We found 44913 price guide item(s) matching your search

2x Metal Curtain Rods with Attachments and 7ft Roller Blind

A reproduction Chippendale style silver table, with fretted gallery top, having four blind fret carved legs and cross stretchers, 31ins x 20ins x height 30ins

An Art Deco platinum and diamond ladies cocktail watch by Zenith, 1930s-40s, the 21 x 10mm. rectangular silvered dial signed 'ZENITH', with black Arabic numerals and keywork borders, within an elongated octagonal 15mm. case millegrain set with eight cut diamonds, the sides with blind fretwork decoration, the tapered bracelet similarly set with old cut diamonds, with manual wind movement. * Condition: Winds and runs. A little spotting to the dial and minor discolouration to two corners from reaction with the minute steel screws holding the movement. Case in good condition with just light scratches to caseback. Bracelet in good condition. All diamonds present and appear original. Clasp working well.

Crousaz, W. A, A Short Treatise on the Culture of the Vine under glass, adapted to the climate of the Channel Islands, with a few remarks on the exportation of grapes, Guernsey, G. E. Le Lièvre, 1873, original blind-stamped & gilt red cloth. Rare. * Faded to backstr & with short tear at head, old rust marks and holes to first few pages.

Brue (Adrien Hubert) - Africa, Carte Generale des Etats du Nord de L'Afrique, de la Mer Mediterranée et de L'Europe-Méridionale, engraved map with hand coloured outlines and sea, blind stamp below title, 14¼ x 20 1/8in. (36.25 x 51.2cm.); together with two other 19th century maps of West Africa. (3) * - Brue: Mount burn. Sharp vertical page fold to centre. Paper slightly cockled. - Two maps of West Africa: Light mount burn but otherwise good.

Bob Carlos Clarke (British, 1950-2006), Untitled Chromogenic print, signed in black ink lower right and numbered 23/150 lower left, label on reverse for the Agfa Collection confirming that "This limited edition print by Bob Carlos Clarke is number 23 of 150. It was taken in 1984 on Agfacolor Optima 125 and printed on Agfacolor paper", with 'Agfa Collection 1994 blind stamp lower left, 16 x 11 3/8in. (40.6 x 28.8cm.). * Good condition.

Patrick Procktor, RA, RWS (British, 1936-2003), Boat race, Venice, etching and aquatint, signed and numbered 19/35, snake blind stamp lower right corner, 34½ x 44½in. (87.5 x 113cm.), unframed. * Crease lower left corner. Mounting tape to reverse to each corner. Good overall.

Patrick Procktor, RA, RWS (British, 1936-2003), View of Venice from the lagoon, etching and aquatint, signed and numbered 19/35, snake blind stamp lower right corner, 24½ x 32in. (62.25 x 81.25cm.). * Small handling crease lower left. Each corner has a rectangular patch of lighter discolouration to paper, presumably from mounting tape beneath. Some white blooming to surface of the darker blue ink to centre of image.

after Ben Nicholson (British, 1894-1982), Design for an act drop limited edition print on wove paper, numbered in pencil from an edition of 200, Angela Verren Taunt blind stamp, 2009, 13¼ x 19 1/8in. (33.7 x 48.5cm.) visible, image size 8¼ x 14½in. (21 x 36.8cm.), framed and glazed. * In very good condition with no faults. Not examined out of frame.

Patrick Procktor, RA, RWS (British, 1936-2003), 'Zattere', Venice, etching and aquatint, signed and numbered 19/35, snake blind stamp lower right corner, 24¾ x 31¾in. (62.8 x 80.5cm.). * Paper very slightly cockled. Otherwise good.

An Edwardian child's oak rocking chair, the splat inlaid with a roundel depicting 'Blind man's bluff', acorn finials and rush seat, 27¼in. (69.3cm.) high. * Sturdy construction, the rush seat with a little wear but generally good, front seat slat attached to rush with split, nice patina, good.

A pitch pine hanging display cupboard, late 19th century, with blind fret cut frieze above two astragal glazed doors. Height 93cm, width 93.5cm, depth 36cm.

