A George II oak dresser base, the rectangular moulded plank top above an arrangement of three lip-moulded frieze drawers, applied with later brass swing handles, and a pair of cupboard doors, raised upon block feet, 88cm H x 158cm W x 58cm DCondition reportSome water stains/marks to the dresser top (L.H.S), with further general light wear and very minor evidence of historic worm, both sides have minor separation splits, later hinges and fittings on the doors, with a replaced shelf and loose base boards.Overall solid condition with general wear commensurate with age and use.
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A Victorian style painted pine dresser, 20th century, with a moulded cornice over a shaped frieze and three enclosed shelves, upon the base with two frieze drawers and a conforming apron, raised upon six baluster supports and peg feet united by a pot board under shelf, 212cm H x 153cm W x 50cm D
A Scandinavian ?Telma? table by Nils Jonsson for Hugo Troeds Bjarnum, mid 20th century, the triangular teak top raised on ebonised tripod legs with shelf under supported on brass rings, maker's label to underside, 53.5cm H x 60cm W x 57cm D (at fault)Condition reportGeneral light wear and marks to the table top, play in the leg joints which have had later screws applied to secure the joints, see further images.
FIELDING (HENRY)The History of Tom Jones. A Foundling, 6 vol. FIRST EDITION, FIRST ISSUE, with errata leaf in volume 1, errata uncorrected in the text, and all the relevant cancels, small trace of worming in upper blank margin of the opening few leaves of volume 1, some light spotting but generally clean, contemporary calf, spines tooled in gilt with gilt morocco lettering labels, minor restoration to joints and spine ends, headband of volume 3 chipped, housed together in a morocco-lipped slipcase [Grolier, English 48; Rothschild 850], 8vo, A. Millar, 1749Footnotes:First edition, first issue of Fielding's 'masterpiece.... [the] public impatience to read it grew to such a pitch that the entire first edition of 2000 copies was bought up before the announced date of publication, 10 February 1749' (ODNB).Provenance: Sir George Augustus William Shuckburgh-Evelyn, 6th Baronet (1751-1804), bookplate, with shelf mark in ink; Michael Sharpe, bookplate; Bonhams New York, 18 September 2016, lot 1040.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MILTON (JOHN)Paradise Lost. A Poem in Twelve Books, engraved portrait; Paradise Regain'd. A Poem in Four Books. To which is Added Samson Agonistes and Poems Upon Several Occasions, with uncancelled state of title-page, 'Samson' overprinted, together 2 works, engraved plates and opening few pages of 'Lost' toned, occasional spotting, uniform blue morocco gilt by Derome Le Jeune (with his ticket on front endpaper of each volume), covers with saw tooth and double fillet enclosing inner border with various ornaments (flowers, birds, etc.), spines in six compartments, four decorated with single gilt flower surrounded by other small tools, the others lettered in gilt, gilt turn-ins decorated with floral motifs, pink watered silk endpapers, g.e., blue morocco pull-off cases by Riviere [Gaskell 6 & 7], 4to (240 x 180mm.), Birmingham, John Baskerville, 1759 (2)Footnotes:MAGNIFICENT UNIFORM BLUE MOROCCO BINDINGS BY DEROME LE JEUNE, FROM THE ESTELLE DOHENY COLLECTION.Provenance: Robert Stayne Holford (1808-1892), pencil shelf marks; Estelle Doheny, book labels; her sale, Christie's, New York, 17-18 October 1988, lot 1232; Sotheby's, 13 July 2006, lot 326.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
