We found 68 price guide item(s) matching your search

Industrial Salvage - an early 20th century cast iron and sheet metal work table, rounded rectangular top, the shaped end supports cast WINSELMANN TITAN, 72.5cm high, 176.5cm wide, 54cm deep

Ecclesiastical Salvage - a bronzed metal table-top lectern, cast as the Eagle of Saint John, 53cm high

A rare one of Russian MIG 23 Split Static Compressor Coffee Table. Genuine Aero Salvage. 120x99x35cm

Tom DixonMaquette table, from the 'Pylon' series, circa 1989Welded steel.94 x 54 x 72 cm Produced by Tom Dixon, Ltd., London, United Kingdom.Footnotes:LiteratureGareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 62 for a similar exampleThis lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Tom DixonPrototype table, from the 'Pylon' series, circa 1989Welded steel, glass.94 cm high, 71 cm diameter Produced by Tom Dixon, Ltd., London, United Kingdom.Footnotes:LiteratureGareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 62 for a similar exampleThis lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A 1980s Creative Salvage Movement folded copper sheet coffee table with circular glass top, diameter 62cm, height 45cmGood condition

Mark Brazier-Jones'Octopus' coffee table, 1993Patinated and gilded bronze, copper and oxidised iron, iridescent glass, glass.44 cm high, 100 cm diameterNumber 16 from the edition of 20. Base incised Mark Brazier Jones/ 16 / 20.Footnotes:ProvenanceAcquired directly from Mark Brazier-Jones by the present owner, 1990sLiteratureCharlotte and Peter Fiell, Mark Brazier-Jones, London, 2012, p. 163Gareth Williams and Nick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 99Bonhams wishes to thank Mark Brazier-Jones for his assistance with the cataloguing of the present lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Maritime Salvage - an interesting 19th century brass miniature tripod occasional table or candle reflector, shaped rectangular top, stamped to verso 'Warranted Made From "Deutschland" Metal, shaped cabriole legs, 9cm highThe SS Deutschland was a 325 foot iron steamship built by Caird & Co of Greenock, Scotland in 1866 and registered in Hamburg with the Norddeutscher Loyd line. She was wrecked off the coast of Kent in 1875 when bound for New York via Southampton.