Dame Elisabeth Frink R.A. (British, 1930-1993)Dog signed and numbered 'Frink 3/6' (on the base)bronze with a brown patina110 cm. (43 1/4 in.) long (including the bronze base)Conceived in 1980Footnotes:ProvenanceWith Terry Dintenfass, New York, 6 March 1992Private Collection, U.S.A.ExhibitedLondon, Waddington Galleries, Elisabeth Frink: Recent Sculpture, Works on Paper, 1981 (another cast)Winchester, Great Courtyard, Elisabeth Frink: Sculpture in Winchester, 17 July-13 September 1981 (another cast)Dorchester, Dorset County Museum, Elisabeth Frink: Sculpture and Drawings, 17 July-18 September 1982 (another cast)Wakefield, Yorkshire Sculpture Park, Elisabeth Frink: Open Air Retrospective, 1983 (another cast)LiteratureSarah Kent, Elisabeth Frink: Sculpture in Winchester, exh.cat., Great Courtyard, Winchester, 1981Jill Willder, Elisabeth Frink, Sculpture, Catalogue Raisonné, Salisbury, 1984, pp.192-3, cat.no.253 (ill.b&w, another cast)Annette Ratuszniak, Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.145, cat.no.FCR288 (ill.b&w, another cast)Man's best friend, the domesticated dog, first appeared on its own in Frink's oeuvre as early as 1957, a bronze sculpture simply titled Dog, cast in a small edition of just three. Much less kindly in appearance than the present lot, it was cast from her life size sculpture, Blind Beggar and Dog, conceived the same year, for which there is also a maquette. In this work the animal is used in a protective roll, leading its helpless master forward in search of money. The dog's legs have been attenuated so that the animal takes on the appearance of something distinctly wild, like a jackal perhaps. Another Dog then appears in 1958, even less representative than her first with its spindly legs almost buckling under the weight of its hefty body and thickly set head and neck. A hiatus of over two decades then occurs with this subject until it resurfaces in 1980 with the present lot. Her dogs from this period take on the appearance of a specific breed, despite Frink denying these claims. At Woolland, her Dorset home, Vizslas (a handsome Hungrarian, gun-dog) had been introduced by her third husband Alex Csáky, a keen shooter, and it is impossible not to relate Dog to this breed, which is golden-red in colour with its characteristic stubby, erect tail, droopy ears and pointed snout.'She had first-hand experience of domesticated animals, such as hounds and horses, and was fascinated by how close the interdependent relationship, nurtured over millenia, had diminished the prey-predator relationship for mutual benefit.' (Calvin Winner, 2018)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A GEORGE IV MAHOGANY LIBRARY TABLE IN THE MANNER OF GILLOWS, CIRCA 1825With two blind frieze drawers 74cm high, 158cm wide, 86cm deep  

Y A VICTORIAN BURR YEW, TULIPWOOD CROSSBANDED, AND GILT BRASS MOUNTED BUREAU PLATCIRCA 1880The top with tooled leather inset, above a blind frieze drawer stamped 'HOWARD & SONS, BERNERS ST'71cm high, 127cm wide, 71cm deep Condition Report: Marks, scratches, chips, veneer splits, abrasions commensurate with age and use; some small veneer losses.Lacking one section of gilt metal beading to the lower area of one leg.Some scuffing to the inset leather writing surface.One gilt metal mount to one side of the table edge is loose, fixed only with one screw.The finish appears untouched with some rubbing to the original finish which remains slightly darker around the edges of the desk top. Overall the finish is slightly matt and slightly faded, in an appealing untouched country house way.Please refer to additional images for visual reference to condition Condition Report Disclaimer

Sarah Jane Szikora, by and after, Strip Teaser, signed, Limited Edition Lithograph, 171/850. Washing Green blind stamp, 34cm x 37cm.

A Victorian mahogany Pembroke table, rounded rectangular top, drawer to frieze, blind to verso, turned foliate column, lobed socle, canted incurved quatrefoil base, acanthus carved scrolling feet, 74cm high, 99cm long, c.1840

An oak canteen, 12 place setting, shaped hinged top, beaded edge, blind fretworked frieze, barley twist legs, turned feet. 75cm high x 84cm wide x 47cm deep.

