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Philip Webb Auction Price Results

Philip Webb (1831-1915)  Please Register/Login to access your Invaluable Alerts

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Philip Webb for Morris & Co., an oak centre table, circa 1870,

Lot 89: Philip Webb for Morris & Co., an oak centre table, circa 1870,

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Description: Philip Webb for Morris & Co., an oak centre table, circa 1870, the rectangular top above a stepped moulded border on turned splayed legs with cross stretchers and a moulded stretcher with four turned uprights on plinth bases with castors Philip Webb (1831-1915) was chief furniture designer for Morris, Marshall, Faulkner and Co, and later Morris & Co. His furniture designs demonstrate a solidity and architectural presence with features drawn from his knowledge of early furniture from around the world. An example of this design can be seen in the long drawing room at Kelmscott House where Morris lived from 1878. See 'Nineteenth Century Furniture Design' by Charlotte Gere and Michael Whiteway, pl 260 and 'William Morris, His Life, Work and Friends' by Philip Henderson. h:73 w:180 d:60 cm

Condition Report: There is a deep scratch to the top surface. The planks that make up the top have parted slightly. Some marks and scratches, generally commensurate with age and use, but generally in good condition. 73cm high, 180cm wide, 60cm deep

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Philip Webb (1831-1915), the drawing of a fox for

Lot 116: Philip Webb (1831-1915), the drawing of a fox for

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Description: Philip Webb (1831-1915), the drawing of a fox for the Morris & Co. tapestry The Forest, the tapestry designed by William Morris, Philip Webb and John Henry Dearle and woven in 1887 at Merton Abbey, Watercolour and pencil, Dated Michaelmas Day 1886 upper left, Bearing exhibition loan label to the reverse: Wolverhampton Art & Industrial exhibition, 1902, lent by W. Hodson Esq, 89 x 58cm (35 x 22 3/4in), Oak framed. Exhibited: Victoria & Albert Museum 'Centenary of William Morris', 1934, no. 60 (set of four). Wolverhampton Art & Industrial exhibition, 1902. Literature: Parry, Linda 'William Morris Textiles' New York 1994, p. 111, illustrated. Laurence W. Hodson was chairman of the Fine Art Committee for the Wolverhampton Art and Industrial Exhibition in 1902. The Forest tapestry is now in the Victoria & Albert Museum (T.111-1926). In a letter to the executors of Laurence Hodson in the family papers the then director of the V&A, Eric Maclagan, enquires as to the possibilty of loaning the drawings for the 1934 exhibition. He further notes 'Perhaps I might also add that the Webb drawings are of particular interest to us here as we acquired the tapestry itself for our collection not many years ago. If therefore any question of their ultimate sale arises, I hope we may be given the opportunity of considering their purchase, although our means are at present exceedingly restricted owing to the cutting off of our purchase grant (plus ça change!)'.

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Philip Webb (1831-1915), the drawing of a hare for

Lot 117: Philip Webb (1831-1915), the drawing of a hare for

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Description: Philip Webb (1831-1915), the drawing of a hare for the Morris & Co. tapestry The Forest, the tapestry designed by William Morris, Philip Webb and John Henry Dearle and woven in 1887 at Merton Abbey, Watercolour and pencil, Bearing exhibition loan label to the reverse: Wolverhampton Art & Industrial exhibition, 1902, lent by W. Hodson Esq, 87 x 57cm (34 1/4 x 22 1/2in), Oak framed. Exhibited: Victoria & Albert Museum 'Centenary of William Morris', 1934, no. 60 (set of four), Wolverhampton Art & Industrial exhibition, 1902, Literature: Parry, Linda (editor) 'William Morris 1834-1896' V&A exhibition catalogue 1996, p. 233, fig. 99, illustrated. The tapestry now in the Victoria & Albert Museum (T.111-1926). In a letter to Laurence Hodson in the family archive the former secretary of the Kelmscott Press, Sydney Carlyle Cockerell (1867-1962, later director of the Fitzwilliam Museum, Cambridge), notes 'I want to settle up the matter of the Webb cartoons, though I shall be sorry to part with the Hare which now adorns my office'.

