is inlaid with Mother of Pearl, semi-precious stones & marble with a flower bouquet, the other top plain ebonised, each with a shaped frieze, square section supports, an undertier with pierced gallery and curved brackets, 64cm high, 46cm diameter This marble top is identical to a table designed by George Jack for Morris & Co that is illustrated in Andrews, John 'Arts & Crafts Furniture' Antique Collectors Club, p. 60, pl. 57.
£POA.
Click on pictures for larger version


Designers & Makers 165
Philip Webb (attributed) for Morris & Co., an Aesthetic Movement mahogany sofa, upholstered in 'Bird' fabric designed by William Morris, 107cm high, 185.5cm wide, 66cm deep. Exhibited at the Liberty & Co. Exhibition, June 2009, no. f13.
£POA.
Click on pictures for larger version


Designers & 166
A good Gothic Revival oak, leaded and painted glass three-fold firescreen, in the style of Philip Webb and possibly by Morris & Co, with roundel and mistletoe decoration, lattice bobbin gallery and on curved supports with stretchers, 121cm high, 68cm wide (closed)
£POA.
Click on pictures for larger version


Designers & Makers 167
An ebonised 'turner's' rocking chair, in the style of Philip Webb, with turned half wings and a re-rushed seat, 117cm high The bobbin turned details of this chair are quite similar to the famous reclining armchair designed by Philip Webb in 1866. See Whiteway, Michael and Gere, Charlotte 'Nineteenth-Century Design' London 1993.
£700.
Click on pictures for larger version


Designers & Makers 168
George Washington Jack for Morris & Co., a mahogany 'Saville' armchair, circa 1890, with wavy square arm spindles, on swollen front legs with later conforming casters, with original and cotton mohair damask Crown Imperial pattern upholstery designed by William Morris and registered on 18th November 1876, 93cm high (the casters now replaced) See Parry, Linda 'William Morris' Exhibition catalogue:V&A 1996, p. 178-179, no. J.32 for a 'Saville' armchair in the Victoria and Albert Museum. Also see Parry, Linda 'William Morris Textiles', p. 150, fig. 22 for this upholstery. It is extremely rare to find Morris furniture still with the original fabric it started life with and, although slightly worn to the arms, the fabric is in reasonable condition throughout. A good museum example of an original Saville armchair with its original coat.
£SOLD.
Click on pictures for larger version


Designers & Makers 169
George Washington Jack for Morris & Co., a mahogany open arm chair, 94cm high.
£SOLD.
Click on pictures for larger version


Designers & Makers 170
George Washington Jack for Morris & Co., a mahogany sofa, 124cm wide.
£3500.
Click on pictures for larger version


Designers & Makers 171
George Washington Jack for Morris & Co., a mahogany 'Saville' chaise longue, re-upholstered in green velour, on mahogany legs with brass casters, 174cm long
£2500.
Click on pictures for larger version


Designers & Makers 172
George Washington Jack for Morris & Co., a mahogany gentleman's armchair, en suite with the next lot, 91cm high
£2000.
Click on pictures for larger version


Designers & Makers 173
George Washington Jack for Morris & Co., a mahogany 'Saville' lady's armchair, en suite with the previous lot, 83cm high.
£2000.
Click on pictures for larger version


Designers & Makers 174
George Washington Jack for Morris & Co., a figured mahogany, chequer and line inlaid secretaire bookcase, with astragal glazing and serpentine shelves, the drop-down writing area with original inset leather flanked by canted inlaid stationery doors, further conforming inlays to the lower cupboard doors, on shaped plinth conforming to the inlaid details throughout, stamped 'Morris & Co 449 Oxford St', 200cm high, 133cm wide, 46.5cm deep. See SothebyĘs with Paul Reeves ęThe Best of British Design from the 19th and 20th Centuries: The Selling ExhibitionĘ, p.107 for a comparable example. There is an almost identical variation of this secretaire bookcase at Standen, a superb Vernacular house in East Grinstead designed by Phillip Webb for J.S.Beale in 1891.
£SOLD.
Click on pictures for larger version


Designers & Makers 175
George Washington Jack for Morris & Co. (attributed), a mahogany shaped circular table, circa 1900, with a moulded edge over Moorish niches, part baluster turned supports united by an undertier, 68cm high, 59cm diameter For almost an identical table see the Morris & Co catalogue.
£2500.
Click on pictures for larger version