Sir Eduardo Paolozzi and Nigel HendersonRare table lamp, circa 1958-1960Printed and glazed ceramic, printed paper shade.41.5 cm high, 40 cm diameter Produced for Hammer Prints Ltd.Footnotes:LiteratureMichelle Cotton, Lesley Jackson, Robin Spencer, Nigel Henderson & Eduardo Paolozzi: Hammer Prints Ltd., London, 2013, pp. 66-67 for illustrations of the printsToysNick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Born in Lieth to Italian immigrants, Eduardo Paolozzi had few of the advantages of the young owners of the toys depicted on Hammer Prints. His father, a shop owner, admired Mussolini and sent Eduardo to summer camps in Italy. There he gained an appreciation of the planes, trains and fascist badges. At the outbreak of war, his father was declared an enemy alien and imprisoned. So was Eduardo. His father was then transported to Canada and drowned when the ship was torpedoed. Once freed, Eduardo helped his widowed mother make ice cream, one childhood treat that had always been abundant, whilst assembling scrapbooks containing images of the many more that were not.His friendship with Nigel Henderson was formed at the Slade School of Art. Henderson was born of a wealthy English family and focused his camera on London's poor. A working-class Scot, Paolozzi came to prominence with collaged images from American magazines. Their friendship was so strong they lived in adjacent cottages on the Essex coast and set up a business together. Hammer Prints produced household objects and textiles printed in designs based on deliberately degraded images taken by Henderson. Whilst some of the designs were later taken up by manufacturers like Hull Traders, 'Toys', the print used on the lamp base and shade, was only produced by the artists. Patrick Rylands, designer of Playplax, the toy Rachel Whiteread credits as her inspiration for her 2005 Tate installation, says the toys depicted would have been prohibitively expensive when new. Like the 'Toot Toot', Patrick thinks the 'Autobus' was made by Lehmans, a German manufacturer producing tin toys of a quality that rendered them 'the real thing writ small'. However, he says 'In Paolozzi's hands, the toys are speaking a different language'. That language is pop. In the centrality of ephemera and the use of collage and assemblage, British artists adopted the grammar of Kurt Schwitters but developed their own vocabulary. Where Schwitters used torn tram tickets, fragments of wire and bank notes rendered worthless by inflation to memorialise the dead of the First World War, Hamilton, Paolozzi and Henderson, collaged advertisements and glamour magazine images to critique the consumer culture of an ascendant America following the second. Not that their critique was entirely negative. In bombed out Britain where food was still rationed, images of fridges full of fresh dairy and T.V.s showing chromium-plated cars had an allure, materially and visually. Paolozzi wanted the Cadillacs and glamour girls he cut and pasted just as he had done the Lehman toys - but there's a rip tide.The fulfilment of our desire to buy creates, not a sense of achievement, but a lack. The objects of our desire are diminished by acquisition so the impulse to own remains. The eye then searches for something else, something better, bigger, a compulsive cycle illustrated in British Pop Art. Richard Hamilton, a member of the Independent Group which also included Paolozzi and Henderson, exhibited 'Just what is it that makes today's homes so different, so appealing?' at the 'This is Tomorrow' exhibition in the Whitechapel Gallery. The bodybuilder portrayed is not muscle and bone but a blow up that goes 'pop.' Similarly, Paolozzi and Henderson's 'Toys' are juxtaposed against a phrenology head and cherubs, emblems of pseudo-science and misplaced faith. Fat on ice cream that, like all sweet things creates a hunger for more, Eduardo Paolozzi knew well that the best toys are the ones we don't have. Moreover, in illustrating that paradox, the blind, crazy driver of consumer culture, British Pop has an unresolved tension that gives it relevance even in the age of the buy it now button.For further information on this lot please visit Bonhams.com

Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Ecclesiastical Salvage - a Gothic Revival oak and pine church altar table, rectangular top with moulded edge, shaped end supports pierced with a trefoil, 92cm high, 149cm long, 72cm wide

Ecclesiastical Salvage - a Gothic Revival oak and pine church altar table, rectangular top with moulded edge, shaped end supports pierced with a trefoil, 92cm high, 149cm long, 72cm wide

Ecclesiastical Salvage - a Gothic Revival oak and pine church altar table, rectangular top with moulded edge, shaped end supports pierced with a trefoil, 92cm high, 149cm long, 72cm wide

A box of assorted metalware including a pair of brass stirrups, Salter Scales, architectural salvage including a rim lock and a barge ware metal barrel form stick stand with loop handles and a modern large table lamp, 90cm to the finial etc. (Qty)

Salvage - A Rob Roy table/bench saw, single cycling diesel engine, with starting handle, the bed 212cm long, 57cm wide.Although no guarantee can be given, it should be noted that when tried, this lot did start and the motor worked with the first attempt.** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**

Salvage - A set of four early Victorian mahogany table legs, half fluted and turned, c.1850.** We would please ask that all payments are made by 12pm on Thursday 14th April at the latest. Collection for all lots is strictly by appointment at Otterbeck Hall, Chinley, SK23 6AH where all items are located. We request that items are collected on either Wednesday 13th or Thursday 14th April when Bamfords staff will be in attendance. In circumstances where buyers are unable to attend on these days members of the Stoodley family have kindly agreed to be present from Friday 15th to Monday 18th April at 12pm, however all lots must have been paid for by Thursday 14th April. It should be noted that keys will be handed to the new owners of Otterbeck Hall on Tuesday 19th April at which point Bamfords will no longer have access to the property. Bamfords are able, strictly by prior arrangement to bring certain higher value small items to the saleroom for collection at a later date. Please enquire and confirm this availability in relation to any lot that you are hoping Bamfords will be able to move on your behalf. Any such lot will incur a £15 charge**.

