Howgego Historic Modern

Lusia Robinson: Infinity Vase This vase is characteristic of Robinson’s work emphasizing materiality within form integrating indigenous materials with modern technology and applicat...

Lusia Robinson: Bamboo sculpture This sculpture is characteristic of Robinson’s work emphasizing materiality within form integrating indigenous materials with modern technology and ...

Robert Fournier (1915-2008), stoneware, tall flattened, bottle, circa 1960-1965 This bottle is from the same series as No.2008.658.18 in the Metropoli...

Alan Wallwork (1931-): Organic landscape sculptural vessel, 1960-1965 Exhibiting the articulated, inventive, organic qualities & tactility of Wallwork’s early oeuvre for which he is best known - This sculptural landscape vessel has been handmade by coiling, slabbing and shaping the clay. The totemic form and pitted and pierced surfaces draw on the abstract landscape and tactility of elements in nature. matte glazes and oxides have been skillfully used to enhance the rich textures of the surfaces and the organic aesthetic. - Wallwork is one of the great individualists in British pottery, developing an archetypal language that echoed some of the wider artistic obsessions of that period, what the art critic Herbert Read called the “postwar ferment” of sculptural activity. - This piece was made during 1960-1965, the time that Wallwork was sharing a studio in Greenwich with Bernard Rooke and comes from a private collection along with a waterscape vase by Rooke and a bottle by Robert Fournier...

Bernard Rook (b.1938): Organic Waterscape Vase, 1960-1965 Rare example of Rooke’s oeuvre demonstrating his inventive artistic talents to the full - A ...

Martin Freyer for Rosenthal Studio: Massive, black, porcelain, pleated or plissee vase, 1968 - The pleated vase is known as Martin Freyer’s best work ...

H&C Heinrich, massive, white, porcelain, sculpted, floor standing, vase, circa 1960 - The massive height, white monochrome and sculpted surface create a rare, floor standing, cera...

Fine, pair of 19th century, ottoman revival, canakkale, green and ochre, gilded and moulded, terracotta ewers - Characteristic of the unique Canakkale Ottoman Revival style in for...

Ancient Egyptian Revival: 19th century, carving of Horus in the form of a falcon - Beautifully carved classical composition in low relief ...

An exceptionally, rare 18th century, upholstered wing armchair with a scalloped back from Notley Priory & the collection of Vivien Leigh & Laurence Oliver...

An exceptionally, rare 18th century, upholstered, elm, wing armchair with a scalloped back from Notley Priory & The Collection of Vivien Leigh & Laurence ...

Mid-Century Modern, orange enameled, extending floor standing or reading lamp with original shade extending to 66 inches - Elegant pared down form amalgamating three materials, me...

A Henry Moore Inspired, pine, figurative, sculpture upcycled into a 17” high, table lamp - Unusual statement and conversation piece; injecting modernism and organic form and textu...

A Mother & Child, Naïve, Baroque, oak, sculpture, upcycled into a 25” high, table lamp - Unusual statement & conversation piece; introducing an enduring classic theme into the int...

Abstract expressionist, steel, sculpture, Upcycled Into A 16” high table lamp- metal and welder sculptors rose to prominence after WWII, following Julio González and Pablo Picasso an...

An unusual, pair of vintage, Lake & Elliot, metal, car jacks, circa 1950, upcycled into 18" high table lamps - Unusual conversation piece; part of automobile history, of interest ...

An exceptional wood and brass, victorian, print roller upcycled into a 26½” high table lamp - Dating from the mid-19th century this print roller was used to block print wallpapers...

An unusual pair of wood, metal and textile Victorian, Print Rollers Upcycled into 27½ high Lamps - Dating from the mid-19th century this pair of print rollers were used to block print wallpapers...

A rare, 19th century, burgundy and ivory, cut-velvet, small cushion moulded mirror with original cresting - Surviving textile mirrors are rare, the lovebirds are a charming featur...

A rare, matched pair of ebonised armchairs from The Baroque & Baroque-Revival Periods & An Antiquarian, Baroque stool - From a private, furniture collection, acquired to represent three different periods of European manufacture & collecting of ebonised furniture...

Rare, early 17th century, Spanish, leather, ‘Arcon’ or domed travelling coffer with a gilded armorial & ornamented with brass studwork. Surviving utalitarian pieces such as travel...

Rare, small, late-Renaissance, Nuremberg, iron, 'armada box', strongbox or travelling safe with its original, naïve, painted decoration This is a rare, s...