Designers & Makers 176
Philip Webb (1831-1915) for Morris & Co., a rare mahogany sheet music or folio stand, circa 1880, 152.5cm high, 46.5cm wide, 38cm deep. See Sothebys with Paul Reeves 'The Best of British Design from the 19th and 20th Centuries: The Selling Exhibition' London 14-20 March 2008, PR 69. A similar whatnot can be seen in an 1879 photograph of the Morris & Co. shop window at 449 Oxford Street.
£4500.
Click on pictures for larger version


Designers & Makers 177
Morris & Co. (attributed), an oak bobbin turned corner chair, in the manner of Philip Webb, with a dragon tapestry seat, 77cm high.
£900.
Click on pictures for larger version


Designers & Makers 178
Morris & Co., a matched pair of ash and beech ladderback armchairs, 86cm high. See Cooper, Jeremy 'Victorian and Edwardian Furniture and Interiors', London 1987, p. 168, illus. 430.
£1200 the pair.
Click on pictures for larger version


Designers & Makers 179
An Important Arts and Crafts bas-relief carved and polychrome painted walnut three-fold screen, of St Michael the Archangel, St Patrick? and St George, 179cm high, each panel 70cm wide Evidently a commission with a definite theme in mind and represent three manifestations of the triumph of God over the Devil or/and of Good over Evil. Each picture is painted in strong primary colours. Blue represents Heaven and heavenly love; green the colour of spring and the triumph of spring over winter. It is very interesting that the sky is gold in each of the paintings because this is the sign of divinity and indicates the sacredness of what is depicted. Thus, the sky acts as a sacred backdrop to the scenes in the foreground as well as the haloes indicating the sanctity of the individual figures. The dragons are interesting in that they appear to be multi-headed and multi-tailed with wings. Evil can be represented by dragons, demons or snakes. Some of the dragons here appear to be hybrids It is quite possible that this is a rare Morris & Co. piece. The polychrome colours and carvings are quite reminiscent of the work Morris and friends did at the Kensington Museum.
£15,000.
Click on pictures for larger version


Designers & Makers 180
A Bretby pottery 'simulated copper' glazed jardiniere on stand, impressed marks, no. 1866M, Rd. no. 547490, the stand no. 1809, with cabochon decoration, 87cm high overall (hairline crack to jardiniere) condition report
£500.
Click on pictures for larger version


Designers & Makers 181
Hugh Wallis (1871-1943) of Altrincham, a brass twin handled oval tray, with rose medallion decoration, stamped mark, 63cm long
£275.
Click on pictures for larger version


Designers & Makers 182
An Arts and Crafts oak and chequer inlaid wall cabinet, possibly by Harris Lebus, with shelves and a door, 89cm high, 36cm wide, 19cm deep.
£750.
Click on pictures for larger version


Designers & Makers 183
W. J. Neatby (attributed), a mahogany and inlaid shaped circular occassional table, on six slender supports, 72.5cm high, 63.5cm diameter
£2200.
Click on pictures for larger version


Designers & Makers 184
Birmingham Guild of Handicraft, a hammered copper jardiniere, with brass scroll handles, mid 1890s, 28cm high See 'Arts & Crafts Metalwork', p. 38-39, cat. 21 for a similar pot with comparable handle treatment.
£700.
Click on pictures for larger version


Designers & Makers 185
John Pearson (fl.1885-1910), an Arts and Crafts copper twin handled oval tray, embossed with a broad fruit and foliage border, engraved initials and dated 'JP 93' twice, 60cm long
£600.
Click on pictures for larger version


Designers & Makers 186
John Pearson (fl.1885-1910), an embossed copper and cedar rectangular casket, circa 1905, marked 'J.P. 1905', 17cm wide.
£1200.
Click on pictures for larger version


Designers & Makers 187
John Pearson (attributed), an oak and embossed copper book rack, 35.5cm wide.
£850.
Click on pictures for larger version


Designers & Makers 188
John Pearson (attributed), an Arts and Crafts hammered copper rectangular wall mirror, embossed with stylised plants and inset with 'Ruskin' pottery plaques, 46cm high, 65cm wide.
£1800.
Click on pictures for larger version