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Philip Webb (1831-1915), the drawing of a raven

Lot 118: Philip Webb (1831-1915), the drawing of a raven

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Description: Philip Webb (1831-1915), the drawing of a raven for the Morris & Co. tapestry The Forest, the tapestry designed by William Morris, Philip Webb and John Henry Dearle and woven in 1887 at Merton Abbey, Pencil, 66 x 49.5cm (26 x 19 1/4in), Oak framed. Exhibited: Victoria & Albert Museum 'Centenary of William Morris', 1934, no. 60 (set of four)

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Philip Webb (1831-1915), the drawing of a lion for

Lot 119: Philip Webb (1831-1915), the drawing of a lion for

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Description: Philip Webb (1831-1915), the drawing of a lion for the Morris & Co. tapestry The Forest, the tapestry designed by William Morris, Philip Webb and John Henry Dearle and woven in 1887 at Merton Abbey, Watercolour and pencil, 58 x 72cm (22 3/4 x 28 1/4in), Oak framed. Exhibited: Victoria & Albert Museum 'Centenary of William Morris', 1934, no. 60 (set of four)

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PHILIP WEBB (1831-1915) FOR MORRIS, MARSHALL. FAULKNER & CO. OAK CENTRE TABLE, DESIGNED 1860S 128cm diameter, 74cm high

Lot 265: PHILIP WEBB (1831-1915) FOR MORRIS, MARSHALL. FAULKNER & CO. OAK CENTRE TABLE, DESIGNED 1860S 128cm diameter, 74cm high

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Description: PHILIP WEBB (1831-1915) FOR MORRIS, MARSHALL. FAULKNER & CO. OAK CENTRE TABLE, DESIGNED 1860S the circular top raised on six ring turned legs enclosing a central support, each joined by stretchers 128cm diameter, 74cm high

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ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY PAIR OF EBONISED 'SUSSEX' ARMCHAIRS, CIRCA 1880

Lot 266: ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY PAIR OF EBONISED 'SUSSEX' ARMCHAIRS, CIRCA 1880

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Description: ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY PAIR OF EBONISED 'SUSSEX' ARMCHAIRS, CIRCA 1880 each with spindle filled backs, above open armed and rush seats, raised on turned legs, linked by stretchers (2)

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ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY SET OF EIGHT EBONISED 'SUSSEX' CHAIRS, CIRCA 1880

Lot 269: ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY SET OF EIGHT EBONISED 'SUSSEX' CHAIRS, CIRCA 1880

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Description: ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY SET OF EIGHT EBONISED 'SUSSEX' CHAIRS, CIRCA 1880 each with spindle filled back and turned upright, above six rush and two cord seats, on turned legs linked by stretchers (8)

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ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY SET OF SIX EBONISED 'SUSSEX' CHAIRS, CIRCA 1880

Lot 270: ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY SET OF SIX EBONISED 'SUSSEX' CHAIRS, CIRCA 1880

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Description: ATTRIBUTED TO PHILIP WEBB (1831-1915) FOR MORRIS & COMPANY SET OF SIX EBONISED 'SUSSEX' CHAIRS, CIRCA 1880 each with spindle filled back and turned upright above four rush and two cord seats on turned legs linked by stretchers (6)

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PHILIP WEBB (1831-1915) FOR MORRIS & CO. ROSEWOOD FRAMED AND UPHOLSTERED SOFA, CIRCA 1890 195cm across

Lot 288: PHILIP WEBB (1831-1915) FOR MORRIS & CO. ROSEWOOD FRAMED AND UPHOLSTERED SOFA, CIRCA 1890 195cm across

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Description: PHILIP WEBB (1831-1915) FOR MORRIS & CO. ROSEWOOD FRAMED AND UPHOLSTERED SOFA, CIRCA 1890 the buttoned back above serpentine seat on spirally reeded baluster legs linked by stretchers 195cm across

