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Click here to subscribeArt Deco, an Art Deco rosewood-framed daybed, upholstered in a period pattern velvet fabric,215cm long90cm wide50cm highCondition ReportStructurally the lot appears sound. The wooden frame has some minor knocks, scuffs, and nicks to the edges commensurate with age and use. It has been later varnished. The fabric appears in good overall condition. Overall, the lot presents well and is ready to place.
An 18th Century provincial splat chair-back daybed, possibly Welsh, the serpentine toprail above a pierced carved splat back, on square chamfered legs joined by stretchers, 167cm long, 61cm deep, 85cm highFor a similar example, see: Twiston-Davies (L.) & Lloyd-Johnes (H. J.) Welsh Furniture, Cardiff, University Press, 1950, plate 7, A day bed from Pentyrch, Glamorgan in the National Museum of WalesStructurally sound. One upright with with stable crack in timber, later rope upholstered seat. Minor scuffs and scratches consistent with age and use.
Y A HARDWOOD ANGLO-INDIAN PADOUK DAYBED 19TH CENTURY with elaborate carving 84cm high, 218cm wide, 74cm deep Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW With wear, marks, knocks and scratches commensurate with age and use Some old chips, splits, and losses Stripped of upholstery On castors Wooden panel secured to underside with stretchers ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot. Condition Report Disclaimer
A collection of Chinese export famille rose teacups, 18th century, including one lobed, painted with a lady lying on a daybed playing with a cat, 6.5cm diameter (4)Provenance: The David and Sarah Battie Collection.清十八世纪 外销粉彩茶杯 一组四件Condition ReportLobed with cat - chipped to rim.Famille rose with fan panels - chipped, cracked and restored. Famille rose with lobed panels - cracked to rim.Smallest famille rose with peony - chipped and cracked.
A GILTWOOD 'PAVILION' DAYBED MODERN, IN THE REGENCY STYLE, BY ENGLISH GEORGIAN With green velvet upholstery, the raised ends carved with dolphin masks, the legs with paw feet 81cm high, 220cm long, 76cm deep Condition Report: As catalogued this is of fairly recent manufacture in the Regency style, this appears to be faithfully made and 'aged' to give the appearance of having 200 years of age and use, the giltwood has 'wear' and scratches reveling underlying red bole, the velvet is modern, this has some uneveness to the surface due to the natural knap of the fabric Overall entirely solid and stable Please see additional images for visual reference to condition and appearance Condition Report Disclaimer
JEAN PROUVÉ (1901-1984)Lit de repos S.C.A.L. n. 450 à tablette pivotante créée par Charlotte PerriandCréation en 1953Edition Steph SimonTôle et tube d'acier pliés et peints, chêne, tissu et cuirTablette fermée: H: 57 cm. (22.3/8 in.); L: 195 cm.(76.3/4 in.); P: 89 cm.(35 in.)A 'S.C.A.L. n.450' daybed in lacquered and folded steel sheet and tube, oak, fabric and leather designed by Jean Prouvé in 1953 and edited by Steph Simon with a swiveling tablet designed by Charlotte Perriand.Footnotes:BibliographieP. Sulzer, Jean Prouvé, Oeuvre Complète/Complete Works, Vol. 3: 1944-54, Ed. Birkäuser, Bale, 2005, croquis p. 166, n.1140.6P. Seguin, Jean Prouvé. Vol. 1, Ed. Galerie Patrick Seguin, Paris, 2017, p. 353, 355, 359This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
CHRISTIAN LIAIGRE DAYBED; LATE 20TH/EARLY 21ST CENTURY Upholstered in Rose Uniacke's 'White Rose' linen 82cm high, 128cm long, 78cm wideProvenance: Property of a Lady, Eaton Square, London Condition Report: Light marking to fabric atop of bed consistent with age and use. Few marks to base consistent with age and use. Structurally sound and in very good condition overall. Please see additional images. Condition Report Disclaimer
LINO CARIMANTI (ITALIAN) ATTRIBUTED A DAYBED; CIRCA 1970 Bamboo and cushioned linen 58cm high, 98cm wide, 200cm long Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe bamboo surface has been varnished, this has some discolouration in places as well as some areas of wear and loss to the surface, overall the bamboo frame appears solid and stable, it has the normal natural variation as to be expected from the organic material including splits, cracks, colour variationThe linen upholstery is later, there is a solid base fitted within the bamboo - the interior frame of this has not been inspected and Dreweatts can give no comments or guarantees as to its originality or condition beneath the present upholsteryOverall the upholstery is presentable, the mattress is probably designed and would be advised to use a cover and protector to ensure cleanlinessPlease see additional images for visual reference to condition Condition Report Disclaimer
