We found 305988 price guide item(s) matching your search
There are 305988 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
305988 item(s)/page
Lot 67
An early 20th Century Art Deco advertising point of sale Haberdashery shop cabinet of oak and glass construction having a waterfall open top with clear glass fronts and mirror backs. Below two slides above four drawers with each having metal disc handles. All raised on a plinth base. Wear commensurate with age, mostly flaking to the veneer and missing three glass fronts. Measures approx; 137cm x 94cm x 42cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 608
Vinde Mobelfabrik - A retro 1980s Danish teak wood corner bureau desk / display cabinet having a dual glazed door cabinet top with full front bureau section below having a fitted interior. Further cupboard section below with all raised on a plinth base. Makers marks to the verso. Measures approx; 176cm x 95cm x 50cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 675
Ercol - A retro 20th Century elm Windsor two pieces bookcase cabinet having a three shelf waterfall top over a single shelf open bookcase section below with carved detailing. All raised on bracket feet. Measures approx; 192cm x 93cm x 37cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
Lot 61
A curved two-door cabinet, Holland, transition, 4th quarter 18th century. Mahogany glued, double curved profiled hood with carved crest with medallion, contoured doors with ditto medals and flower vase, double curved base cabinet with three large drawers, brass fittings, contoured base, resting on claw feet, h 245 x w 198 x d72 cm.
Lot 661
Suffolk interest, a collection of cloth and leather bound titles relating to Suffolk and it's environs to include Grimsey, Benjamin Page: A Monograph On the Parish of St. Nicholas, Ipswich. (For private circulation) Ipswich: 1889-90-91, Rock's Royal Cabinet Album Of Bury St Edmunds, no date, Simpson, Alfred E.: A History of Mildenhall And It's Celebrities of the Past, Third edition, Mildenhall, 1901, Skeat, Rev. Walter: The Place-Names Of Suffolk, Cambridge, 1913, Redstone, Vincent, Burrough: Bygone Woodbridge, Woodbridge, circa 1893, Walters, Cumming (Ed): Bygone Suffolk, London: no date, Muskett, Joseph James: Suffolk Manorial Families, privately printed (later bound partial copy, no title page, begins at Partridge of Finborough), Morand, Dexter, (Ed): Domestic Architecture Of Old England, Minor Architecture Of Suffolk Series One, 1929, Cooke, William: The College Or Chantry Of Denston, Printed For Private Circulation, London: 1898 and Bowditch, N.I.: Suffolk Surnames. London & Boston, 1861. etc. (21)
Lot 100
Arne VodderCabinet, model no. 54, 1960s Teak, teak-veneered wood, beech, brass. 133 x 170 x 44 cm Manufactured by Sibast Møbelfrabrik, Denmark. Reverse with manufacturer's brass label printed SIBAST FURNITURE/MADE IN DENMARK and stamped No. 54.Footnotes:ProvenancePesch, CologneAcquired from the above by the present owner, 1960sThis lot is subject to the following lot symbols: Ω TPΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.TP 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
Lot 1
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
Lot 413
A MATCHED PAIR OF CHARLES II KINGWOOD OYSTER VENEERED WALL MIRRORS IN THE MANNER OF THOMAS PISTOR, CIRCA 1685 Of slightly varying proportions, one 130cm high, 100cm wide, the other 127.5cm high, 98cm wide Provenance: Formerly at Chirk Castle Christie's, Chirk Castle, 21st June 2004, Lot 130 Literature: Illustrated in situ in the Long Gallery in The Hon. Mrs Mary Wombwell's watercolour of 1861 and in a late 19th Century photograph published in the National Trust Guide Book, 1983, p.25. C. Hussey 'Chirk Castle', Country Life, 5 October 1951, fig.8. (illustrated in situ in the Corridor). Catalogue note: These Charles II pier-glasses, with bevelled Vauxhall plate, have bolection- moulded Kingwood frames superbly parquetried in a wave scrolled figuring and central mosaic- parquertried medallion of shell scalloped 'oyster' veneer. These mirrors, of exceptional scale for their date, were almost certainly commissioned for the Long Gallery at Chirk. Built by Sir Thomas Myddleton ( d.1684), 2nd Brat, the Long Gallery was begun in 1670 and was substantially complete in 1678, when the sum of £100 15s 0d was paid to ' Jonathon Hooke, the Joyner, in full for all the ards at Vs per Yard'. On the same day, Thomas Dugdale was £30 'for carveing all the Carved worke at the Longe Gallery'. Both of the latter had worked at Weston Park, the ancestral home Charlotte Bridgeman, whom he married in 1677, possibly to designs by Captain William Winde. Conceived as the great room of entertainment and exercise, the Long Gallery to a large extent retained its sumptuous Baroque appearance and furnishings in 1795- although when Lady Sykes visited in 1796 she found furnishings ' so crowded together they are seen to great disadvantage'. Thus the great series of portraits in their original Sunderland frames hung above a parade of lavish cabinets,including the pietra Dura cabinets on George I gilt-gesso stands acquired on the Grand Tour by Roberth Myddleton (d.1733), as well as the Charles II silver-mounted Royal Presentation cabinet described as having 'Silver 'd Ornaments' (both of which remain at Chirk). Taking centre stage was the harpsicord by Burkhat Sindi, like that acquired by George III, dated 1742 but actually moved to Chirk in 1766 (still at Chirk), and 'Billyard Table', the first of which was installed in 1686. This rare pair of mirrors are almost certainly the '2 Pier Glasses 10.0.0' recorded in the 1795 Inventory. Although the description is all but brief, a watercolour by the Hon. Mrs Mary Wombwell