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AN ITALIAN RENAISSANCE-REVIVAL FIVE-PIECE WALNUT-CARVED PARLOR SUIT, MID-19TH CENTURY mid-19th century italian renaissance-revival five-piece walnut carved parlor suite. featuring acanthus and griffon-carved motifs. the fabric is original velvet on silk-brocade. comprising a tete-a-tete, two corner armchairs and one settee. sette dimensions: 86.4 x 120.7 x 41.9 cm (34 x 47 1/2 x 16 1/2 in.). chair dimensions: 78.7 x 66 x 63.5 cm (31 x 26 x 25 in.); tete-a-tete dimensions: 76.2 x 88.9 x 59.7 cm (30 x 35 x 23 1/2 in.)CONDITION The set is in overall age-appropriate but fragile condition. The fabric is faded. The woodwork trim on one of the single chairs. N.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.
A LOUIS XV-STYLE CARVED WALNUT SILK-DAMASK UPHOLSTERED FOUR-PIECE PARLOR SUITE, LATE 19TH CENTURYlate 19th century louis xv-style carved walnut light beige and white silk damask upholstery. comprimisng of a settee, and three cabriole armchairs. sette dimensions: 80.6 x 100.7 x 50.7 cm (34 x 42 x 22 1/2 in.); chair dimensions: 88.9 x 60.1 x 53.3 cm (35 x 24 x 21 in.).CONDITIONThis set is in overall good stable condition. The batten under the sette will need to be reapplied, it has started to fall off. The chairs are in very good condition with no issues to report.N.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.
A LOUIS XVI STYLE GILTWOOD SETTEE, with rounded arms and leaf carved gilt frame surmounted by a scrolling and floral carved raised panel, with striped upholstery, on five short legs, the front three with decorative carved bosses and tapering fluted decoration, 113cm high, 202cm wide, 81cm deep.
AN EARLY 19TH CENTURY FRENCH EMPIRE SETTEE, with a tall sloping back with multi-arched top, with upholstered arm supports, three loose cushions, with pale green finished moulded arm supports and wavy-edged seat rail and four short scrolling legs, 104cm high, 206cm wide. with four loose cushions.
An Edwardian mahogany three piece bergère suite, comprising a two-seater settee, 156cm by 74cm by 81cm and a pair of deep armchairs with fawn silk damask upholstery. Some loose joints but overall structurally sound. Some scuffs, scratches and minor dents to the timber but all superficial. Canework panels all free from damage.
An early 20th Century Chippendale style three piece lounge suite, comprising settee, height 80cm, width 195cm and depth 94cm, together with two arm chairs, height of backs 78cm, width 78cm and depth 98cm, with roll arms and shaped backs upholstered in cream floral damask, with acanthus carved exposed mahogany frames on carved scroll claw and ball feet, stamped 6200. (3)
*Mary Fedden RA (1915-2012)Two Pearssigned and dated '10 l.r., oil on canvas35.5 x 45.5cm, unframedProvenance: Gifted in person by Mary Fedden RA to Stanley Jones MBE and Lorraine Chitson in 2010 to raise future funds for the Curwen Print Study Centre.*Artist's Resale Right may apply to this lot.'Mary Fedden became involved in printmaking at the Curwen Studio through the influence of Julian Trevelyan, her husband who had gained experience of printmaking in his early career from time spent in Paris with S W Hayter, the well-known etcher and engraver. However, it was only when in London and both were commissioned to produce work by the Waddington Gallery in Cork St, that Mary made her appearance at the Curwen Studio and our association began. She was fascinated by the possibilities of zinc plate lithography and quickly learned how to collaborate with the printers in technical aspects of making her images, which were reflective of a style also present in her paintings. During these years, the images developed a freshness that marked them as some of her most characteristic lithographic prints. Over the many years of working together, we became close friends as well as Artist and Printmaker - a friendship which I valued.'Stanley Jones MBE'Mary and Stanley sat together on a small settee in the studio, she holding his hand delighted to have her old friend with her. They reminisced about Julian and memories of Paris and times gone by. It was very special to have the opportunity to listen to their stories and share our news and plans for the future of the Study Centre. Mary then selected a painting ('Two Pears') that she wanted us to have so that we may use it to raise funds for development.'Lorraine Chitson, Curwen Print Study Centre DirectorCondition report: Good condition.
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