A museum quality, English, Late-Renaissance, cedar enclosed chest of drawers with exceptional snakewood, walnut & oak with an architectural or façade front This is the most sophisticated English model of chest of drawers conceived as a cabinet piece with an architectural front intended to disguise the drawers. This chest exhibits the mastery of English Late-Renaissance, cabinet making combining woods prized for their exoticism, color and beautiful figuring with carving and moulding in different ornamental patterns to simulate materials found within an architectural façade...

An exceptionally rare, late-Renaissance, Florentine, walnut, writing cabinet, scrittoio, escritoire or desk in two parts This striking, writing cabinet has a classical form, ornam...

A rare, late 17th century. ‘X’ stretchered, ebonised, oak stool upholstered in 17th century verdure tapestry Unusual simulating ebony which was phenomenally expensive and only found in Royal and aristocratic collections at this time This stool is sophisticated, elegant and refined and the flying bird on the tapestry is a charming and unusual feature. The fine turnings, and x-stretcher evolved into the design of late-17th century English furniture in response to Continental fashions. At the same time, cabinet makers responded to the fashion for expensive Oriental laquered furniture by ebonising or black-japanning...

A fine, large, late 17th century, Flemish, open armchair in the style of Daniel Marot with an upholstered seat This fine, armchair is an, unusually, large size and the carving is of exceptional quality reflecting the status of the owner it was made for. It is sturdy and in usable condition. Chairs of this type, with tall, intricately carved backs, were placed in rows against a wall forming part of the decoration of a room. The carving of the back of this chair is French in style and was based on decorative prints by Daniël Marot The cresting carved with a profusion of acanthus leaf scrolls. The back with fine, pierced carving. The mid-section with a central flowerhead with scrolled shields above and below ornamented with flowerheads acanthus leaf crestings. Two pairs of carved ‘S’ scrolls ornamented with acanthus leaves either side. The tapering turned sections surmounted by ionic capitals and supporting back of the scroll arms carved with acanthus leaf ornament. The front arms supported by baluster and tapering turned sections ornamented with acanthus leaf carving. The legs joined by a shaped ‘H’ stretcher with central finial, on bun feet. The upholstered seat reupholstered in a bargello woven in tones of blue, green, red and gold faced with braid and brass studwork. The back of the chair has an incredible, 19th century, oak support from the cresting to halfway down the back, which has been beautifully carved to conform with the open sections of the back, and two braces down the length of the back. There are also two oak supports behind seat blocks at the top of the legs. These repairs are sensitive to the model of chair and have become part of its character and features in their own right and they are very interesting from a conservation history perspective. There are two old repairs to a small break in the cresting on the right hand side and the hairline cracks are visible, an old repair to a small break in the top right of the central splat with a small piece added and a visible hairline crack. The right side of the back has noticeable worm damage on the right seat block which is probably the root cause of the break on the block on this side from impact as the chair probably fell backwards at some point and either onto its right side or it hit something on that side and the block weakened by worm gave way as the damage to the chair is localised on the far right side. Because the backs are high on these Daniel Marot chairs they are top heavy and invariably do have damage to the backs and crestings from impact damage so this is not unusual. The right block has been repaired thoroughly and is stable and there is no live worm in the chair. It would be possible to disguise these repairs but I have left them as they are consistent with the 19th century date of the supports and conform with museum standards. A full set of photographs...

This is a fine example of a Renaissance period credenza or sideboard that would have been made for an Italian Palazzo. The shaped moulded panels and brass studwork ornamentation are ...

A rare pair of late-Renaissance, Italian, upholstered, walnut, throne, open, armchairs or coppia di seggioloni, retaining their original armorials These throne armchairs are characteristic of those found in Palazzo's in the Renaissance. They are elegant and substantial, injecting gravitas into the period or contemporary interior. It is exceptionally rare feature that they retain the original armorials with Ducal coronets which are beautifully worked in gold threadwork. One bears three fleurs-de-lys above three swords and the other a lion rampant. They are sturdy and usable and have a wonderful, lustrous, rich patina. The rectangular backs and seats re-upholstered in a c.1920 mohair...

A large vintage teak table desk, writing table, dressing table or side table. Measures: 6 feet 2 ½”long, large The form of this table is extremel...

