We found 173444 price guide item(s) matching your search
There are 173444 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
173444 item(s)/page
Lot 26
Jan Ridder style flame licker vacuum engine, comprising of internal valve engine based on Ridder designs, spirit fired example, free running but may benefit from cleaning before use, housed on acrylic plinth with brass turned feet, with perspex case and wooden plinth, height of engine and plinth 12cm, length of wooden plinth 21cm
Lot 29
From Stuart Turner castings, the James Coombes table engine, 1" bore x 2" stroke based on a full size engine from a Bristol Colliery, Model 1" to the foot (1:12) scale on wooden plinth, 16" tall x 9" x 8", well finished example hand painted in red, raised on chequer work base plate and further displayed on wooden plinth, full height including plinth 45cm
Lot 298
A T Bairstow & Son 0 gauge finescale kit built model of a 4-6-0 Arsenal locomotive and tender finished in BR green with No. 61648 to cabsides and named Arsenal. Model is executed to a very high standard and is housed in a wooden carry case together with a glass top display case with wooden plinth
Lot 3
Bing of Germany, Circa 1912, hot air engine, comprising of single cylinder hot air engine, powering a 10cm spoked fly wheel with opposed take off pulley, brickwork effect tinplate housing with single wick spirit burner, steam engine casing is painted black and lined with orange, fully raised on two tone green and yellow base plate with later wooden plinth, height 36cm, free running example
Lot 98
A GRP hulled and wooden kit built model of a Princess 37 Flybridge cruiser, comprising of white and blue lined body with stained decking, complete with removable superstructure to reveal twin can motors and twin rudders, fully raised on wooden carry handle display plinth, full length 40", beam 13"
Lot 99
A Mersey Model Company Ltd of Liverpool stationary horizontal type steam engine comprising of tin housed boiler, with filler cap, exhaust and take-off point, powering a single oscillating cylinder engine with 1½ unspoked flywheel, raised on wooden plinth and housed in the original labelled card box
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 711
MAUREEN HALSEN FOR WEDGEWOOD, HENRY VIII AND HIS SIX WIVES CIRCA 1997 comprising Henry VIII 2214 - 4500, on stepped plinth, Catherine of Aragon 866 - 7500, Anne Boleyn 350 - 7500, Jane Seymour 768 - 7500, Anne of Cleves 1209 - 7500, Catherine Howard 1229 - 7500, Catherine Parr 535 - 7500, all stamped marks to base, each with certificateQty: 7
Lot 613
FRENCH FIGURAL MANTEL CLOCK LATE 19TH CENTURY in the Empire taste, with twin train eight day movement by Japy Freres, striking on a bell, the black slate dial with partial name, set with gilt Roman numeral hours, the figural surmount modelled as a native American warrior with bow and arrow on horseback, with gilt metal surround cast with foliate detail and mounted with engraved slate pnales, beeded borders on peg forefeet, on plinth basethe clock 41cm high
Lot 260
BRONZE KOUROS STATUETTE C.550-525 B.C, wearing a double crown with the remnants of the arms at the sides, with the left leg stepping forward, 17.5cm high; plinth is missing so does not standNote: a similar example belongs to the Museum of the History of the Olympic Games in Antiquity, B 2400, Bronze Figurine of a Youth with Thyreatic Wreath
![[ US Civil War / banknotes ] A mâché paperweight in the form of a canon ball or similar object on a plinth, bearing a printed](https://cdn.globalauctionplatform.com/37e9be12-e5de-454c-8884-afe800ff87b4/59faf01e-9bfd-4503-9c80-afeb00ea8ab7/468x382.jpg)
Lot 474
[ US Civil War / banknotes ] A mâché paperweight in the form of a canon ball or similar object on a plinth, bearing a printed and inscribed paper label with inscription "Patented 1879. This article represents about $10,000 and is made out of Greenback Money...", 9 cm x 9 cm x 7 cm high. [Greenbacks were emergency paper currency issued by the United States during the American Civil War that were printed in green on verso]
Lot 189
In the manner of Jackson & Graham, London, an ebonized and burr oak banded breakfront credenza, English late 19th century, fitted a central glazed door flanked by a pair of cupboard doors each typically set with oval classical pale blue jasper panels decorated with the classical muse, fitted with gilt metal mouldings and mounts supported by a shaped plinth base. 175 cm overall length x 45 cm overall depth x 107 cm overall height.
Lot 270
A pair of large weathered cast iron Borghese-style two-handled campana urns, late 19th century, each with "Miltonian" revellers in high relief decoration on circular socle bases, 59 cm diameter x 73 cm overall height, together with a cast iron two-handled tazza top (bowl only) 79 cm wide x 40 cm high.The beaded rimmed moulding that is applied to the mouth of the urns is broken in two places on one urn and on the other has a missing section 2"/5cm wide and also has break in the same rim.The pair of urnsbwould have had square plinth bases but they are no longer present.The Tazza top has no base. only the bowl.
Lot 280
Nathanial Kirk of Kibworth (Market Harborough, Leicestershire); A George III oak-cased 8-day longcase clock with brass (31 cm) two-piece dial with silvered chapter ring and centre, named and numbered 120, fitted with a four-pillar, post and plate movement now striking on a later coil gong. In a plain oak hood and case with a long trunk door and shaped plinth base. 55 cm wide x 24 cm deep x 196 cm overall heightNote: Nathaniel Kirkis recorded as working in Kibworth, nr Market Harborough, Leicestershire and it is noted he sometimes numbered his movements; this being No. 120.
Lot 147
A BRONZE FIGURE OF RAMANUJA, TAMIL NADU, SOUTH INDIA, 19TH CENTURY the Vaisnava saint seated in padmasana on a cushioned plinth, his hands in anjali mudra, a staff tucked in his right arm, 7.5cm highProvenance: Collection of the late Peter Millett (1925-2016)Ramanuja is a historical figure who lived in South India in the 12th century. He is one of the most important teachers (acharyas) of devotional Hinduism (bhakti). Although the object he is holding resembles an axe, it is in fact a staff with a cloth banner attached.
Lot 162
A BRONZE FIGURE OF NANDI BULL, WESTERN DECCAN, INDIA, CIRCA 17TH CENTURY the vehicle of Siva crouching on a raised plinth, with long tapered horns, wearing a necklace fringed with bells, 7.5cm highProvenance: Collection of the late Joost Slingerland, Yorkshire, acquired Sebastiano Barbagallo, London, 14 June 2002. The original receipt is sold with this lot.
Loading...-
173444 item(s)/page