There are 306894 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeG Plan - Brazilia Brasilia Range - A retro mid 20th Century teak room divider having an open shelved section atop with adjustable shelves and single fall front cocktail cabinet. Below a three drawer chest flanked to the right by a double door cupboard. All raised on tapering supports. Measures approx; 183cm x 123cm x 46cm.
German table, 17th century.Cabinet front adapted to table top.Ebonised legs.Iron fasteners.Restorations (20th century).Break in one leg.Measurements: 65 x 90 x 58 cm.A German cabinet front, decorated with fine marquetry work, has been adapted as a table top. The marquetry shows a palace-like architectural scene, with Solomonic columns, and through whose windows church domes and courtly gardens can be seen. The sogueada legs, in ebonised wood, are joined with crossbeams and a double iron brace in the centre.
Cabinet; Italy, 17th century.Wood, lapis lazuli, agate, jasper marble and bronze.It has an 18th-century base.It has faults, restorations and losses.Measurements: 49 x 80 x 31 cm.Italian cabinet from the 17th century, decorated with hard stones. It is a rectangular piece of furniture that stands on a base in the form of a smooth moulding. The front is divided into three sections separated by a column (the other is no longer preserved) of marbled marble, in Ionic order, with gilded bronze capitals and bases. The side sections, consisting of drawers, are decorated with mouldings, plaques and hard stones such as lapis lazuli, with round handles. The central body, topped by a pediment, contains a gilt-bronze sculpture of a young man holding a lyre, which suggests that it is a representation of the god Apollo. The sides of the cabinet are considerably simpler in decoration, although in the same style and with the same proportions. The decoration consists of recesses made up of inlaid fillets, combining different geometric shapes inscribed in rectangles. It should be noted that the cabernet hides several secret compartments that can be accessed by removing the main drawers.It is a piece that faithfully follows Italian models, in which it was common to combine different materials in search of chromatic and quality contrasts. The markedly architectural structure is also typical of the Italian school and, in fact, even the typology itself, given that in the 17th century the cabinet or desk was the furniture par excellence throughout Europe.
Cabinet; Italy, 17th century.Wood, lapis lazuli, agate, jasper marble, bronze and silver.It shows faults, restorations and losses.Measurements: 49 x 74 x 32 cm.High quality and beautiful piece of furniture with the interiors made of wood. The front is divided into three sections separated by columns of marbled marble, of Corinthian order, with capitals and bases in gilded bronze. The side sections, made up of drawers, are decorated with mouldings, brass plaques and hard stones such as lapis lazuli, with round handles. The central body, topped by a pediment, houses the gilt-bronze sculpture of an adult man leaning on a staff, which could be a representation of the god Asclepius, who in classical mythology was considered to be the god of medicine. The ornamentation of the piece of furniture goes beyond the front, as both the sides and the upper part have a geometrically structured fillet that serves as ornamentation. In addition, the base also has an aesthetic finish based on a profuse relief on the front in laceria and a central border depicting the figure of two animals facing each other. It is worth noting that the cabernet hides several secret compartments that can be accessed by removing the main drawers.It is a piece that faithfully follows Italian models, in which it was common to combine different materials in search of contrasting colours and qualities. The markedly architectural structure is also typical of the Italian school and, in fact, even the typology itself, given that in the 17th century the cabinet or desk was the furniture par excellence throughout Europe.
European school; early 20th century."Portrait of a Young Woman, 1920.Watercolour on paper.Signed, dated and located in the lower right area.Size: 35.5 x 30 cm; 58 x 53 cm (frame).As in the rest of Europe, the portrait became in the 19th century the leading genre of painting par excellence, as a consequence of the new social structures that were established in the Western world during this century, embodying the maximum expression of the transformation of the taste and mentality of the new clientele, which emerged among the nobility and the wealthy upper middle class, who would take the reins of history in this period. While official circles gave precedence to other artistic genres, such as history painting, and the incipient collectors encouraged the profusion of genre paintings, portraiture was in great demand for paintings intended for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the privacy of a studio, in the everyday warmth of a family cabinet or presiding over the main rooms of the house.