Salvage & Reclamation - a coffee table, repurposed from Canadian Red Deer brand salvaged strip maple flooring, 61cm high, 116.5cm wide, 51cm deep

Salvage - 18th century carved oak panels; a 19th century writing slope; an early 20th century estate table top filing cabinet, composed of an arrangement of sliding document drawers, 59cm x 79cm; etc

A Victorian pine and cast iron mill trolley coffee table,19th century and later,135cm wide80cm deep40cm highThis former Victorian mill trolley is a truly functional and characterful piece for the home. Made of pine and cast iron, it has been reimagined as a stylish, industrial-inspired coffee table.Featuring a glass panel insert, it showcases the original cast iron wheel and chassis, making for a real statement piece. The trolley was discovered in a Yorkshire barn and is thought to come from a cotton, wool or iron mill in the Harrogate area.Condition report: This lot was featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).Salvage Hunters: The Restorers is a popular prime time show broadcast on the Discovery Network (Quest), where industry experts seek out lots in need of a little TLC and restore them to their former glory. We are delighted to now offer these restored lots for sale. The lots here are presented with stills from the programme.All details were true at the time of transmission. All items are bought as seen at the auction only and Discovery Corporate Service Limited and its affiliates make no representations or warranties as to the condition, suitability or at all in relation to any lot offered for sale; and no further documentation can be provided. All valuations stated herein are given by Sworders Fine Art Auctioneers at the time of printing, please note that these may differ to the valuations given to the items within the programme which was broadcast at an earlier time.

A 1980s Creative Salvage folded copper sheet coffee table, with circular glass top, diameter 65cm, height 44cm

A French draper's table,late 19th century, the planked top with cleated ends over open shelves beneath,273cm long90cm deep85cm highBelieved to date back to the late 19th century, this French table was originally made for a jeweller's or draper's shop and features two shelves, providing ample storage. Such tables were a common feature in drapers and clothes merchant shops, built to provide metres of surface area for cutting and unfurling rolls of fabrics. This table has been reduced in size, to a more manageable length, with wooden moulding details on the tabletop and side panels painstakingly recreated. While its shop days may be behind it, this draper's table could make a fantastic work surface in a kitchen or even find use as a dining table.Condition report: This lot was featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).Salvage Hunters: The Restorers is a popular prime time show broadcast on the Discovery Network (Quest), where industry experts seek out lots in need of a little TLC and restore them to their former glory. We are delighted to now offer these restored lots for sale. The lots here are presented with stills from the programme.All details were true at the time of transmission. All items are bought as seen at the auction only and Discovery Corporate Service Limited and its affiliates make no representations or warranties as to the condition, suitability or at all in relation to any lot offered for sale; and no further documentation can be provided. All valuations stated herein are given by Sworders Fine Art Auctioneers at the time of printing, please note that these may differ to the valuations given to the items within the programme which was broadcast at an earlier time.

A vintage retro 20th century oak dining table and chairs. The large country style dining table having an rectangular top raised on salvage cart  wood legs with pierced decoration along with a set of matching dining chairs with similar wood. 76cm h x 150cm w x 91cm d

ARCHITECTURAL SALVAGE - 2 GLASS GLOBES, WATNEYS CRATE, 3 TIER METAL TABLE ETC

ARCHITECTURAL SALVAGE - VARIOUS METAL WARE INCLUDING TRIPOD TABLE BASE, CAST COLUMNS, FINIALS, GATE PIECES ETC

Barn Salvage - a substantial work table/bench, of country estate proportions, plank top with a pair of sleeper-type vice/clamp supports, 74cm high, 305cm long, 91.5cm wide

A pair of treen table lamps with pierced spiral stems, with moulded top and base, possibly architectural salvage, later painted (h.53cm x 15cm)