PHILIP WEBB (1831-1915) FOR MORRIS & CO. ADJUSTABLE-BACK ARMCHAIR, CIRCA 1870 mahogany, brass, upholstery in modern Morris & Co. 'Sunflower' pattern velvet, brass caps and casters 65cm wide, 101cm high, 83cm deep Literature: Parry L. William Morris, V&A; 1996, p.178, J.29In 1866, Warington Taylor described a chair design in a letter to Philip Webb after observing it in Ephraim Colman's workshop in Herstmonceux, Sussex. Webb modified the original reclining chair by incorporating bobbin turning and retaining seat bars. This traditional technique and ebonised finish were also used in other Morris & Co. furniture, such as a daybed from Kelmscott House's dining room, now at Kelmscott Manor. The chair, used in Kelmscott House's drawing room and by Burne-Jones, became popular and was available in mahogany. It was widely copied by British and American firms, including Liberty and Gustav Stickley's workshops. Originally supplied with Utrecht velvet covers priced at £10s. 10d., chintz covers were also offered at £8. Utrecht velvet, an embossed mohair plush recommended by Christopher Dresser in Principles of Decorative Design (1873) and likely supplied by Heaton and Co. of Manchester, was sold by Morris & Co. in various colours for upholstery and wall coverings.
Rohe, Ludwig Mies van der (1886 Aachen - Chigao 1969) Liege/Daybed "Barcelona". Rahmen aus Hartholz. Beine aus Rundrohrstahl, hochglanzpoliert. Volo Black-Lederbezug, mit Kedernähten und Knöpfen. Neuwertiger, unbenutzter Zustand, da Ausstellungsstück. "KnollStudio" Logo und "Mies van der Rohe" Sign. eingraviert. Design 1930 von Mies van der Rohe. Seit 1953 Produktion bei Knoll. Ca. 65x 196x 98 cm. (Höhe ohne Nackenrolle: ca. 42 cm).
A Queen Anne scarlet and gilt-japanned side chair, c.1710, with a scrolled crest rail flanking a figural vignette, over a curved back with a central panel depicting flowers, birds and pagodas, above a caned seat, raised on angular cabriole supports united by a wavy stretcher, 51cm wide 60cm deep 122cm highFor two similar pairs see: Christie's, 'The Ann and Gordon Getty Collection: Volume Four - Chinese Works of Art, English and European Furniture and Decorative Arts, Day Sale', 23 October 2022, lots 577 and 578, which are described to have been part of a larger suite, once comprising six chairs and a daybed, formerly in the collection of Archbold van Beuren.Condition ReportLate refinished with general splits, knocks, chips, and losses with age. Seat with strengthening and repairs. Repairs to stretchers. Chips and losses to supports. Traces of historic woodworm damage, does not appear active. Joints are generally sound and solid.
ANTIQUE BROAD CHAISE / DAYBED, button upholstered calico type cotton, on later castors, 78 (h) x 206 (w) x 110cms (d)Comments: uncovered, upholstery dust soiled and stained, viewing recommendedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
REGENCY STYLE PARCEL-GILT MAHOGANY DAYBED, with scroll ends, floral bosses, blue damask upholstery, 104 (h) x 244 (w) x 94cms (d)Comments: later painted, upholstery worn and dusty, feet chipped, minor splits, viewing recommendedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
EARLY 19TH C. MAHOGANY CANED DAYBED, finely caned with scroll back and over scrolled foot, tapering circular legs, casters, 87 (h) x 212 (w) x 78cms (d)Comments: one edge later applied with brass brackets, caning damaged, inspection advisedProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
A PARCHMENT VELLUM CUSTOM DAYBED PHILIPPINES, MODERN with mattress approximately 79cm high, 200cm wide, 91cm deepProvenance: Property of a Lady, Eaton Square, London Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW. With wear, marks, knocks and scratches commensurate with age and use Some old chips, splits, and losses Some surface deposits to the slats, please see images This bed was examined disassembled, so no comment can be made to its stability Mattress within a bag, see images ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot. Condition Report Disclaimer
AN UPHOLSTERED DAYBED IN THE MANNER OF HOWARD & SONS, MID-20TH CENTURY With an overstuffed back and arms and loose cushion, on turned legs with brass castors 85cm high, 76cm wide, 155cm long Condition Report: Good, structurally secure with wear and tear consistent with age and use. The upholstery would benefit from a clean. One cup castor is detatched.Condition Report Disclaimer
Manner of Toothill - A vintage mid 20th century circa 1950s Toothill manner afromosia daybed. The daybed raised on brass tone dansette style legs. Having an afromosia base, with pine slats. Featuring rectangular afromosia armrests / side tables to either end raised on bent metal supports. With bent ply backrest, and orange fabric upholstered cushions.