A George III mahogany corner cabinet, stepped corner with carved decoration above a band of blind fretwork, twin astragal glazed display doors revealing a green painted interior with shelves, over a base with single drawer over twin cupboard doors on bracket feet, 211 x 112 x 69.5cm

A 17th century oak mule chest, hinged rectangular top above a pair of blind frieze drawers, a two panel front applied with geometric mouldings flanked and divided by turned spreading cylindrical pilasters and a long drawer, convex octagonal handles, bracket feet, 91.5cm high, 108.5cm wide, 66cm deep, c.1680

A Dutch Colonial silver coloured metal mounted hardwood novelty jewellery casket, as a miniature chest of drawers, the serpentine commode with hinged cover enclosing a velvet lined compartment, above three blind and two long drawers, skirted base, bracket feet, 15cm high, 24.5cm wide, c.1900

A French fruitwood armoire, arched moulded cornice above a pair of doors with substantial pierced brass lock and blind lock escutcheons centered by a stop fluted panel of three drawers with a shaped apron, 165cm wide, 230cm high, c.1850

A George III mahogany bureau bookcase, outswept meandering dentil cornice above a blind fretwork capital and a pair of glazed doors enclosing three adjustable shelves, concealed blind fretwork drawer to apron, the base with a fall front enclosing a small barber-pole strung door, small drawers, pigeonholes and 'secret' compartments, above four long graduated cockbeaded drawers, swing handles, pierced bat wing escutcheons, bracket feet, 214.5cm high, 110cm wide, 60cm deep, c.1810

A George III oak Lancashire chest, hinged top with moulded edge above two short blind, two short and one long drawer, brass swan neck handles, stile feet, 88cm high, 157.5cm wide, 55.5cm deep, c.1800

A George IV gonçalo alves Davenport desk, in the manner of Gillow of Lancaster, sloped sliding top with hinged writing surface, enclosing four small drawers, scribes drawer, slide and four further long drawers to side, blind to verso, bun feet, 85cm high, 50cm wide, 55cm deep, c.1825

An 18th century oak blanket chest, hinged four panel top above a foliate blind fretwork frieze, re-lined interior, four panel front, stile feet, 67cm high, 128.5cm wide, 57.5cm deep

A Regency mahogany sofa table, crossbanded rectangular top above a pair of frieze drawers outlined with ebony stringing, blind to verso, spirally turned rope twist supports and stretcher, downswept faux-reeded legs, brass casters, 73cm high, 100cm opening to 157cm wide, 68cm deep, c.1820

A Regency mahogany sofa table, rounded rectangular crossbanded top with fall leaves, outlined with boxwood and ebony stringing, above two frieze drawers, blind to verso, swing handles, oval brass escutcheons pressed with a flowerhead boss, turned column, sabre legs, brass lion paw capped casters, 73.5cm high, 105.5cm opening to 153.5cm wide, 56.5cm deep, c.1820

A Regency mahogany work table, rounded rectangular top with fall leaves and reeded edge above a deep frieze drawer, blind to verso, turned column, downswept reeded legs, 64.5cm high, 41.5cm opening to 85cm wide, 50cm deep, c.1820

A set of six Chippendale Revival mahogany dining chairs, each with a cupid's bow cresting rail, the back shaped and pierced in the Chinese and cockpen taste, drop-in seat, blind fretwork apron, blocked cluster-columnar legs, twin-columnar stretchers, chamfered squamous square block feet, 94cm high, 58cm wide, the seat 45cm wide and 40cm deep, c.1900

A substantial 17th century and earlier oak blanket chest, incorporating 15th century panels, rectangular plank top above a four panel front, each carved with blind tracery, each side with two further conforming panels, stile feet, 84.5cm high, 186.5cm wide, 66cm deep, elements c.1450