ARCHITECTURAL/SALVAGE - AESTHETIC MOVEMENT STYLE CAST IRON WHITE PAINTED TABLE WITH POSSIBLE SLATE TOP

ARCHITECTURAL/SALVAGE - LATE VICTORIAN WHITE PAINTED CAST IRON TABLE WITH POSSIBLE SLATE TOP

Danny LaneUnique and monumental 'Mandorla' sculpture, 2003Hand-cut float glass, stainless steel. 312.5 x 82 x 25 cmFootnotes:Sacred Geometry by Nick WrightBy defacing the surface of glass Danny Lane invites one to look inside a material designed to be seen through. He makes the invisible visible. It began with a visit to Ron Arad's first shop, an old bicycle store, on Endell Street. Arad was showing tables made with scaffold bases and seeing the glass tops Lane felt he 'could do more'. He noticed a chipped sheet and, with Arad's agreement, took it back to his Hackney studio and polished the broken edge. The safe but still fractured line drew the eye into the seemingly infinite green breadth. Having used pliers to replicate accidental breakage, Lane set about the surface. He sandblasted swirls, whorls, scratches and stabs into the glass creating a 'sand blasted drawing'. The jagged pieces, redolent of industrial decline and social facture, sat well on Arad's scaffold bases – and with buyers. French critics coined the term 'ruinism'. Arad, an AA educated architect dislikes it. 'Destruction wasn't on the flag', he says. Lane is less resistant. 'Though the techniques were destructive, they opened up the material to reveal the beauty inherent, its soul'. Both shared a Duchampian quest for what Arad called 'the perfect line'. Designed in its entirety by Lane in 1985, the RSJ table comes close to describing that line. A massive steel RSJ serves as a cross-member. Bolted to one end is a plate of pliered glass, welded to the other an even larger steel. The rusted RSJ was sheared using a torch, ripped apart, then hammered by the industrial machinery that Lane was even then salvaging from London's bankrupt engineering industry.The RSJ table is elegant despite its scale, avant-garde despite his pillaging of a redundant industrial past for materials. Indeed, when his contemporaries were using scrap Victorian ornament to make whimsical, sometimes historicist, even New Romantic forms, Danny Lane created a brutalist monster piece that remains timeless because it is 'right'. Most designers would have produced a sizable edition. Lane made five, all different – of course - before continuing his own quest; to divine the depth of glass. He talks of a conscious break too from making furniture; 'How well I was misplaced'. An American, he had travelled throughout Europe as a young man, entranced by the stained-glass saints illuminating the windows of the great cathedrals. He came to the UK to study glass making under Patrick Reyntiens, took a degree in painting at the Central School of Art and Design, and only though a chance meeting with Ron Arad was he diverted into furniture. Design and art are, despite the protestations of many designers, not equivalent; why limit expression to the representation of a chair or lamp when the imagination is, or feels to be, limitless? That said, there is continuity between, and Danny Lane's career demonstrates this.Mandorla (a medieval architectural frame enclosing a sacred figure) has no utility beyond the aesthetic. Like any artwork its success must be measured in its ability to 'move' as David Hockney put it 'Art has to move you, design does not, unless it's a good design for a bus'. That and its originality. Mandorla succeeds when judged by the first criterion. The pliared edge of each plate draws the eye inside an interior seemingly illuminated by the cold light of a distant sun. Stood before the shard one sees one's reflection as if frozen within. Stand further back and the fall of layered glass awes, not with its scale or technicality of construction, but its elegance despite them. In aesthetic terms Mandorla is a success.In terms of originality the sculpture has antecedents; Danny Lane has done this before. The stacked glass sculptures that grace Canary Wharf, The General motors HQ, make up the balustrade in the Victoria and Albert Museum, and Mandorla itself, were prototyped in chairs he made in the 1980s. Danny Lane did not break with furniture design. He used techniques developed in furniture to continue his quest. That quest is to divine the depth of a material that has entranced him all his life, glass. It is by his own account a spiritual quest and one his work, furniture and sculpture, permits us to accompany him on. His work moves. Bonhams wishes to thank Nick Wright, the author of Cut and Shut: The History of Creative Salvage, London, 2012.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Tom DixonPrototype table, from the 'Pylon' series, circa 1989Welded steel, glass.42 x 91 x 91 cm Produced by Tom Dixon, Ltd., United Kingdom.Footnotes:ProvenanceTom Dixon, London, 1990sAcquired from the above by the present ownerLiteratureNick Wright, Cut and Shut: The History of Creative Salvage, London, 2012, p. 62 for a similar exampleThis lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A large copper-topped green painted baker's table,20th century, by T Barker, Manchester, the rectangular top over two deep drawers with bronze rail hands and raised on large industrial castors, with maker's label,240cm wide90cm deep84cm highCondition report: See additional images.Fully restored as featured on Salvage Hunters : The Restorers. Scratches to top. Repainted. Traces of worm.Wood underneath top is unlikely to be original and doesn't appear terribly good quality.

