We found 1179 price guide item(s) matching your search
There are 1179 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
1179 item(s)/page
Lot 433
A Louis XVI giltwood daybed in the style of JEAN-BAPTISTE SENE. With fitted cushion, carved and gilded wood, flared sides, resting on turned tapering spiral supports to the front. H.84 W.208 D.78 Provenance: Christies Paris 21st June 2006, Collection of the Count and Countess F.H., Versailles
Lot 630
CIRCA 1960S MID-CENTURY MODERN DANISH-STYLE DAYBEDrectangular, stained teak frame, light blended wool upholstery, with two conforming pillows, and seat cushion atop four conforming peg legs; daybed frame: 93 (w) x 71 (h) x 80 (d) cm (36 5/8 x 28 x 31 1/2 in.), seat cushion: 182 (w) x 76 (d) cm (71 5/8 x 29 7/8 in.), pillows: 31 x 91 cm (12 1/4 x 35 7/8 in.)CONDITIONThe daybed appears in age-appropriate condition. Remaining fully functional, however signs of age through scuffs, dings, faded finishes. Most notably the back panel with visible surface discoloration. With minimal upholstery defects, or visible repairs. Very minor surface staining visible to the pillows and decking fabric under seat cushion. The teak would benefit from a refinish. From a non-smoking environment.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 55
Attributed to Gillows of Lancaster - An early 19th Century Regency period rosewood chaise lounge sofa daybed having a reeded and carved frame with scroll and leaf carvings to front flanking a central reeded bar. All raised on thick turned legs with original Copes Patent castors. Upholstered in a Cerise pink upholstery with studded border, buttoned down seat cushion and complete with matching pillows. Measures approx; 89cm x 215cm x 73cm.
Lot 104
A cream upholstered daybed, 163cm long and a small nursing chair (2)Condition reportThe daybed is 80 cm high, 147cm long and 72cm wideThere are no identifying marks to the short hardwood (mahogany coloured) legs. The condition is very dirty but sound. The frame is probably pre 1950. There is no 1988 fire label, but as pre 1950 this would not be required. The settee will almost certainly need a steam clean and possibly new covers and filling. The back seems to be non springed, the divan springs appear in good overall condition.
Lot 251
An Ercol Studio range Elm daybed sofa, shaped panel back, with original patterned seat cushion ( the cushion with this sofa does not comply with the Furniture and Furnishings Fire Safety Regulations 1988 and for this reason it should not be used in a private dwelling), 207cm wide, 76cm deep, 75cm high.
Lot 567
A France & Daverkosen 'FD451' teak daybed,1950s, Danish, designed by Peter Hvidt and Orla Mølgaard, raised on tapering legs, the dropping ends with rattan weave, with seat and back cushions upholstered in grey wool textile, labelled with manufacturer's marks to the underneath, 165cm wide81cm deep77cm highCondition report: Rattan buckled to one side. No tears to the rattan detected. Some stains and marks. Overall good condition.
Lot 2086
A late Victorian daybed, upholstered in a printed floral fabric with a cream ground, on turned baluster legs and castors, height 77cm, length 190cm, depth 56cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 10
Berthold Lubetkin and Margaret LubetkinUnique sofa, designed for the Penthouse flat, Highpoint Two, Highgate, London, 1936-1938Norwegian yew, sandblasted pine, Cowhide, leather, chromium-plated metal. 77 x 196 x 80 cmFootnotes:ProvenanceBerthold Lubetkin, Penthouse flat, Highpoint Two, Highgate, LondonThence by descentBonhams, London, New Bond Street, 'Important Design', 21 November 2018, lot 169Acquired from the above by the present ownerLiteratureLionel Brett, The Things We See Houses - No. 2, Houses, Middlesex, 1947, p. 49 for the armchairs and daybed'Tall Order', The Architects' Journal, June 1985, illustrated p. 55John Allan, Berthold Lubetkin: Architecture and the tradition of progress, London, 2016, illustrated pp. 303, 305, 307, 562The Victoria and Albert Museum, London, Collections, https://collections.vam.ac.uk/item/O1458096/-armchair-berthold-lubetkin, (accessed September 2021) for the armchairHighpoint by Nick Wright'There are only four kinds of artistic activity: fine art, music, poetry and ornamental pastry cooking, of which architecture is a minor branch.' So began Berthold Lubetkin's speech to the Art Worker's Guild in 1932. Over a fifty-year career he baked many fine pastries.His origins are opaque. A passport showing his birthplace as Warsaw in 1903 was false. He was born in Georgia, a colonial outpost of Tsarist Russia, in 1901. During the Russian revolution he enrolled as a student at the Stroganov School of Applied Art. He studied carpet design in Berlin, architecture in Warsaw, concrete construction in Paris under August Perret, though achieved few if any formal