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PHILIP WEBB (1831-1915) FOR MORRIS  &  CO., OAK SIDEBOARD

Lot 1228: PHILIP WEBB (1831-1915) FOR MORRIS & CO., OAK SIDEBOARD

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Description: The rectangular molded top over arched opening with colonettes framing compartment with gallery shelf, above case fitted with a long drawer and a short drawer over three paneled cupboard doors above a shaped apron, on stile feet; 4 ft. 11 in. x 5 ft. 1 1/2 in. x 20 1/4 in. Provenance: The Collection of Paul F. Walter, formerly at 420 Ox Pasture Road, Southampton, New York.

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 - Philip Webb (1831 - 1915) , A 'Kelmscott' table

Lot 1: - Philip Webb (1831 - 1915) , A 'Kelmscott' table

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Description: circa 1875 for Morris & Co, oak, the rectangular top raised on four turned supports united by an H-form stretcher and terminating in casters

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Lot 3: After Philip Webb (1831-1915)

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Description: After Philip Webb (1831-1915) Photographic reproductions of 'Design for House for G.P. Boyce Esq./Cheyne Row Chelsea Sheet Nυo 1' and 'Alterations to West House'signed 'Philip Webb', respectively dated 'October 1886' and '10th June 1887', and extensively inscribed21¼ x 28 7/8 in. (54 x 73.4 cm.) (2)

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PHILIP WEBB, 1831 - 1915

Lot 5: PHILIP WEBB, 1831 - 1915

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Description: PHILIP WEBB, 1831 - 1915 BOUGEOIR POUR MORRIS, MARSHALL, FAULKNER & CO., VERS 1861-1863 en alliage de cuivre Quantity: 1 Pour une notice plus complète en français, veuillez consulter le catalogue on-line A rare copper alloy candlestick by Philip Webb for Morris, Marshall, Faulkner & Co., designed 1861-1863 hauteur : 26,5 cm (10 1/2 in.) largeur : 16,5 cm (6 1/2 in.)

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Lot 25: WALTER CRANE, R.W.S. (1845-1915)

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Description: SHEPHERD'S BUSH inscribed and dated "Shepherds" Bush/May "75" (lower left) watercolour heightened with white 14 1/4 x 10 3/4 in. (36.2 x 27.3 cm.) PROVENANCE Colnaghi, London. After a two-year honeymoon in Italy Crane and his wife Mary moved to Florence House, Wood Lane, Shepherd's Bush in May 1873. The name of the house and the poplars surrounding it evoked pleasant memories of their protracted foreign tour, and Crane continued to paint similar subjects to those he had depicted abroad. The houses in Wood Lane, he wrote in his autobiography, "mostly dated from the early years of the nineteenth century, and they all possessed gardens of various and some of considerable extent, with the further advantage of orchards and meadowland, bounded by a fine belt of trees which effectively shut out "the hideous town", and made a pleasant oasis in the midst of brick fields. The house we pitched upon...[had] a pleasant lawn with old apple trees upon it, no doubt originally part of the orchard which still existed beyond the boundary wall" (An Artist's Reminiscences, 1907, p. 154). Our dawing may show the artist's own garden with these apple trees. In 1876 the Cranes' liking for Shepherd's Bush caused them to take a lease of Beaumont Lodge, the house of their friend and neighbour E.J. Poynter, which had a garden studio converted from stables by Philip Webb. The proximity of blossoming apple trees no doubt helped to fuel Crane's obsession with the theme of spring, which he expressed time after time in his paintings. An example close in date to our drawing, The Advent of Spring, which was commissioned by Somerset Beaumont in Italy and painted on Crane's return to London in 1873, was sold by Christie's in New York on 25 May 1995, lot 97. We are grateful to Anthony Crane for his help in preparing this entry.