A 19th century mahogany side cabinet with an arrangement of three drawers but arranged to imply six drawers over a pair of panelled doors, on a plinth base, 84cms wide.Condition ReportThe cabinet is 80cms high and 45cms deep. The top is flat and has a few surface scratches, both side panels have age shrinkage splits, an area of cockbeading is missing from the central top drawer front, the gilt lacquer of the handles are worn and appear original, usual knocks and scuffs to the plinth and overall, commensurate with age, good overall condition.
An Eastern hardwood cocktail cabinet, the hinged lid carved to the underside with a scene of warriors, buildings, etc., enclosing a fitted interior with pull up and hinged recess for decanters, the front and side elaborately carved with figures, buildings, bridges, etc., on short cabriole legs, 75cm wide.
LOUIS MAJORELLE (France, 1859 - 1926).Auxiliary display cabinet, circa 1900.Rosewood and various fruit woods.Signed "Majorelle, Nancy" on the top hinged lid.It has a plaque of the Barcelona house "G.Cuspinera".Measurements: 147 x 64 x 38 cm.Open-structured cabinet-vitrine, in rosewood combined with marquetry in fruit wood. Raised on an enclosed base with a geometric cut-out skirt, it consists of a closed cupboard with a marquetry door, together with vertical compartments in the lower register. This door concentrates the decoration of the cabinet, together with the upper hinged lid, with a natural landscape worked with classic marquetry. This technique consists of individually cutting and inlaying pieces of different woods to form a specific design, in this case a natural scene with a clear Japanese influence, very typical of French Art Nouveau. The central body, which opens like a niche, has finely turned balusters on the side. The upper part houses a closed display case with a slanted lid combining glass and wood decorated with floral marquetry.A cabinetmaker and designer who was a member of the Ecole de Nancy, of which he was even vice-president, Louis Majorelle was the son of a furniture designer and manufacturer based in the town of Toul, from where he moved to Nancy with his family. Majorelle received his first artistic training there and then went to Paris in 1877, where he studied for two years at the Ecole Nationale Supérieure des Beaux-Arts, where his teacher was Jean-François Millet. However, the death of his father forced him to return to Nancy to run the family earthenware and furniture factory, a task he would combine with his artistic practice for the rest of his life. In the 1980s and until the early 1990s, Majorelle produced Louis XV-style furniture in the family firm, which he took to the 1894 Exhibition of Decorative and Industrial Arts in Nancy. There, however, he was able to see at first hand the works of Émile Gallé, whose influence would determine a radical change in Majorelle's production. From then on, his work was characterised by the use of naturalistic elements in his forms and marquetry. From the nineteen-nineties onwards, his furniture became fully Art Nouveau, with intertwined forms and a clear direct inspiration from nature, with motifs such as plants, water lilies, the typical Nancy thistle and the dragonfly, an icon of French modernism. In 1900, he went a step further and set up a forge workshop in his factory, in order to be able to make iron fittings in accordance with his designs. Over time, this became more important and he was responsible for the handrails on staircases and the exterior details of many buildings in Nancy. That same year, 1900, Majorelle was a great success at the Universal Exhibition in Paris, which encouraged him to start mass production, enabling him to rapidly expand his catalogue. He also collaborated frequently with one of Nancy's great art glass firms, that of the Daum brothers, and in 1901 he was one of the founding members of the Nancy School, led by Gallé. His success was dazzling, and by 1910 Majorelle had furniture shops in Paris, Lyon and Lille as well as Nancy. Today his works can be found in prominent collections such as the Musée d'Orsay in Paris, the MoMA in New York, the Walters in Baltimore, the Texas College of Art, the Detroit Institute of Art, the National Gallery of Art in Washington D.C. and many others.
Loading...