A Victorian mahogany cylinder bureau bookcase, moulded cornice above a pair of glazed doors enclosing three adjustable shelves, the retractable door enclosing a fitted interior, as a desk, with a writing surface, adjustable on a ratchet, small drawers, blind drawers, and pigeonholes, above a pair of arched panel doors enclosing a further shelf, plinth base, 235cm high, 120.5cm wide, 59cm deep, c.1870

A Victorian walnut Davenport desk, hinged concave rectangular superstructure with three-quarter gallery enclosing stationery divisions, serpentine front writing slope with inset tooled and gilt writing surface enclosing a pair of blind drawers and three pigeonholes, the side with four drawers, blind to verso, ceramic casters, 85cm high, 56cm wide, 52cm deep, c.1860

A William IV mahogany sofa table, rectangular top with fall leaves above a pair of frieze drawers, blind to verso, quadform scroll supports, splayed legs, brass casters, 69cm high, 94.5cm opening to 147.5cm wide, 66.5cm deep, c.1835

A William IV rosewood library table, rounded rectangular top above a pair of cockbeaded frieze drawers, blind to verso, draught-turned handles, the frieze with 'bead-and-reel' border, spreading cylindrical column, circular socle, incurve rectangular base, the feet applied with draught-turned roundels, 77cm high, 122.5cm wide, 68.5cm deep, c.1835

An 18th century oak serving table, oversailing rectangular top above three frieze drawers, carved throughout with Gothic Revival blind tracery, flowerheads and leaves, shaped apron and legs, 76cm high, 171cm wide, 69cm deep

An unusual Regency mahogany pembroke table, possibly Scottish, rounded rectangular top with fall leaves, above a frieze drawer, blind to verso, outlined with ebony stringing, turned pillar, reeded serpentine-sabre legs, boldly carved lion paw feet, brass casters, 70.5cm high, 47.5cm opening to 90.5cm wide, 90.5cm deep, c.1820

An early 20th century silver 'blind man's' hunter pocket watch, 4.5cm enamel dial inscribed Waltham, USA, Arabic numerals and tactile Braille markers, keyless movement, engine turned case, 7cm over loop, Birmingham 1919; silver double Albert chain (2)

David Wilkie, after, The Blind Fiddler, decorative picture laid on mahogany panel. 22cm x 29.5cm, gilt frame, 19th century

‘EDWARDS & ROBERTS’; A MAHOGANY WRITING DESKWith seven blind fret carved frieze drawers, on tapering square supports, 106cm wide; 58cm deep

Sidney Perrin, signed Limited Edition print, with blind stamp, 39 x 55cm

This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Raiden the Moon King's (Ralph Fiennes) puppet mouth from Travis Knight's stop-motion action film Kubo and the Two Strings. Raiden tried to blind Kubo (Art Parkinson), but only managed to steal one of his eyes. This two-piece, 3D-printed resin stop-motion mouth with pegs at the top for attaching to one of many Raiden puppets created by LAIKA Studios for the film, is hand-painted blue and white and labeled "034 Laugh 34," "35," and "1yCW." The mouth is in excellent overall condition with minimal signs of use. Dimensions: 4.5" x 3" x 2.5" (11.5 cm x 7.75 cm x 6.5 cm) Estimate: $600 - 800

John Strickland Goodall (British, 1908-1996)Blind Man's Bluff; Conversation; Courtship, a set of threeeach signed 'John S Goodall' (two, lower right; one, lower left)pencil, watercolour and bodycoloureach 14 x 18cm(3)ARR

DALI, SALVADORFigueras/Spanien 1904 - 1989 Le Géant Béliagog (Zwei Isolden um Tristan). Blatt aus der Folge "Tristan und Isolde", 1970. Kaltnadelradierung, signiert und num.: 28/125. Abbildung ca. 40x26cm, Doppelblatt mittig gefalzt mit Text ca. 44,5x65,4cm. Herausgeber Orangerie Verlag, Köln (mit Blindstempel). Wvz.: Michler / Löpsinger 421b DALI, SALVADOR Figueres/Spain 1904 - 1989 Le Geant Beliagog (two Iseults around Tristan).Sheet from the 'Tristan und Isolde' series, 1970. Drypoint etching, signed and numbered: 28/125. Image approx. 40 x 26 cm, double sheet folded in the middle with text approximately 44.5 x 65.4 cm. Published by Orangerie Verlag, Cologne (with blind stamp). Catalogue raisonne: Michler / Lopsinger 421b. Keywords: graphics, images, artworks, pictures, intaglio, prints, Spain, Spanish, espanol, Hispanic, Espana, Isolde