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Philip Webb (1831 - 1915) for Morris, Marshall, Faulkner & Co , A rare candlestick

Lot 26: Philip Webb (1831 - 1915) for Morris, Marshall, Faulkner & Co , A rare candlestick

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Description: designed 1861-63 copper alloy, the cylindrical stem with upper drip tray and central knop above a sliding adjuster with scroll handle, the large lower drip tray above a dot-and-lozenge engraved stem and pierced domed foot

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AN ARTS AND CRAFTS MAHOGANY CIRCULAR CENTRE TABLE

Lot 45: AN ARTS AND CRAFTS MAHOGANY CIRCULAR CENTRE TABLE

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Description: AN ARTS AND CRAFTS MAHOGANY CIRCULAR CENTRE TABLE DESIGNED BY PHILIP WEBB (1831-1915) FOR MORRIS & Co., CIRCA 1870 With ring turned legs joined by conforming stretchers 29½ in. (75 cm.) high; 48 in. (122 cm.) diameter

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TWO VICTORIAN WINE GLASSES

Lot 46: TWO VICTORIAN WINE GLASSES

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Description: TWO VICTORIAN WINE GLASSES DESIGNED BY PHILIP WEBB (1831-1915), FOR WILLIAM MORRIS, CIRCA 1860 5½ in. (14 cm.) high and smaller (2)

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Lot 69: Philip Webb (1831 - 1915) for Morris & Co. , A rare whatnot

Description: circa 1880 mahogany, with an arrangement of open shelves divided by turned spindles, the baluster-turned uprights surmonted by ring-and-ball turned finials

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Lot 70: Philip Webb (1831 - 1915) for Morris & Co. , A rare whatnot

Description: circa 1880 ebonised wood, the upper shelf with a pierced three-quarter gallery above spindle supports and three further open shelves, the square supports with ring-and-ball turned finials

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Lot 72: Philip Webb (1831 - 1915) for Morris & Co. , A sideboard

Description: circa 1865 mahogany, the arcaded upper section with an interior gallery shelf supported by columns, above three panelled drawers with engraved brass handware and three panelled cupboard doors enclosing shelves, on square feet joined by a shaped apron

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Lot 78: Philip Webb (1831 - 1915) for Morris & Co. , An imposing cabinet

Description: circa 1880 walnut, the inverted breakfront moulded cornice above two central open shelves with turned supports, the panelled back flanked by astragal-glazed cupboard doors enclosing three shaped shelves with panelled sides, the lower section with two frieze drawers above turned supports joined by X-form stretchers with circular undertier

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Lot 79: Morris & Co., attributed to Philip Webb (1831 - 1915) , A writing table

Description: circa 1880 walnut, the rectangular top with black leather writing inset, each side with two small frieze drawers above turned spindle supports joined by an arched stretcher

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- Philip Webb (1831 - 1915) for Morris & Co., attributed to , A rare mahogany canterbury

Lot 89: - Philip Webb (1831 - 1915) for Morris & Co., attributed to , A rare mahogany canterbury

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Description: circa 1875 with three divisions, the moulded frame with pointed uprights, on tapering legs with brass cappings and casters

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- Philip Webb (1831 - 1915) for Morris & Co , A 'Kelmscott' table

Lot 90: - Philip Webb (1831 - 1915) for Morris & Co , A 'Kelmscott' table

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Description: circa 1875 mahogany, the rectangular top raised on four turned supports united by an H-form stretcher and terminating in ceramic casters

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- Philip Webb (1831 - 1915) for Morris & Co. , A long table

Lot 91: - Philip Webb (1831 - 1915) for Morris & Co. , A long table

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Description: circa 1875 oak, the rectangular moulded top above eight reeded and fluted spiral-twist supports joined by a mid-tier, the moulded feet joined by a lower stretcher

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Florence Bell, after Arthur Hughes (1832-1915)

Lot 110: Florence Bell, after Arthur Hughes (1832-1915)