Exceptional, early 17th century, Spanish, leather, ‘Arcon’ or domed travelling coffer ornamented with brass studwork Surviving utalitarian pieces such as travelling coffers from t...

This rare cassettone oozes charm and character. The carved decoration is particular to Brescia in Lombardy and the knobs are a rare feature carved as flowerheads to the petals behind...

Designer : Gilbert Rohde Model ; Dresser 4041 Honeymoon Furniture for Young America, Maker : Kroehler Exhibited : 'America at Home' at the New York World's Fair 1940. Created by Gilbert Rohde, 1940's foremost furniture designer, expressly to demonstrate modern living displayed in the 'America at Home' building at the New York World's Fair 1940. Honeymoon furniture by Kroehler is outstanding in contemporary furniture design. Notice its space saving compactness, its sturdiness, its freedom from dirt catching corners. Honeymoon furniture offers comfort, convenience and economy never before possible in the small home or apartment The use of two different coloured woods to create a two-tone effect is very striking and complements the simple form. This unusual chest of drawers is a signature piece that injects character into any interior. The raised sides sit proud of the top elevating the chest creating an elegant tray effect. The front is fitted with three drawers with original wooden knobs in contrasting dark brown laurel. The sides have a projecting section of contrasting dark brown laurel at the front which defines the form. Inverted triangular feet. "Kroehler Made" metal tag. Designer unknown. Kroehler In 1902, Peter E. Kroehler bought the Naper ville Lounge Co., a maker of wooden lounge chairs and upholstered furniture. Kroehler built a new factory in Naperville in 1913 after the original facility was destroyed by a tornado. Soon thereafter, he renamed the company Kroehler Manufacturing Co. This enterprise soon operated across the country and employed several hundred men and women in the Chicago area. By the middle of the 1940s, with over $20 million in annual sales, Kroehler was the second-largest furniture maker in the United States. During the 1960s, when the company employed close to 8,000 people around the country, annual revenues passed $100 million. The company struggled during the 1970s, closing its historic Naperville factory in 1978 and ending its operations in the area. In 1981 Kroehler was acquired by the ATR Group of Northbrook, which put the company up for sale. By the early 2000s, furniture was still manufactured under the Kroehler name by two unrelated companies, one in North Carolina and the other in Ontario, Canada. Gilbert Rhode : American, 1894 - 1944 Gilbert Rohde (1894-1944) is best known for helping to create the modern design at Herman Miller Inc. Gilbert Rohde furniture design was focused on mass production and bringing modern products to the greatest number of consumers. He is also credited with designing the first examples of biomorphic furniture in America-which would ultimately shape mid century modernism. US industrial designer, born in New York. He became familiar with cabinetmaking in his father's shop. He studied at the Art Students League and Grand Central School of Art in New York. Early work was as a drama and music critic, cartooninst, reporter, and furniture illustrator. He traveled to France and Germany in 1927 and was inspired by modernism. He opened his own office in New York in 1927, designing furniture and showrooms, and consulting with manufacturers like General Electric and Hudson Motor Car Company. In 1931 HeywoodWakefield Company introduced a compact armless leatherette side chair with bentwood rear legs designed by Rohde, which sold 250,000 over the next eight years. Rohde also developed a later version for the Herman Miller Furniture Company, which was sold dis-assembled and made by what Rohde called an "automobile type of assembly." By 1929 he had established a relationship with D.J. Depree, president of the Herman Miller Furniture Company in Zeeland, MI and prepared some designs for him. Dupree appointed him director of design there in 1932 as part of his decision to shift the company’s orientation from traditional to modern design. His first modern design for the company, a No. 2185 Group bedroom suite was shown at the Chicago Century of Progress. Also in 1932, Rohde exhibited his furniture designs in a "Design for Machine" exhibit in Philadelphia, along with designs of Russel Wright. The Herman Miller Clock...

This unusual stool has a fine sculptural quality, combining functionality with artistic merit. The kneeling cherub is in service, holding the elaborate ...

The backs and seats with six tufts (buttons) and the fronts with three tufts (buttons). The sides and backs plain. The edges self-piped. On castors. In as new condition. Designer unk...

The outside and inside rectangular back and seat re-upholstered, during its last ownership, with an off-white and grey/blue cotton/linen mix fabric faced with close nailed brass stud...

The circular 2 cm/0.75in thick, tilt-top is made from a solid piece of mahogany with beautiful flame figuring. Unusually, the tilt-top mechanism and brassware are original. The stem ...