qualifications. Nonetheless, he worked on the Soviet Pavilion in the Paris Exposition of 1925 and, in partnership, with Jean Ginsburg whose bona fide degree facilitated planning permission, had built an apartment block on Rue de Versailles by the age of 30.Arriving in Britain with two passports, no family or verifiable CV, he was free to become the architect of his own identity. His nationality was International, his faith communism, the denomination Modernism. The penguin pool he designed for Regent Park Zoo became instantly emblematic of the movement. More commissions came; suburban houses in Plumstead, a beach house in Aldwyck, a bungalow cut into the chalk hills of Whipsnade. Then, following the Tottenham factory designed for Gestetner Ltd, he designed Highpoint. 'Nothing,' he said, 'is too good for the ordinary person' and Highpoint is the physical embodiment of that ideal. New materials, concrete, glass, and steel were presumed impervious to the elements, the elemental design to fashion. Although undeniably 'an achievement of the first rank' to quote Le Corbusier, Highpoint now appears very much of its time. Rather than housing the workers of an office equipment manufacturer the apartments were sold to private individuals whilst the white-washed concrete appears an homage to white liner modernism, new in Britain but rehearsed the decade prior on the Mediterranean coast and already rust streaked.It is the adjacent Highpoint II which appears the more prescient, bridging as it does the stark modernity of its elder sibling on one side with Georgian Highgate on the other. Indeed, it's startling to realise that what one takes to be a low linear building shares a roofline with its high-rise neighbour and this dual aspect continues throughout. The choice of Staffordshire blue brick nods to the Victorian engineers such as Brunel whom Lubetkin admired. The glass bricks of the stair wells were contemporary. Then there are the caryatids. Classical figures cast at the British Museum support the modernist portico, these draped ladies passed water though pipes cast within but remain a source of debate. Are they 'pastry decoration'? Are they a recreation of the figures on a childhood home? Or are they the earliest post-modern joke, an acknowledgement that a function of architecture is to entertain? In 1951 Lubetkin wrote 'for too long modern architectural solutions were regarded in terms of abstract principles, with formal expression left to itself as a functional resultant. The principles of composition, the emotional impact of the visual, were brushed aside as irrelevant. Yet this is the very material with which the architect operates.' Alessandro Mendini said much the same fifty years after Highpoint's construction.Preeminent among the residents of Highpoint II was Lubetkin himself who had designed the penthouse for his family and the apartment displays the same meld of old and new. A vaulted ceiling recalls the breakfast room at John Soane's Pitzhanger, suspended from it was a mobile made and installed by Alexander Calder. Expansive glass affords views of London, in the free space below was a suite of furniture designed in the vernacular style of Lubetkin's native Georgia.John Allen writes of Lubetkin: 'No longer content merely to revere the grand tradition of architects who design their own furniture – Aalto, Le Corbusier, Mies, Rietveld – he now steps up to join it. The low chairs and sofa were unique pieces of soft sculpture made personally by Lubetkin and his wife Margaret from hand chosen lengths of Norwegian yew and cow hide from Argentina.' Such a quest seems indulgent but careful selection of the timber is necessary to the design. The rear posts all require the same curvature, even the knots are regularly spaced to create symmetrical aprons and, as with the building for which they were designed, the traditional and avant-guard coexist; fitted into the rustic frames are airfoil sections adjusted via engine-turned bosses.These pieces of furniture are of real architectural significance - evidenced by the Victoria and Albert Museum's acquisition of the third chair. They were designed by the architect responsible for much of Britain's post-war social housing and the Finsbury Health Centre, effectively the first hospital for the NHS. They drew on his early life in Georgia yet sit well in his home on top of Britain's preeminent modernist building. Indeed, so attached was Lubetkin to the furniture that on leaving Highpoint in 1955 the suite went with him. Images of the farm cottage to which he relocated show sofa and chair wedged beside the hearth. Then when he retired to a terraced Georgian house in Bristol the pieces again accompanied him. Throughout a transient life it was as though this suite represented home more than any building. Perhaps home had always been Georgia.Bonhams wishes to thank Nick Wright, co-author, Cut and Shut: The History of Creative Salvage, London, 2012.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 11
