POUL HENNINGSEN (1894-1967) & LOUIS POULSEN (éDITEUR) Spectaculaire suspension "PH Louvre", circa 1957, de forme générale sphérique présentant sur une structure en acier une succession de corolles en métal laqué blanc, élément conique interne accueillant l`ampoule. A spectacular "PH Louvre" ceiling light, circa 1957, spherical, steel structure with lacquered metal shades elements. Haut. moyenne : 110 cm - Diam. 60 cm / Height. average : 43 3/8 in. - Diam. 23 5/8 in. Bibliographie : - O. Hansen, S. Jorgensen & T. Jorstian, "Light years ahead, The story of the PH lamp", Éditions Louis Poulsen, Copenhague 1994, p. 269. - B. Polster, "Dictionnaire du Design, Scandinavie", Éditions du Seuil, Paris 1999, p. 206. - Charlotte & Peter Fiell, "1 000 lights", vol.1, Taschen, Cologne, p. 536. - Michael Ellison & Leslie A. Piña, "Designed for Life", Éditions Schiffer, Atglen 2002, p. 57.
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Harry BERTOÏA (1915-1978) & KNOLL (ÉDITEUR) Fauteuil "Diamant", en métal chromé, piétement traîneau formé d`une double arcature surélevant l`assise. Assise, dossier évasé et accotoirs formés d`un seul tenant d`un treillis métallique soudé formant grande corolle recouverte d`un coussin gainé de cuir noir piqué sellier, déhoussable. A chromed metal and black leather "Diamant" armchair. Haut. 76 cm - Larg. 86 cm - Prof. 76 cm / Height. 29 7/8 in. - Width. 33 7/8 in. - Depth. 29 7/8 in. Bibliographie : Collectif, "Chairs : Catalogue of the Delft Faculty of Architecture Collection", o/o Publishers, Rotterdam, 2008, p. 34.
*ROUBAUD, FRANTS(1856-1928)Peasants on Troikas in Winter, signed.Oil on canvas, 51.5 by 76.5 cm.Authenticity of the work has been confirmed by the expert V. Petrov. Literature: E. Lingebauer, O. Sugrobova-Roth, Franz Roubaud. Catalogue raisonné, Düsseldorf, Edition Libertars, 2012, p. 240, No. 592, illustrated and listed."
*ROUBAUD, FRANTS(1856-1928)Staging Post in the Caucasus, signed dated 1913.Oil on canvas, 60 by 82.5 cm.Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Possibly, Annual Art Exhibition at the Royal Crystal Palace, Munich, 1916, No. 1794 (shipping label on the stretcher). Literature: E. Lingenauber and O. Sugrobova-Roth, Franz Roubaud. Catalogue raisonné, Düsseldorf, Edition Libertars, 2012, p. 239, No. 588, illustrated; p. 235, pl. 82, detail."
§PASTERNAK, LEONID(1862-1945)Portrait of Frau O. Fränkel, signed and dated 1914, also further signed, inscribed "Frau O.Fränkel. Moskau", numbered "N55" and dated on the reverse.Watercolour and pastel on cardboard, 95.5 by 82 cm (oval).Provenance: Private collection, Sweden. Authenticity of the work has been confirmed by the Pasternak Trust. Literature: R. Salys, Leonid Pasternak. The Russian Years, 1875–1921, Oxford University Press, 1999, vol. II, p. 146, illustrated."
*ANISFELD, BORIS(1878-1973)Timberline, signed and dated 1945, further titled "Timberline, Colorado" on the reverse.Oil on canvas, 127.5 by 101.5 cm.Provenance: Estate of the artist. Exhibited: Boris Anisfeld Retrospective Exhibition, The Art Institute of Chicago, 1958, No. 56. Literature: E. Lingenauber and O. Sugrobova-Roth, Boris Anisfeld. Catalogue raisonné, Düsseldorf, Edition Libertars, 2011, p. 135, P 245, listed."