A DAYBED UPHOLSTERED IN COLEFAX & FOWLER 'HONEYSUCKLE YELLOW' FABRIC BY KINGCOMBE SOFAS On square oak legs and stretchers 100cm high, 78cm wide, 152cm deep Please note there is a maker's label for Kingcombe Sofas applied to the interior lining fabric of this daybed Condition Report: Overall the condition and appearance reflects the lack of age and likely only light useFrame solid and stable overall Please see additional images for visual reference to condition and appearance Condition Report Disclaimer
A 'FALCO DAYBED' UPHOLSTERED IN MANUEL CANOVAS 'OSCAR SABLE' FABRIC BY SIBYL COLEFAX & JOHN FOWLER With studded detailing, six cushions and a further two Sibyl Colefax & John Fowler square cushions made up in a lilac silk check fabric 53.5cm square 240cm long, 98cm high, 112cm depthProvenance: This sofa was included in the Sibyl Colefax & John Fowler room, designed by Lucy Hammond Giles for Wow House, Chelsea Harbour Design Centre, June 2024 Condition Report: Some marks to fabric throughout. Creasing to fabric present as a result of use. An inch long rip to fabric of outside right arm near the top . Stable and ready for use. Please see additional images for visual reference to condition Condition Report Disclaimer
Peter Hvidt & Orla Mølgaard-Nielsen for France & Son Model 'FD 451' sofa / daybed, circa 1960 Teak, rattan, wool upholstery Manufacturer's plaque to frame 79cm high, 163cm wide Condition Report: Rattan panel to one arm with severe damage. Structurally sound and sturdy, upholstery with general wear from use throughout, there are two holes to fabric on top edge of one backrest cushion and one small hole to seat cushion. The frame with scratches, scuffs, marks, some fading commensurate with age and use.
FRANCESCO RENALDI (BRITISH CIRCA 1755-1799) PORTRAIT OF MRS. WILLIAM DOUGLAS, NÉE JANE BELL, AND HER SON, PHILIP, IN AN INDIAN INTERIOR Oil on canvas Signed and dated '1789' (centre right) 110 x 92cm (43¼ x 36 in.) In its original carved and gilded 'Carlo Maratta' Provenance: By family descent, until sold, Christie's, London, 26 April 1912, lot 48 (50 gns. to Schuster) Private collection, U.K. Described by Mildred Archer as 'one of the most sensitive portrait painters to work in India during the late eighteenth century' (1), Francesco Renaldi (c.1755-1799) was an English-born painter of Italian heritage about whose life relatively little is known. He entered the Royal Academy Schools in London in 1776, aged twenty-one. For two years after 1781, Renaldi traveled in Italy, initially with Thomas Jones, the Welsh landscape painter and pupil of Richard Wilson.Evidently on at least one occasion, Jones exploited Renaldi's name to pass himself off as an Irish catholic in order to gain access to the prior of a monastery at Caserta near Naples - which would normally have been inaccessible to him on sectarian grounds - but Renaldi seems to have accepted this with good grace, even affability. While Jones left behind a now celebrated group of oil sketches on paper of the environs of Naples and other Grand Tour sites, no works executed by Renaldi in Italy are currently known. Years later, in 1798, Renaldi painted a group portrait of Thomas Jones and his family (National Museum of Wales, Cardiff) which may also contain a discreet but cheerful self-portrait. Upon returning to London in 1783, Renaldi attempted without success to establish himself as a portrait painter at 2 Portugal Street, a modest house located near Lincoln's Inn Fields. On November 3 of that year, Jones was pleasantly surprised to bump into Renaldi in Fleet Street and the two dined together not long afterwards. In 1785, perhaps frustrated by commercial sluggishness, even sensing the prospect of professional failure in a highly competitive metropolitan market for portraits, Renaldi applied to the East India Company for permission to travel to Bengal. He supplied the names and addresses of two references - Mr. Job Hart Price of Aldershot House and Robert Codd of the 59th Regiment of Foot. These guarantors were evidently acceptable to the company, because the following February Renaldi was given formal approval to travel. He sailed aboard the East India Company ship, the Hillsborough, and arrived at Calcutta in August 1786. For the next ten years Renaldi lived and worked in Calcutta, Lucknow and Dacca (now the capital city of Bangladesh). He was therefore one of only a relatively small number of European painters - among them William Hodges, Johan Zoffany, Tilly Kettle and Ozias Humphrey - who spent extended periods