Berthold Lubetkin and Margaret LubetkinUnique daybed, designed for the Penthouse flat, Highpoint Two, Highgate, London, 1936-1938Norwegian yew, sandblasted pine, cowhide. 40 x 233 x 89 cmFootnotes:ProvenanceBerthold Lubetkin, Penthouse flat, Highpoint Two, Highgate, LondonThence by descentAcquired from the above by the present ownerLiteratureLionel Brett, The Things We See Houses - No. 2, Houses, Middlesex, 1947, illustrated p. 49'Tall Order', The Architects' Journal, June 1985, illustrated p. 55 for the armchairs and sofaJohn Allan, Berthold Lubetkin: Architecture and the tradition of progress, London, 2016, illustrated p. 304The Victoria and Albert Museum, London, Collections, https://collections.vam.ac.uk/item/O1458096/-armchair-berthold-lubetkin, (accessed September 2021) for the armchairThis 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 468
POUL KJAERHOLM FOR E. KOLD CHRISTENSEN: A PAIR OF LOW CHAIRS MODEL PK22 with red leather upholstered back and seat on chrome legs, stamped to the underside with the E Kold Christensen mark, 72cm high x 63cm wide x 75cm deepProvenance: Private Collection, DorsetAlthough there is little to no historical information available regarding the manufacturer E. Kold Christensen or the man himself, the company itself was instrumental in furthering Danish industrial designer Poul Kjærholm’s career. The pair formed a partnership and friendship that lasted over two decades, producing some of Kjærholm’s most well known work.The first successful piece produced by the partnership was a minimalist chair that is reminiscent of Mies van der Rohe’s famous Barcelona Chair (1929). The PK22 (1956), which was designed from a single sheet of steel, was an instant commercial success launching both the designer's and manufacturer's careers. In 1957, the chair won the Grand Prix at Milan’s Triennale. Famous designs from this fruitful partnership include Kjærholm’s PK61 coffee table (1955), PK80 daybed (1957), PK33 stool (1959), PK9 Tulip Chair (1961), and the wicker and steel PK24 chaise longue (1965).Kjærholm and Kold Christensen worked closely together until the untimely death of the former in 1980. The pieces produced from this period are highly sought-after and sell for soaring prices. In 1982, Fritz Hansen took over the production and sales of The Kjærholm Collection, which includes designs developed from 1951 to 1967. In 2007, Fritz Hansen added to the collection, with the PK8 side chair and PK58 dining tables, neither of which had previously been in production.
Lot 527
A LARGE FRENCH BRONZE OF SAPPHO BY JACQUES LOUIS GAUTIER (FRENCH B.1831) reclining on a classical daybed, draped with a lion's pelt, she holds a lyre, with a turtle shell in her left hand, signed 'Jacques Gautier, sculpteur 1863', with indistinct foundry stamp 'A. Tabreny' 45.3cm high, 79.4cm wide
Lot 438
A rectangular English enamel erotic plaque,mid-18th century, Staffordshire, depicting a lady lying on a daybed being attended to by a clergyman, within a gilt frame,9cm wide5.5cm high Condition report: Cracks to the reverse and to the right hand side of the front, frame with light tarnishing
Lot 470
A Victorian caned campaign daybed,mid-19th century, with adjustable seat and raised on turned detachable legs with ceramic castors,174cm long 55cm deep34cm highCondition report: knocks and polished in scratches to the frame, holes to the caning in several places, legs slightly loose in sockets
Lot 14
An antique Chinese hardwood daybed, decorated with dragons and with moulded front edge raised on shaped legs. Height 88 cm, width across arms 195 cm, maximum depth +/- 108 cm (see illustration). CONDITION REPORT: This day bed has damage to the canework. There is a small wooden repair to the underside of the largest area of canework damage. Both of the side panels have some shrinkage splitting and the left hand panel also has a small hole.
Lot 599
An oak daybed, 17th century and later, the backrest with carved floral decoration, with a central carved arch, on square legs, 64cm wide,160cm long, 40cm seat, The contents of Badynghams, Great Waltham.Condition report: The backrest with shrinkage crack. Possibly reset. Wear commensurate with age.
Lot 344
A 'Model 743' oak drop-end daybed, 1950s, designed by Parker Knoll for Heal's & Son London, with loose cushions upholstered in a grey wool fabric, on a spring base, branded marks and model '743', 153cm wide, extended 220cm, 75cm deep, 85cm highCondition report: Good overall condition - the frame appears to be good overall. The cushions are believed to be original and have lost some of their firmness. The grey band on the front and back of the seat frames are slightly loose too.
Loading...-
1179 item(s)/page