of the Long Gallery, dated Sept. 20th 1861 (from an album still owned by the Myddleton family), as well as the undated later 19th century photograph of the Gallery- both show one of these mirrors above the fireplace at the South end. Both also clearly reveal how much of the furnishings from the 1795 arrangement survive , in spite of alterations apparently carried out in the 1840s and illustrated in Lady Hester Leeke's watercolour of 1840-7-although the panelling has returned by 1861. A smaller mirror of directly comparable design- still owned by the family - is possibly the 'Chimney Glass 0.18.0' listed in 1795 in that same room- although this much larger pair of mirrors was certainly placed above the fireplaces at each end by both the undated photograph and an Inventory carried out circa 1910 ('pier glass over fire place Rose wood frame North End' and '1 pier glass over fire place rosewood frame South End'). Undoubtedly originally supplied with matching pair of 'pier' or dressing tables, related 'cushion frame' mirrors are discussed by A. Bowett in English Furniture 1660-1714, Woodbridge, 2002, pp. 136-9, including a smaller example at Nunnington Hall. Like the Chirk mirrors, this also has slots cut into the back to house the cresting- although there is no evidence that any cresting was ever fitted. This is possibly the case with the Chirk Mirrors. Condition Report: Overall there are knocks, scratches, marks and cracks consistent with age and use. There are losses, restorations and observations including: the mirrored plates have aged silvering with some losses; there are cracks to the veneers and moulded borders including some movement and lifting; there is some evidence of worm; some cuts and cracks to veneers, with some patching; repairs including some filler; the backs of stained panelled construction; some later veneers; the mitred corner joints with some movement and cracks. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 401
Y A SOUTH ITALIAN VERRE EGLOMISE, TORTOISHELL, ROSEWOOD, EBONISED AND EBONY CABINET NAPLES, LATE 17TH CENTURY, CIRCLE OF LUCA GIORDAN, POSSIBLY BY DOMENICO COSCIA Of breakfront outline, the panels painted with mythological scenes, the central architectural door opening to a mirrored recess ON A LATER GEORGE III EBONISED AND PARCEL GILT STAND LATE 18TH CENTURY the cabinet and stand overall 176cm high, 146cm wide, 50cm deep Provenance: Christie's, London, Fine European Furniture, Sculpture, Tapestries and Carpets, 10th November 2005, Lot 164 Catalogue Note: During the 17th and 18th Century many visitors on the Grand tour would have marvelled at the Italian interiors adorned with exquisite furniture. The cabinet on stand was a piece particularly admired and often commissioned to be brought back to England. One such grand tourist was Thomas Isham 3rd Bt (d.1681) who spent three years in Rome amassing a collection of wonderful objects which included a similar pair of cabinets. Other comparable examples can be found in the Victoria and Albert museum, The Palazzo Barberini and the Pitti Palace (see E. Colle, Il Mobile Barocco in Italia, Milan, no. 14). The painted panels depicting mythological subject matter resembles the work of Luca Giordano (1632-1705) although none of the designs have been attributed to him. Bernardo de Dominici an Italian historian and painter (1683-1759) wrote extensively in his Vite de' Pittori Scultori ed Archietti Napoletani on Giordano's painting on glass which resembles the imagery of this cabinet. However, he also mentions the pupils of Giordano who painted on glass, most notably Domenico Coscia. Not much has been written about Coscia and he remains largely unknown. Nevertheless, the artist is mentioned in Linda Martino's introduction of the 'Vetri Dipinti' section in A.Gonzalez-Palacios, Civilta del Seicento a Napoli, 1984, p 4.22. This suggests he was the most prolific glass painter of cabinets at the time and probably was the painter of this piece. Alvar Gonzalez- Palacios also argues panels of this kind were initially painted in Florence and then assembled in Naples. This suggests the painter would have been a living in Florence at the time (A. Gonzalez-Palacios, Il Tempio del Gusto, vol). This theory is supported by Mina Gregori and Frederico Zeri who have attributed similar panels in a Naples private collection to the Florentine artist Pietro Dandini (1646-1712) [ibid.,p.283]. Condition Report: Overall there are knocks, scratches, cracks and abrasions consistent with age and use. There are losses, restorations and observations including: some black staining; cracks to some veneers including the rosewood sides; the base with no carving to the back of the back legs; the base with gilding probably later, suggested by the absence of gilding to the back of the front legs even though they are carved with flutes; scuffing along the top edge of the front of the base revealing the underlying wood; the lock to the central door is a replacement; scuffing where the drawers and door run against the outset base of the top; the painted panels with some paint flaking and scratched; some cracks to some panels; some verre eglomise panels loose; lacking one moulding to the side of one panel; chips and losses to the tortoiseshell including to the edges alongside the drawers; there is evidence of worm. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 296
A pine dressing table, bedside cabinet and a TV cabinet. The bedside table with three single drawers on a plinth base, L46cm x D38cm x H62cm, the dressing table with three drawers and raised on bracket supports, L78cm x D46cm x H146cm, the TV cabinet with a pair of panelled doors, on plinth base, L71cm x D41cm x H66cm
Loading...-
305988 item(s)/page