L.S. Lowry (British, 1887-1976), Going to Work, lithograph, signed and dated 1959 within the print lower right, numbered 660/850 in pencil, blind stamped H.D. Limited Edition, H.43.5cm W.58cm

Joel Mpah Dooh (Cameroonian, b.1954), figural study, mixed media, signed lower right, artist blind stamp lower left, H.28.5cm W.40cm

A late 19th/early 20th century water colour depicting a falcon, blind stamped E.S.K., H.51.cm W.34cm

A Regency mahogany serving table by Gillows of Lancaster,with brass rail back and three blind frieze drawers, stamped to the right-hand example, with boxwood strung border decoration, on reeded column legs,229cm wide91cm deep92cm highCondition report: Original wax finish with old marks and a small veneer loss to the point of the back right corner. Shadows and small indented marks where handles have been incorrectly added to the drawer fronts. One 5cm piece of moulding missing above the right drawer. Further knocks, marks and losses throughout. A piece of moulding below the central drawer has been knocked off during the view, however it is present in the drawer.

An oak chest on stand, early 18th century, with a cushion moulded blind frieze drawer, walnut crossbanded border decoration to the drawer fronts, brass plate handles, on short carved cabriole legs,104cm wide57cm deep153.5cm highProvenance: Folly Mill, Thaxted, Essex.Condition report: Timber shrinkage cracks to the side panels of the chest and the stand, later brass handles and escutcheon, and on replaced legs.

A Victorian Gothic Revival mahogany chaise longue,the back with repeating pierced Gothic arch detail, raised on octagonal supports with blind-fret carved detail, upholstered in floral silk fabric,199cm wide80cm deep82cm highProvenance: Bonhams, 'Period Design', 8 April 2014, lot 286;Barrington Hall, Essex.Condition report: General knocks, wear and scratches to frame. Back joints slightly loose with two splits to the frame. Minor traces of worm. Upholstery in fair order.

A walnut bureau bookcase,early 18th century, with a break arch pediment and star inlaid reserve, mirrored doors and candle slides, with a fitted interior of cupboard, drawers and open compartments, above a fall enclosing a well compartment and stepped drawers, applied mouldings, engraved brass handles, on bun feet,102cm wide60cm deep244cm highCondition report: A striking piece of good proportions with expected marks and fading. There is a slight warp to the fall, timber shrinkage to the border mouldings and old repairs to the banded inlays of the drawer fronts, on replaced bun feet and with replaced finials. There is a little degradation to the plates, with soft bevels, however they appear very bright, and the backboards to the panels appear to be modern replacements, which give the indication that the mirrors may have been replaced. Please see photos.The bureau bookcase has been fully restored and as far as I know purchased in a London Auction 15 years ago approx.The bevelled mirror plates are replacements with good shallow bevelled plates and minor silvering degradation to appear as period.There are secret compartments in the top section only; see photos for two blind drawers and two concealed drawers.The carcase of the bureau is pine, the carcase of the top half is oakThe drawers sides are all oakThere have not been may changes of handle as far as I can see, but these are replacements in my opinion, but good ones.There are keys, but these are not original, they are copies to fit the locks in the traditional style.The upper doors will stay open – see photoThe feet do not unscrew, but the finials lift offSize of upper section: including cornice -102cm wide x 35cm deep, without cornice – 92cm wide x 22cm deepCandle slides are 5cm wide and slightly warpedOverall sizes are almost consistent with the catalogue – 102cm wide x 61cm deep x 242cm high

A 19th Century Astragal Glazed Wall Hanging Corner Cabinet with Blind Carved Top Rail and Chamfered Sides, 77cm wide