These card tables are the same model with some minor differences; one has a plum pudding figured frieze and boxwood escutcheon and the other is slightly larger. It is difficult to source pairs...

This characterful table is of rare narrow depth of 39cm. It is characteristic of Spanish Baroque furniture with a thick single piece top, simple bold chip carved ornament and bold turnings. It has a rich lustrous patina. The thick single plank walnut top with fine figuring. The front fitted with two short drawers decorated with chip carving...

Painted cloths were fashionable wall-hangings in the 17th century as they much cheaper than tapestries and woven textiles. Very few survive from this per...

John Ogilby (British 1600-1676) cosmographer and geographick printer to Charles II. A road map from Britannia, 1675/6. No 5, The road from London to Barwick: London to Stilton In a grey painted and gilded frame. In a remarkable life John Ogilby pursued, several careers, each ending in misfortune, and yet he always emerged undeterred, to carry on. His modern reputation is based on his final career, started in his sixty-sixth year, as a publisher of maps and geographical accounts. Ogilby was born outside Dundee, in 1600, the son of a Scottish gentleman. While he was still a child, the family moved to London. When the elder Ogilby was imprisoned for debt, the young John invested his savings in a lottery, won a minor prize, and settled his father's debts. Unfortunately, not enough money was left to secure John a good apprenticeship; instead, he was apprenticed to a dance master. Ogilby was soon dancing in masques at court but, one day, while executing a particularly ambitious leap, he landed badly. The accident left him with a permanent limp, and ended his dancing career. However, he had come to the attention of Thomas Wentworth, later Earl of Strafford, Charles I's most senior minister. Ever one to exploit his contacts, Ogilby became a dance instructor in Strafford's household. When Strafford was sent to Ireland, Ogilby accompanied him as Deputy-Master of the Kings Revels, and then Master of Revels. In Dublin, he built the New Theatre, in St. Werburgh Street, which prospered at first, but the Irish Rebellion, in 1641, cost Ogilby his fortune, which he estimated at £2,000, and almost his life. After brief service as a soldier, he returned to England, survived shipwreck on the way, and arrived back penniless. On his return, Ogilby turned his attention to the Latin classics, as a translator and publisher. His first faltering attempt, in 1649, was a translation of the works of Virgil, but after his marriage to a wealthy widow the same year, his publishing activities received a considerable boost. One means by which Ogilby financed these volumes was by subscription, securing advance payments from his patrons, in return for including their name and coats-of-arms on the plates of illustrations. Another approach was to secure a patron, preferably in the court circle. Ogilby's first patron was Strafford, who found out too late that all leading ministers are dispensable when Charles I assented to his execution in 1641. As he re-established himself, Ogilby sought a new patron, the King himself. In 1661, Ogilby was approached to write poetry for Charles II's coronation procession; he later published 'The Relation of His Majesties Entertainment Passing Through the City of London', and a much enlarged edition the following year, which included a Fine set of plates depicting the procession. Royal favour was bestowed in 1674 when John Ogilby received the title of 'His Majesty's Cosmographer and Geographick Printer' with a salary of £13.6s.8d per annum. In 1665, Ogilby left London to avoid the Plague then ravaging the capital. The following year, in the Great Fire of London, Ogilby claimed that he lost his entire stock of books valued at some £3,000, as well as his shop and house, leaving him worth just £5. As he sought to restore his fortunes, Ogilby was already looking in new directions. The initial opportunity he seized on was the reconstruction of London's burnt-out centre. He secured appointment as a "sworn viewer", whose duty was to establish the property boundaries as they existed before the Fire. Ogilby was assisted in the project by his step-grandson, William Morgan, and by a number of professional surveyors. The result was an outstanding plan of London, on a scale of 100 feet to an inch, on 20 sheets, although it was not printed until after Ogilby's death. Ogilby then turned his attention to publishing geographical descriptions of the wider-world. In 1667, he issued 'An Embassy from the East India Company of the United Provinces to the Grand Tartar Cham, Emperor of China.' Buoyed by the response to this volume, Ogilby conceived an ambitious project, a multi-volume description of the world. The volumes were joint collaborations, in conjunction with the Dutch publisher Jacob van Meurs. 'Africa', published in 1670, was the least original of the three, both in terms of the text, maps and illustrations. In a similar vein, he issued the 'Atlas Japannensis' (1670), the 'Atlas Chinensis' (1671), and 'Asia' (1673). In 1671, Ogilby published the 'America', translated from Arnold Montanus' Dutch text. The 'America' is certainly the most original, and most important, of Ogilby's various geographical volumes, and its influence and popularity was immediate. With its completion, Ogilby turned to a project nearer his heart, the description of Britain. Ogilby originally intended to devote one volume to Britain, but as the project evolved, he became more ambitious, as revealed in a prospectus issued in about 1672: "This having oblig'd our Author to take new Measures ... to compleat within the space of two Years a Work ... considering the Actual survey of the Kingdom, the Delineation and Dimensuration of the Roads, the Prospects and Ground plots of Cities, with other Ornamentals ... into six fair volumes. The Four first comprehending the historical and geographical description of England, with the County-Maps truly and actually survey'd. ... The fifth containing an Ichnographical and Historical Description of all the Principal Road-ways in England and Wales, in two hundred copper sculptures, after a new and exquisite method. The sixth containing a New and Accurate Description of the famous City of London, with the perfect Ichnography thereof ..." In the proposals, Ogilby emphasised the scale of the undertaking; no-one before him had attempted such a vast project. He estimated the total costs would be £20,000, a staggering amount. The cost of the complete set of six volumes was to be £34. At that time, Wenceslas Hollar...