Designers & Makers 189
George Montague Ellwood (1875-1955) for J.S. Henry, a mahogany armchair, formerly with a J. S. Henry label under George Montague Ellwood (1875-1955) was a designer and interior decorator. He studied at Camden School of Art and later in Paris, Berlin, Dresden and Vienna. From 1916 to 1924 he was an editor for the journal 'Drawing and Design' and published 'English furniture and decoration, 1680-1800' in 1909 and 'The art of pen drawing: a manual for students, illustrators and commercial artists' in 1927, as well as other works. He lived in London and exhibited at a number of venues between 1899 and 1915, including four times at the Royal Academy. As well as the furniture for J. S. Henry and Bath Cabinet Makers he designed posters for the London Underground between 1912 and 1914. J. S. Henry were wholesale manufacturers of light, ornamental furniture from about 1880 and were based in Old Street, London. Art Nouveau pieces in mahogany and satinwood with decorative inlays were then made from the 1890s. Their pieces were retailed through a Paris agent at the 1900 Centennial Exhibition, where they won two silver medals. At the Arts and Crafts Exhibition Society in 1903 the company showed designs by George Walton and W.A.S. Benson. G.M. Ellwood was their most prolific designer, and although they used designs by C.F.A. Voysey, E.G. Punnett and W.J. Neatby, few designers were named.
£3750.
Click on pictures for larger version


Designers & Makers 190
George Montague Ellwood (1875-1955) for J.S. Henry (attributed), a mahogany and inlaid glazed display cabinet, stamped '301' over '4', 175cm high, 107cm wide, 41cm deep.
£3000.
Click on pictures for larger version


Designers & Makers 191
George Montague Ellwood (1875-1955) for J.S. Henry, a satin walnut and inlaid armchair, original fabric, 131cm high.
£2500.
Click on pictures for larger version


Designers & Makers 192
George Montague Ellwood (1875-1955) for J.S. Henry, a mahogany small bureau, 138cm high, 67cm wide, 38cm deep. The handles are after a design by C.F.A. Voysey, who is also known to have designed for J.S. Henry.
£2500.
Click on pictures for larger version


Designers & Makers 193
George Montague Ellwood (1875-1955) for J.S. Henry, a mahogany and inlaid armchair, with later red leather upholstery, 111cm high. A version of this chair seemingly identical, apart from the front leg treatment, appeared in a Wm. Birch advert in the Studio.
£2000.
Click on pictures for larger version


Designers & Makers 194
George Montague Ellwood (1875-1955) for J.S. Henry, a mahogany, inlaid and leaded stained glass bureau, 126cm high, 99cm wide, 56cm deep.
£SOLD.
Click on pictures for larger version


Designers & Makers 195
George Montague Ellwood (attributed), a mahogany and inlaid upright piano by John Brinsmead & Sons, London, 128cm high, 144cm wide, 68cm deep, (overhauled and restrung).
£SOLD.
Click on pictures for larger version


Designers & Makers 196
George Montague Ellwood (1875-1955) for J.S. Henry, a pair of mahogany and inlaid circular lamp tables, 74cm high, 76cm diameter.
£SOLD.
Click on pictures for larger version


Designers & Makers 197
J. S. Henry, a Glasgow School mahogany, inlaid and enamelled narrow cabinet, circa 1900, the navette panel of a stylised plant within a pewter border, on a pressed and bordered ground, a shelf and door with further shelves under, 150cm high, 71cm wide, 42cm deep The enamel is in the style of Jessie M. King executed for Liberty & Co., formerly with a label of J. S. Henry
£2500.
Click on pictures for larger version


Designers & Makers 198
George Montague Ellwood (1875-1955) for J.S. Henry, an oak and inlaid writing desk, 108cm high, 95cm wide, 54cm deep. The handles are after a design by C.F.A. Voysey, who is also known to have designed for J.S. Henry.
£2500.
Click on pictures for larger version


Designers & Makers 199
A set of six Arts and Crafts oak and inlaid dining chairs, possibly by J.S. Henry, with a rosewood heart inset with pewter clusters of hearts forming stylised flowerheads, 110.5cm high.
£SOLD.
Click on pictures for larger version


Designers & Makers 200
George Montague Ellwood attributed for J.S. Henry, a green stained and inlaid two-tier shaped circular table, 68cm high, 51cm diameter.
£750.
Click on pictures for larger version





Return to Current Stock
Return to Index
Puritan Values Ltd, The Dome, St Edmunds Rd, Southwold, Suffolk, IP18 6BZ Tel:01502 722211 Fax:01502 722734 Mob:07759 616400 or 07966 371676 Credit Card Facilities and Interest Free Credit now available E-Mail:sales@puritanvalues.com