Worcester 'Blind Earl' sweetmeat dish, circa 1760, polychrome painted with floral sprays, 16cm long

Large 19th century longcase clock, with 8 day quarter striking movement on eight bells and four gongs, 12inch brass break arch dial with shell spandrels, originally silvered chapter ring, subsidiary seconds dial and applied cartouche signed Whitmore & Son Ltd, Gold Street, Northampton, dial arch with central selector dial marked Eight Bells/Four Gongs, within Dolphin spandrels. In a mahogany case with full length shaped door, blind fret decoration, hood with turned columns with gilt capitals, arched door and swan neck pediment with blind fret decoration, flower head roundels and central finial boss (finial missing). 250cm overall height. (Weight, pendulum, and keys present)Condition report: Three weights , pendulum and keys present

18th century longcase clock with 30 hour movement, 11inch square brass dial, signed Sam Harley, Salop, engraved centre, with crescent calendar aperture, brass chapter ring, and pierced Rocaille spandrels. In an oak case, with shaped door and matching plinth, flat topped hood with turned columns and blind fret decoration. 198cm overall height. (Weight and pendulum present).

Late 19th / early 20th century Moorish carved gallery easel, in the manner of Liberty, ornate form with blind fret Islamic script and lattice panels, hinged support, 178cm high

Informel - - Antoni Tàpies. (1923 - 2012 Barcelona). o.T. 1993. Holzschnitt auf Arches. 80 x 60 cm. Signiert, nummeriert sowie mit Blindstempel der Erkerpresse St. Gallen. - Sauberer Abzug. Blatt aus dem Portfolio "Artist Against Torture". Ein Exemplar von 150. Woodcut on Arches. Signed, numbered and with a blind stamp of the Erkerpresse St. Gallen. - Clean print. - Sheet from the portfolio "Artist Against Torture". One copy of 150.

Amerikanische Moderne - - Peter Young. (1940 Pittsburgh). Two People Looking a Piece of Paper. 1969. Serigraphie auf Bütten. 51 x 61,3 cm. Signiert, datiert und nummeriert. Aus: New York Ten (New York l0/69), Gagosian Gallery, hg. von Tanglewood Press, Inc., New York. Mit dem Blindstempel der Tangelewood Press. - An den Kanten minimal bestoßen. Prachtvoller Druck. Serigraph on laid paper. Signed, dated, numbered. From: New York Ten (New York l0/69), Gagosian Gallery, published by the Tanglewood Press, Inc., New York. - Minimally bumped at the edges. With the blind stamp of the Tangelewood Press. - Splendid impression.

Amerikanische Moderne - Minimalismus - - Brice Marden. (1938 Bronxville, New York). Gulf. Lithographie auf Bütten. 34,1 x 50,5 cm. Signiert, datiert und nummeriert. Aus: New York Ten (New York l0/69), Gagosian Gallery, hg. von Tanglewood Press, Inc., New York. Mit dem Blindstempel der Chiron Press, New York. - Am oberen Außenrand mit leichter Bestoßung, an den Kanten minimal bestoßen. Lithograph on laid paper. Signed, dated and numbered. From: New York Ten (New York l0/69), Gagosian Gallery, published by the Tanglewood Press, Inc., New York. With the blind stamp of Chiron Press, New York. - Lightly bumped at the upper outer edge, minimally bumped at the edges.

Zeitgenössische Kunst - - Ryan McGinley. (1977 New Jersey). o.T. 2004-2006. Farbinkjet Print auf Papier. 21,5 x 27,5 cm. Mit dem Blindstempel des Künstlers. Aus der ehemaligen Sammlung von Jack Walls, verso mit dessen Eigentumssignatur. - Wohlerhalten. Walls war ein Förderer von Ryan McGinley, Dash Snow und Dan Colen. Colour inkjet print on paper. With the blind stamp of the artist. From the former collection of Jack Walls, with his ownershipsignature on verso. - In good condition. Walls was a promoter of Ryan McGinley, Dash Snow and Dan Colen.