Treen - Maritime Salvage, Seven Years' War and American Revolutionary War, a turned circular table-top snuff box, from a spar of HMS Royal George (1756), presumably from Pasley's 1839 salvage operation, enclosing a pencil MS and paper collector's note and dated 1782 twice, 8.7cm diam; an early 19th century lignum vitae circular snuff box, turned with alternating and concentric bands, 7.8cm diam; a large 19th century bun-shaped table-top snuff box, bombé base, 10.3cm diam, [3]

A large French laminated beech butcher's block table,20th century, by Hennes Fils of Nantes, the highly undulating top now with stilts and a glass top, above two drawers and raised on moulded square supports,202cm wide62cm deep90cm highAs featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).

A French beech bar football table by Bonzini,c.1910, with cast aluminium players and on ebonised shaped supports,150cm wide100cm deep94cm highAs featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).

A massive Buckingham Palace garden party table,20th century, the sectional top with a limed finish on ring turned tapering legs,308cm diameter72cm highAs featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).Condition report: Knocks and losses. Traces of worm. Some fading and weathering. Appears slightly sunken in the middle. Alteration and repair. Restored as per catalogue description.

Mixed textile collection including mats and small rugs, a Welsh blanket (af- for fabric salvage) oriental panels, vintage table linen and a framed cross stitch sampler dated 1950 etc

A Unique salvage steampunk style table lamp. Made from a Vintage gas container box & fitted with a light fitting. In a working order.

An industrial salvage style circular coffee table, cast metal frame, planked pine top, 81cm diameter

Industrial salvage - two brass industrial ceiling/table lights

An industrial salvage style circular coffee table, cast metal frame, planked pine top, 81cm diameter

Salvage Pilaster Lamp Table-Genuine English Reclaimed Timber 570mm Diameter X 780mm Tall rrp £790

Salvage X Leg Side Table A Beautiful Side Table With Rustic Finish, Ideal To Sit Beside Your Sofa 50 X 50 X 50cm RRP £605

Salvage X Frame Console Table 180 x 47 x 76.5cm RRP £1400

An octagonal marble top coffee table, on a brass stand,157.5cm diameter41cm high Reputedly the balusters were removed from the Old Bailey, and Charlie Wearn of Newport, Essex, a well known architectural salvage dealer, then created this table in the 1960s.

Salvage Pilaster Lamp Table-Genuine English Reclaimed Timber 570mm Diameter X 780mm Tall rrp £790

Salvage X Frame Console Table 180 x 47 x 76.5cm RRP £1400

Salvage X Leg Side Table A Beautiful Side Table With Rustic Finish, Ideal To Sit Beside Your Sofa 50 X 50 X 50cm RRP £605