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Description: Elaine with the Armour of Launcelot inscribed 'after A. Hughes 1870' (lower right) and 'The Knight's Guerdon - copied from a picture by Arthur Hughes in the possession of W.W.Pattinson, Esquire, by Florence Bell. November 7th 1870' (in pencil on the reverse) oil on panel with feigned arched top 173/4 x 83/4 in. (44.2 x 22.2 cm.) NOTES This is a faithful full-scale copy of Arthur Hughes's painting Elaine with the Armour of Launcelot, also known as The Knight's Guerdon (private collection; see Leonard Roberts, Arthur Hughes: His Life and Works, Woodbridge, 1997, p. 171, no. 92, and col. pl. 62). The original painting, probably executed in 1867, illustrates one of the most popular scenes in Tennyson's Idylls of the King, the opening lines of 'Lancelot and Elaine': Elaine the fair, Elaine the loveable, Elaine, the lily maid of Astolat, High in her chamber up a tower to the east Guarded the sacred shield of Lancelot. Hughes shows the girl holding her hero's helmet, but her thoughts seem to be the same as those inspired by the shield. Tennyson describes how she Now made a pretty history to herself Of every dint a sword had beaten in it, And every scratch a lance had made upon it, Conjecturing when and where: this cut is fresh; That ten years back; this dealt him at Caerlyle; That at Caerleon; this at Camelot: And ah God's mercy, what a stroke was there! And here a thrust that might have kill'd, but God Broke the strong lance, and roll'd his enemy down, And saved him: so she lived in fantasy. Florence Bell was the daughter of Sir Isaac Lowthian Bell (1816-1904), a metallurgical chemist and ironmaster with extensive industrial interests in the north-east of England. These included ironworks on the Tyne and at Port Clarence on the Tees, as well as a chemical plant at Washington, Gateshead. Like so many Victorians of his type, Bell was intensely public-spirited, serving as Mayor of Newcastle, Deputy Lieutenant and High Sheriff of County Durham, and an MP. He was raised to the baronetcy in 1885, and another daughter, Mary, married Lyulph Stanley, the brother of Rosalind, Countess of Carlisle. Sir Lowthian Bell was a staunch patron of the arts. Rounton Grange, his house at Northallerton in Yorkshire, was built by Philip Webb and decorated by William Morris in the early 1870s, and he owned pictures by Cox, Millais, Boyce, Prinsep, Calderon, Goodwin and others. Both his wife Margaret and his daughter Florence were artistic. During the years 1874-1882 they embroidered a needlework frieze illustrating Chaucer's Romance of the Rose (now in the William Morris Gallery, Walthamstow) which was designed for the dining room at Rounton Grange by Morris and Burne-Jones. On the evidence of the present copy, Florence was also an accomplished painter. Sir Lowthian Bell owned one painting by Arthur Hughes, Beauty and the Beast (untraced; Roberts, no. 63), which was shown at the Royal Academy in 1865, but the picture copied by Florence was owned by a more distant kinsman, William Watson Pattinson (1813-1894) of New House, Felling, Gateshead. Lowthian Bell's wife Margaret was Pattinson's cousin, and in addition to this family connection the two men were business partners, shared a concern for social issues, and took a common interest in the arts. Bell owned paintings by a number of artists, including Turner, Varley, Bell Scott, Birket Foster and Simeon Solomon, but he seems to have been particularly attracted to the work of Arthur Hughes. Not only did he own two of his subject pictures, Elaine and The Singer (Roberts, no. 84, col. pl. 57), but commissioned an ambitious group portrait of his seven children (Forbes Magazine Collection; Roberts, no. 85, col. pl. 58). He also appears to have considered ordering another group, perhaps showing himself and his wife, although this failed to materialise. The picture of the Pattinson children, entitled A Birthday Picnic, was in progress in 1866 and was exhibited at the Royal Academy the following year. Elaine and The Singer were also acquired at this time. Florence Bell copied Elaine in 1870, and Pattinson sold the original painting in 1886. For further information about the Bells, Pattinson and their cultural interests, see the catalogue of the exhibition Pre-Raphaelites: Painters and Patrons in the North East, held at the Laing Art Gallery, Newcastle upon Tyne, 1989-90.

