We found 163696 price guide item(s) matching your search
There are 163696 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
163696 item(s)/page
Lot 3015
Late Victorian German white and blue painted pine diorama of a kitchen interior, the long work surface with inset wash bowl and cupboards under, various fitted shelves, tin-plate cooking range, wooden figure seated at a tin-plate table and well-stocked with various age ceramic, metal and wooden accessories L50cm H31.5cm D30cmCondition Report:Good condition consistent with age and use.
Lot 3065
Charlie Bears - limited edition Minimo Collection 'Cappuccino' No.184/1000 and 'Espresso' No.21/1000; each with labels and complete with purpose made ceramic cups and saucers; Bearhouse emu; and Alpaca Collection teddy bear No.5800S (4)Condition Report:All in very good condition with no adverse odours.
Lot 3084
Three doll's ceramic tea sets, two in original boxes; two doll's white metal pan sets, one in box marked Made in USSR; toy cocktail decanter set in box with tray; and a French boxed toy Post office setCondition Report:USSR box good but all others in poor condition. Condition of contents varies but most reasonably good with slight playwear. Handle broken to decanter set box.
Lot 5
Two Edwardian crystal pepperette condiments with plated tops, (h: 14cm and 13cm) an Epns scalloped dish, a Birmingham silver handled steel button hook, (L: 17cm) a Bohemian style 19thc blue to clear cut glass scent bottle, lid a/f, complete with faceted stopper, (L: 9cm) a treen turned needle style case with elm finial to top, (L: 7.5cm) and a ceramic figure of a violinist on a barrel, decorated with polychrome enamels, (h: 6cm) chip to base and hat (a lot)
Lot 594
A 19th century walnut Sutherland table, profusely inlaid throughout with turned and intricate carved details, standing on cabriole supports with ceramic casters. 117x95cm extended. Structurally sound.Showing some veneer damage, cracking and lifting primarily to the central middle top, (water damage?) A 2cm long split to the outer edge, age related wear & tear including surface scratches
Lot 146
Hans Wegner (Danish 1914-2007) for Carl Hansen & Son 'Wishbone Chair / Y-Chair', designed 1950 model CH24, manufacturer's label, and stamped KB77, oak and papercordDimensions:72cm high, 56.5cm wide (28.5in high, 22.25in wide)Provenance:LiteratureDenmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-3 (illustrated). ExhibitedSeoul Art Centre, Seoul, September – November 2016;Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017;Yokosuka Museum of Art, Yokosuka, April – June 2017;Shizuoka City Museum of Art, Shizuoka, September – November 2017;Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017;Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018;Museum of Modern Ceramic Art, Gifu, April – June 2018;Gunma Museum of Art, Tatebayashi, July – August 2018;Akita Senshu Museum of Art, Akita, April – June 2019;Mie Prefectural Art Museum, Tsu, July – September 2019;Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020;Tohoku History Museum, Tagajō, April – June 2021.
Lot 250
§ Edmund De Waal (British 1964-) Teapot impressed artist's seal, porcelain, celadon glaze, twisted wire handleDimensions:including handle up 25cm high (9 3/4in high); excluding handle 15cm high (5 7/8in high)Provenance:ProvenanceThis teapot was exhibited in the permanent ceramic gallery of the Birmingham Museum & Art Gallery during the late 1990s.
Lot 357
A collection of six boxed limited edition Royal Doulton "Rupert" Collection ceramic figures including Rupert, Bill and the Mysterious Car, Rupert's Toy Railway, Rupert Rides Home, Tempted To Trespass, Leading The Way & Podgy Lands with a bump. Along with two boxed limited edition Beswick "Rupert with Satchel" figurines - all with certificates
Lot 31
Hans CoperLarge bell-form vase with 'Saturn' ring, circa 1965Stoneware, layered porcelain slips and engobes over a textured body with ring, the neck, lip and interior with a manganese glaze.21 cm high, 24 cm diameterImpressed with artist's seal.Footnotes:ProvenanceBonhams, Knightsbridge, 'Contemporary Ceramics Masterworks', 13 November 1997, lot 96Private collection, London, acquired from the aboveThence by descent to the present ownerLiteratureMaya Nishi, ed., Hans Coper Retrospective: Innovation in 20th Century Ceramics, exh. cat., The Museum of Ceramic Art, Hyogo, 2009, p. 73 for a comparable exampleThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 54
Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 723
VICTORIAN CERAMIC OBLONG FOOTBATH CIRCA 1870-80 transfer decorated with floral sprigs within gilt borders, twin handles47cm wideIn overall good condition. Several areas of loss to the gilding. Crazing throughout. Some wear to the edge of the base. Very small chip towards base. Additional images now available.
Lot 385
A VICTORIAN MAHOGANY EXTENDING DINING TABLE 19th century, the rectangular top with moulded edge, over a plain frieze, on turned legs to brass toes and ceramic castors, the table measures 74cm high x 130cm wide x 136cm long, there are three additional leaves measuring 61cm, 61cm and 55cm wide
Lot 383
A ladies Rado Diastar ceramic and gold plated quartz wrist watch, c.1999, ref. 153.0283.3, no. 33073889, the rectangular graphite grey dial with faceted gilt dot markers and diamond set markers at 12 and 6, 17.5mm. case, original ceramic and gold plated bracelet, with box and papers. * Condition: Good condition. Not currently in running order - probably simply requires a new battery. Small chip to bottom left corner of crystal, tiny chip to lower right corner. Expected light scratching to case and bracelet. Box has some marks and small nicks/cracks to grey leatherette covering.
Loading...-
163696 item(s)/page