THE ARMADA TABLE of the O’Brien’sA composed 16th century and later oak and other woods and marquetry rectangular refectory table, the cleated plank top above a frieze applied with twelve grotesque masks, (two further masks are lacking), one long side with Dutch-style floral marquetry, the other side plain, the ends veneered with re-used filigree marquetry, raised on boldly carved heraldic lion corner supports, probably from a tropical hardwood such as manilkara or bullet-wood, while two central supports are in the form of Hope and Charity, on a moulded stretcher base with cross supports.242cm x 91cm x 82cm highProvenance: Boethius Clancy, High Sheriff of Clare, c.1588 and later gifted to the O’Brien’s of Lemenagh, Co. Clare. Thence by descent through the O’Brien Clan to the current Lord Inchiquin, 18th Baron. The table was relocated from Lemenagh Castle to Dromoland Castle after 1660, remaining there until 1962 when it was removed to Bunratty Castle.Literature: The Knight of Glin & James Peill, Irish Furniture, Yale 2007James Frost, The History and Topography of the County of Clare, Sealy, Bryers & Walker, Dublin 1893, p.252/253.Daniel Augustus Beaufort’s Journals, TCD, MSS 4024/4033, pp.53-4 Ivar O’Brien, O’Brien of Thomond, The O’Briens in Irish History 1500-1865, Chichester 1986, pp.195-6Grania O’Brien, These my Friends and Forebears, The O’Briens of Dromoland, Whitegate, Co Clare 1991, p.4The Armada Table is described by The Knight of Glin in Irish Furniture (Yale, 2007) as ‘one of the most important and earliest pieces of Irish furniture.’ He proceeds to quote from D.A. Beaufort’s 1786 travel diaries:In a long tiled gallery full of maps, & stag horns & other such things is a very curious massy table of some kind of mahogany, with 4 Lions for legs & in the middle Hope on one side & Charity on the other, for supporters - all rudely carved. This table was taken out of one of the Ships of the Armada wrecked on this coast 200 years ago.The Knight further comments: ‘Upon close examination, the heraldic lion supports and figures of Hope and Charity below grotesque masks on the frieze were probably part of the ornamental woodwork of a Spanish galleon. The frieze is inlaid with Dutch-style marquetry of flowers on one long side only, while each end is veneered with reused filigree marquetry below a cleated plank top. To have rescued such a large piece of furniture sounds unlikely; it is much more likely that the table was assembled in the 1640s where it would have been possible to display it in Máire’s new manor house, some fifty years after the Armada wreck. Doubt could be cast on the age of the table if we did not have Beaufort’s description; the re-used marquetry is probably part of further alterations in the nineteenth century when the ‘antiquarian’ vogue was at its height. The present top on the table is most probably a nineteenth century replacement but there are still signs on the table frame of the draw-leaf mechanism that he described. It is now exhibited in the solar at Bunratty.’The story of the Spanish Armada’s experience on the west coast of Co. Clare is an unhappy one. In early September, 1588 seven ships of the Armada, of varying size came into the mouth of the Shannon and anchored in the safe harbour at Carrigaholt, east of Loop Head. The Coroner of Thomond, Nicholas Cahane, went on board to interview the strangers but could get little information except that they were in serious need of drinking water. James Frost notes that the Spanish dispatched a boat to nearby Kilrush offering to exchange wine for fresh water. The locals however were wary as the Sheriff of the county was under orders to refuse supplies of every kind, and he was to execute all Spaniards who might come on shore, and presumably any natives who might assist them.Despairing, the galleons once again put to sea, prepared to take their chances on the ocean. The following day a vessel was seen anchored in a wild spot, as Frost called it, a mile west of the castle of Liscannor. Pedro Baptista, purser of the ‘Sumiga’, landed on shore in search of water and was duly arrested. He stated that the crew were perishing due to a lack of water and that the master had already died of thirst. Other Spanish vessels were observed from the shore and on the 10th of September one drifted into a bay near Doonbeg, and became a total wreck. Three hundred of the crew were drowned , and about sixty men who had landed were slaughtered by the locals or executed by order of Sir Turlough O’Brien of Tromroe. Further ships also ran aground and were wrecked. Frost notes that from the surrounding country, the population came down to the shore for plunder. ‘Such of the unhappy foreigners as escaped drowning were executed by Boethius Clancy, high Sheriff of the county, assisted by Sir Turlough O’Brien, Captain Mordaunt and Mr. Morton. A massive table, preserved at Dromoland Castle, is almost the only relic, left in Clare, of the disastrous fate of the Spanish Armada.’Boethius Clancy, (d.1598) was born in Co. Clare into a well-educated family, the hereditary lawyers or brehons of Thomond. In 1585 he was the representative of the newly formed County Clare in the Parliament of Ireland and in 1588 was appointed High Sheriff of Clare. That same year the Spanish Armada were attempting to make their way home through severe storms off the west coast of Ireland and many ships were wrecked or abandoned. Clancy was authorized by the Lord Deputy to “.... take all the hulls of ships, stores, treasures etc, into your hands and to apprehend and execute all Spaniards found there of what quality so ever.” A report states that Clancy rounded up and imprisoned as many as 170 Spanish crew who were subsequently hung on a nearby hill not far from Doonagore Castle, Cnoc na Crocaire (Hangman’s Hill), and the bodies buried in a mass grave nearby. It was noted that Clancy managed to salvage timber and decorations from the wreck and had a table made from it, the heraldic figures coming from the stern of a galleon. This is the table that was subsequently gifted to Sir Donough O’Brien of Lemenagh.Descending directly from the tenth century High King of Ireland Brian Boru, the O’Briens, Barons of Inchiquin are synonymous with Dromoland, one of the most famous baronial castles in Ireland and the clan’s ancestral home for nigh-on nine hundred years. Three castles are however associated with the O’Briens - Lemenagh, Dromoland and Bunratty.In 1014, Donough O’Brien, a son of Brian Boru, controlled Dromoland when it was a defensive stronghold. Donough was deposed in 1063 and went on pilgrimage to Rome and there gave the Irish Crown to the Pope. He died in Rome the following year and was buried in the basilica of Santo Stefano al Monte Celio. Lemenagh Castle, located between Corofin and Kilfenora, was built circa 1480-90 probably by Turlough Don O’Brien, King of Thomond and was originally a basic, 5-storied Irish tower house