painting portraits of and for the nabobs - English, Scottish and Anglo-Irish gentleman of the East India Company - as well as local rulers such as Asaf ud-Daulah, the Nawab Wazir of Oudh. He painted a group portrait of Major William Palmer and his family at Calcutta in 1786. In 1789 Renaldi relocated from Calcutta to Dacca, a large town in eastern Bengal possibly in the hope of finding fresh patronage. He returned to Calcutta and in 1790 embarked on a leisurely tour up-country, reaching Lucknow in 1792 or 1793, where he seems to have remained for several years. In total only around a dozen works - including the present, recently rediscovered portrait of Mrs. William Douglas and her son - painted by Renaldi in India are currently known but amongst them are a group of three individual portraits of Indian women which rank amongst the most intriguing and emotive images produced in British 18th century painting. They have traditionally been identified as bibis,the term for an upper-class Indian woman who became a mistress or unofficial wife to a European resident. The first, known in two versions, both dated 1787, depicts a Mughal lady sitting cross legged, wearing gold-striped green pajamas and a white gauzed shift looking straight ahead (Metropolitan Museum of Art, New York; sold Sotheby's, London, 6 December 2023, lot 23, £825,000) and the second depicts the same sitter but with the addition of a hookah pipe (Private collection). The third, a sensuous portrait of An Unknown Woman was painted two years later in 1789 at Dacca and depicts a Mughal lady reclining on a rug and cushion in a small room with green painted shutters and the door of British type - perhaps in a bibi khana, a small house or quarters which was frequently built behind the main house for ensuring privacy from visitors. The girl is holding a hookah and gazing at a piece of jewellery in her hand. As Mildred Archer wrote: 'It is her air of reverie and quiet calm, her ruffled dress with its soft texture, and above all the darting highlights on the hookah, silver pan tray, slippers and jewels that catch the eye and endow the painting with flashing brilliance' (2). The reemergence of this double portrait of Mrs. William Douglas and her son, Philip may provide the key to help identify the subject of the painting at Yale. The young Mrs. Douglas, née Jane Bell, is depicted at full length wearing a white dress with a blue sash, seated in armchair with her right foot resting on a stool and working on a piece of needlework in her lap. Her son, Philip, is seated at a high chair playing with a glass vial of scent from his mother's jewelry box, which sits on top of a circular side table which has a pair of sewing clamps with thread attached. Behind them is an Anglo-Indian daybed draped in red fabric. Natural light is diffused from the left-hand side through a window shaded by green painted shutters of the same type and design as found in the portrait of the Unknown Lady at Yale suggesting that they are situated in a different but related part of the same house. This raises the strong possibility that the present portrait and the Yale portrait were painted closely together, in the same residence, as part of the same commission. The likely explanation is that the Douglases and their young son, newly arrived in India as a family, were staying in the Dacca household of Jane's half-brother, Suetonius Grant Heatly. According to Suetonius Grant's nephew, Henry Green (son of William and Temperance Green) nephew, Heatly 'never married but formed a connection with a native of the Country, a thing of frequent occurrence at that time in India by whom he had several children whom he educated well and provided for -a daughter of his Mary was sent to England for her education' (Green/Heatly family historical archive, Cornell University Library). Suetonius Grant Heatly appears to be the clear candidate to commission portraits of his half-sister and her son, as well as an intimate portrait of his bibi at the same moment from Renaldi at Dacca in 1789. Indeed, Suetonius Grant had a history of patronizing the European artists working in India. He was painted by Arthur William Devis in a group portrait with his sister Temperance and his Indian servants in Calcutta, c. 1786 (3). His brother, Patrick Healty (1753-1834), who also served in the administration of the East India Company was painted by Zoffany in India (Yale Center for British Art, New Haven)... Click here to read more.
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