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Attributed to Philip Speakman Webb (British, 1831-1915) Two architectural interiors

Lot 174: Attributed to Philip Speakman Webb (British, 1831-1915) Two architectural interiors

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Description: Two architectural interiors watercolour, the largest56.5 x 45.5cm (22 1/4 x 17 15/16in).(2)

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Lot 176: Philip Webb (1831-1915) for Morris & Co., a rare

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

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Lot 176: Philip Webb (1831-1915) for Morris & Co., a rare

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

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Philip Webb (British, 1831-1915) for Morris & Co.

Lot 255: Philip Webb (British, 1831-1915) for Morris & Co.

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Description: Philip Webb (British, 1831-1915) for Morris & Co. A walnut sideboard, designed circa 1865, the arcaded upper section with an interior gallery shelf, above two panelled drawers with engraved brass pear drop handles, over two panelled cupboard doors, on square feet joined by shaped apron, 43" across, 60" high. Literature: see Sheila Kirk, Philip Webb: Pioneer of Arts & Crafts Architecture, Wiley Academy, Chichester, 2005, p.53 for a slightly larger related example.

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AN ARTS AND CRAFTS WALNUT 'KELMSCOTT' TABLE

Lot 298: AN ARTS AND CRAFTS WALNUT 'KELMSCOTT' TABLE

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Description: AN ARTS AND CRAFTS WALNUT 'KELMSCOTT' TABLE DESIGNED BY PHILIP WEBB (1831-1915) FOR MORRIS & Co., CIRCA 1875 The top with reeded edge on ring-turned legs joined by stretchers, on ceramic castors29 in. (73.5 cm.) high; 71¾ in. (182.5 cm.) long; 38¼ in. (97 cm.) deep

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PHILIP WEBB FOR MORRIS & CO: AN OAK CENTRE TABLE,

Lot 601: PHILIP WEBB FOR MORRIS & CO: AN OAK CENTRE TABLE,

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Description: PHILIP WEBB FOR MORRIS & CO: AN OAK CENTRE TABLE, with a rectangular top above a stepped moulded border on turned splayed legs with cross stretchers and a moulded stretcher with four turned uprights on plinth bases with castors, 29" high x 71" wide. See illustration Philip Webb (1831-1915) was chief furniture designer for Morris, Marshall, Faulkner and Co, and Morris and Co. A life long friend and colleague of William Morris's the two met as young men in the Oxford office of George Street's architectural practice. It was on the strength of Morris commissioning Webb to design a home for himself and his new wife that Webb set up his own practice. The house was the Arts and Crafts masterpiece the Red House, and Webb became a highly successful architect and Morris went on to establish the leading art furnishers of the time. This table relates to a design first produced during the early years of the business when furniture on this scale will have been made to fulfil a specific commission or architectural interior. This table shows Webb's interest in medieval furniture, his furniture designs demonstrate a solidity and architectural presence with features drawn from his knowledge of early furniture from around the world. An example of the design can be seen in the long drawing room at Kelmscott House where Morris lived from 1878. See William Morris, His Life, Work and Friends by Philip Henderson. A further larger variant example, 96 3/4in long, was sold at auction in London in May 2000. An example of this table is illustrated on p159 of 'William Morris' the catalogue edited by L.Parry to accompany the Victoria and Albert museums 1996 exhibition 'Willliam Morris 1834-1896'. In this publication it is described as being designed by Philip Webb. However this table is also recorded as a 'Joiners Table' by George Jack who may have reintroduced the design at some point after Webb's retirement in 1890, if this is the case it might best be seen as a collaboration between the two designers.

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