Flemish scenes of activity on the river with sailing barges, fishermen and cranes. Within flowerhead borders, second half of the 18th century. In a modern giltwood frame with the rem...

Brass handle, bone handle, brush.

This was adapted from the silver chandelier hanging at Knole in Kent, exclusively for use in a conservation project at Hampton Court. It has an antique, silver plated finish. There i...

This historically-accurate fitting was recreated exclusively for the conservation project at Queen’s House Greenwich in the early 1990s. It has a polished, silver plate finish. It ha...

The top fitted with a removable gallery with fine brass filigree depicting lion heads and crowns amongst trailing stems. The mahogany, fall-front fitted with a later writing slope, a...

The polished brass acanthus leaf corona supports six rectangular split link chains holding a black painted bowl with an ormolu pendant. The five polished brass double candle...

The rope twist handle above an acanthus leaf stem terminating in the form of a bell.  

The pillows or cushions are made from late 19th century crimson velvet. This has been applied with 19th century needlework panels. The needlework has a cream ground embroidered with ...

The inside centre decorated with the inscription, “Great Yarmouth 1744”, surrounding the blazon of the arms of the town (three lions passant guardant in...

Lovely cassone with classical form, the beautiful figuring of the oak creates subtle, decorative patterning and the simple mouldings give a light, contemporary feel. The rich, lustr...

The countye of Monmouth with the situation of the townshire described Anno, 1610 The reverse with Monmouthshire, Chapter VI and an alphabetical list of towns. In a beautiful Flemish oak polished and gilded frame Cartographer: John Speed...

Cartouche-shaped with a lady standing beside a fence on a terrace amongst blossom sprays and peonies with an acrobatic bird and insect flying overhead. The border in moulded relief w...

Lovely, carved detailing the the edge of the top and rococo scrollwork stem and feet which incorporate shell detailing inside the scrolls This table is crisply carved with characteristic grotto ornamentation creating the form with the scrollwork stem and legs carved with shell and other motifs. The top has an unusual 4cm carved acanthus leaf edge. The use of oak shows that, unlike much grotto furniture...

This panel is beautifully carved and has developed a lustrous patina over time.

Laurence Edwards A.R.B.S. (B. 1967): Hare carcass table sculpture, modelled from observational studies Bronze, united with 1 ¼ in thick, 17th century Spanish fruitwood top. This t...

Few coach panels survive. This is a striking example with the double headed eagle, gilded armorial and burgundy background. The closest I can find to ar...

Serpentine-shaped ottoman, mid-19th century, English, Victorian, with mahogany skirt and feet and upholstered in burgundy leather This handsome ottoman is really practical offering ...

This pelmet is exceptionally long. The Brussels tapestry is finely woven with fruits and trailing stems and the colours are not faded. It works as a hanging in its own right, but could also be adapted as a curtain or bed pelmet...

The back and seat fully upholstered in a fawn colored mink. Standing on turned ebonised front legs with brass cappings and tapering ebonised back legs. Measures: Width 51 cm, 20 ...

An 18th century, oak top with slate inset united with a contemporary, Spanish influenced, low, iron base This table is very striking and an ideal height to be used as an occasiona...