*SEMASHKEVICH, ROMAN(1900-1937)Fishing on the Northern Sosva River, Hunters at Rest and Kindling a Fire, from the "Pripolyarnyi Ural" Series, three works, two signed, one variously numbered, and another signed on the edge of the mountcard, further inscribed in Cyrillic “Ural”, numbered “N 7” and dated 1934 on the reverse of the mountcard.Each pencil, tempera and oil on card, two measuring 17.5 by 22.5 cm, and the other 17 by 28 cm. Provenance: Collection of the film director and collector Solomon Shuster, Leningrad. Important private collection, Europe. Literature: O. Roitenberg, Neuzheli kto-to vspomnil, chto my byli..., Moscow, Galart, 2004, p. 426, Fishing on the Northern Sosva River illustrated in black and white. “I should specially like to remember Semashkevich... Somehow he suddenly became a collector’s dream. There are not many of his pictures left”. This was what Tatiana Mavrina wrote of him, her fellow exhibitor and member of The Thirteen. Roman Semashkevich was one of the most interesting painters of his generation and his talent was appreciated by such varied figures of art history, as Pavel Ettinger and Vladimir Tatlin. A brilliant draughtsman, Semashkevich was equally unforgettable as a painter: memoirists remarked on his gift with colour, his ability to use dissonances to create his own “anti-world” with a new harmonic structure. He was one of the first to inject his work with a fast, up-to-date tempo: not only his pen-and-ink drawings, characteristic for The Thirteen, but also his paintings - whatever their size. For Semashkevich, there were certainly lessons to be learned from the past greats - from Van Gogh to Pirosmani – but what gives his creative work its value is the tone set by his own personal “tuning fork”, to which he was always true, and this is why to this day they remain so recognisable. In 1937 the artist became a victim of Stalin’s repression and was sentenced to death by firing squad. Almost his entire legacy – hundreds of works at his home – was confiscated by the NKVD. There is still no trace of them. All that remains is the small body of work which had already found its way into museums and a few private collections in the 1930s. In 1933 the artist travelled around the North Urals with some friends. It was then that he painted the three compositions here at auction (the first appearance of works by Semashkevich in the history of Russian art at auction). They give a lively idea of the way he painted, with his mysterious subjects reminiscent of an amateur video, and settings which do not always make sense, but whose depth and hidden tension never fail to cast a spell. The oil on paper works were in the well-known St Petersburg collection of Solomon Shuster. They were shown in 1990 at an exhibition in the State Tretyakov Gallery and appear in the catalogue Roman Matveyevich Semashkevich. Marking the 90th anniversary of his birth. – Moscow. State Tretyakov Gallery, 1990. Cat. 14, 22 (p.74) and 37 (p.77) ."
x Great Britain Queen Elizabeth II Issues 1973 British Paintings 3p. Reynolds, 5p. Raeburn, 7½p. Nelly O`Brien, all variety Gold (Queen`s head) omitted, also 9p. Rev. R. Walker variety embossing omitted, unmounted mint, fine. S.G. 931Ec, 932a, 933a, 934Ec, £715 Vat Status: Import 5% View Terms & Conditions
Great Britain King George V Issues 1911-12 — 1d. lower right corner strip of three with "A11" control, one showing white spot left of "o" and white dot above t" of "postage" (R. 20/11), some minor creases in selvedge otherwise fine mint. Specialised N8d, £200+. Vat Status: Margin Scheme View Terms & Conditions
Great Britain King George V Issues 1912-24 Watermark Royal Cypher 4d. slate-green in a lower left corner control "I 16" block of six, unmounted mint, with perforated margins and the margin dot on R.20/1 of plate 1d on toned paper and showing break above "O" of "FOUR" (R.19/2). A fine and appealing block. Specialised N23 (4) Vat Status: Margin Scheme View Terms & Conditions
J.C. BURROW and WILLIAM THOMAS. "'Mongst Mines and Miners, or Underground Scnes by Flash-Light" Part I - How the Camera was used. Part II - A Description of the Subjects, frontispiece and 26 photo images complete, tissue guards, o rig red cloth, gilt lettering, 4to, 1893 good. (See illustration)
FOUR ROYAL DOULTON `DANDY AND BEANO` MOULDED POTTERY CHARACTER JUGS, comprising; DESPERATE DAN, D7006 AND D7034, DENNIS AND GNASHER, D7033 AD MINNIE THE MINX, D7036, TOGETHER WITH TWO SIMILAR COMPOSITION FIGURES FROM ROBERT HARROP, Dennis the Menace fishing, BD506 and `Bean Six O` , all boxed (6)
LATE NINETEENTH/EARLY TWENTIETH CHINESE EXPORT LACQUERED GAMING BOX, of canted oblong wood with domed, lift-off cover, the interior with seven, removable lidded compartments, contining playing cards and mother o`pearl gaming chips and 12 removable oblong dishes, the exterior lids and dishes gilt painted with figures and dwellings in river landscapes, 4 1/2" (11.5cm) high, 14" x 11 1/2" (3.6cm x 29.2cm)
W RIDGWAY 19th CENTURY SALT GLAZED BUFF STONEWARE JUG design published 1835 embossed pyriform with hinged pewter cover scenes depicting rowdy inn interior and Tam O`Shanter on horse back, impressed marks, 8" (20.2cm) high and a LATE 19th CENTURY PRATT TYPE TWO HANDLE LARGE FROG MUG moulded design depicting three men seated drinking, `Willie Brewd a Peck o` Malt`, 6 3/4" (7.1cm) wide over the handles (2)
A PAIR OF COALPORT CHINA LATE 19TH CENTURY DESSERT PLATES, the centres painted with mountainous scenes, signed E. O. Ball, printed marks, pattern No. 2507, one marked Mt. Salvator, 9" (23cm) diameter (one hairlined) and ANOTHER PAIR OF COALPORT CHINA DESSERT PLATES, painted with flowers and gilt with apple green borders, 9" (23cm) diameter, printed marks, pattern No. Z1002 (4)
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