A large contemporary wooden and metal table composed of salvage elements

A 19th century boxwood circular table snuff box, push-fitting cover transfer printed with overlaid stars, 9.5cm diam, c.1840; a maritime salvage desk weight, as a book, the spine with tooled and gilt leather mount inscribed 'Royal George', 8.5cm long; a Regency rectangular box, the sliding cover transfer printed with a named view of Chilton Lodge, Berkshire, 6.5cm wide; etc (5)

Mercantile Law.- Beawes (Wyndham) Lex Mercatoria Rediviva: or, the Merchant's Directory, fourth edition, imprimatur leaf at beginning, folding letterpress table of currencies, some spotting or soiling, contemporary calf, rubbed and slightly stained, joints split, corners and spine ends worn, for J.Rivington..., 1783; and another, mercantile, folio & 12mo (2) ⁂ Including information on wrecks & salvage, ports & harbours, pirates etc.

Maritime Salvage - a 19th century treen book shaped page weight, the spine applied with a tooled and gilt title label inscribed Part of the Wreck of the Royal George, 11.5cm long, c.1850Launched in 1756, HMS Royal George foundered at Spithead on 29th August 1782. After initial attempts at the time, salvage operations were undertaken in 1834 and 1839 before the remaining wreckage was blown up by the Royal Engineers in 1840. In the following decade timber from the wreck was used to make a billiard table for Burghley House.

Salvage Pilaster Lamp Table-Genuine English Reclaimed Timber 570mm Diameter X 780mm Tall rrp £790

Balustrade Salvage Dining Table Base Only - The Salvage Collection Tells An Inspiring Tale Of Ecological Conservation And Sustainability The Collection Is Constructed From Century-Old Reclaimed Pine From The Uk Hailing From Different Origins Including Disused Estates And Mills Whisky Distilleries And Other Former Structures Each Piece Is Therefore Unique And Each Tells A Different Story Painstakingly Restored By Hand Intricate Details Of The Wood Are Preserved To Reflect Centuries Of Weathering And Use While Contemporary Accents Of Metal Add A Touch Of Boldness And Modernity

Gunbarrel Salvage Dining Table 300cm Genuine English Reclaimed Timber 300x100x78cm RRP £ 3774

A Leg Coffee Table Medium Salvage Top

Gunbarrel Salvage Dining Table 213cm Genuine English Reclaimed Timber 213x100x79cm RRP £ 3459

Salvage Baluster Console Table Genuine English Reclaimed Timber 180 x 45 x 76cm

Industrial salvage - a large weathered pine cable drum table, circular top, H section girder legs. 71cm high x 139cm diameter.