DICKENS (CHARLES)A Christmas Carol. In Prose. Being a Ghost Story of Christmas, FIRST EDITION, FIRST ISSUE, with title-page dated 1843 printed in red and blue, the text uncorrected, 'Stave I' on p.[1] and light green endpapers, hand-coloured etched frontispiece and 3 plates after John Leech, 4 wood-engravings by W.J. Linton after Leech in the text, 2pp. advertisements at the end, light tone to title-page, publisher's cinnamon vertically-ribbed cloth, stamped in blind and gilt (Todd's first impression, first issue, first state, with 14-15mm. between closest points of blind-stamping and gold wreath on upper cover, and the 'D' of 'Dickens' unbroken), g.e., 2 very small tears at head of spine and one at foot, preserved in red morocco-backed solander box by Zaehnsdorf [Eckel pp.110-115; Smith II:4; William B. Todd, in The Book Collector, Winter 1961, pp.449-454], 12mo (166 x 102mm.), Chapman & Hall, 1843Footnotes:AN EXCEPTIONALLY GOOD COPY OF THE FIRST EDITION OF DICKENS'S FIRST AND MOST ENDURING CHRISTMAS BOOK. A Christmas Carol was published on 19 December 1843, at 5s. 'Its popularity was extraordinary and by every post he received letters from complete strangers, telling him about their home and hearths, and how this same 'Carol' was read aloud there, and kept on a little shelf by itself' (Kitton, Minor Writings, p.34). Dickens initially requested green endpapers and then discarded these due to the colour rubbing off. Demand for the book probably grew at such a pace that the stock of yellow endpapers was exhausted, necessitating the use of the discarded green endpapers until new stock of the yellow could be obtained. Hence, although the green endpapers were printed first, the first copies to be actually issued had yellow endpapers. William B. Todd concludes that priority is impossible to determine due to the various combinations of plates but that priority can be determined by the state of the binding.Provenance: Sotheby's, 16 December 2004, lot 136.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A GEORGE IV ROSEWOOD DAVENPORT DESK, with three quarter gallery, the slope retaining its original red morocco surface and rising on a rachet, the pull-forward top with pen drawer to the side, the panelled base with pull-out shelf above four drawers, the locks stamped J. Braman, 186 Piccadilly, on lobed bun feet. 51cm wide x 88cm high x 56cm deep
Jules Leleu (French 1883-1961), a parquetry sideboard,1956, with paper label to reverse bearing serial number, date and signed 'J. Leleu',With three diamond lozenge pattern parquetry doors, flanked by column supports mounted with gilt bronze trim, the cupboard doors each enclosing one shelf, the central door enclosing additional drawer, raised on turned and tapered feet terminating in gilt bronze sabots,95cm high, 221cm wide, 52cm deep Please refer to department for condition report
Willy Rizzo (Italian 1928-2013), a black lacquered and chromed sideboard for Mario Sabot,c.1970,The rectangular top above three frieze drawers over central fall front compartment flanked by two cupboard doors each enclosing one shelf, on plinth base,76.5cm high, 177cm wide, 48cm deepPlease refer to department for condition report
Matteo Ragni (Italian b.1972), a 'Ninfea' coffee table for Poltrona Frau,c.2015, stamped manufacturer’s mark to leather and label to underside,Of square form with rounded corners, in Canaletto walnut, the outer edges finished in stitched black leather, the central recess with conforming raised shelf, 22.5cm high, 120cm squarePlease refer to department for condition report
An Edwardian mahogany side cabinet in the manner of a cheveret, early 20th century,: the superstructure 'waterfall' front with an open shelf above an arrangement of six drawers, all with turned bone handles, above twin doors with fielded oval reserves, on straight legs to gaitered feet; 109cm high, 46cm wide, 29cm deep.
A Victorian giltwood and composition framed wall mirror in Neoclassical taste, circa 1880,: the pediment with scrolling foliage around a relief moulded anthemion, above a bevelled shield shaped mirror plate with recessed bellflower surround; above a demi-lune shelf with beaded edge, conforming apron and terminal: 88cm high, 33cm wide.
An oak and marble mounted dressing and wash stand in Arts and Crafts style, early 20th century,: by Shapland & Petter, the superstructure with a bevelled rectangular mirror plate flanked by further hinged rectangular plates, above a shelf on ogee shaped supports with reeded front edges, flanking an openwork wavy gallery; the brick red and white marble top above a drawer, its lock stamped S P B, and a panel door; the straight legs descending to a serpentine front shelf below; 155cm high, 79cm wide with mirrors opened, 34cm deep.
A Victorian variegated pink and grey Ashburton marble chimneypiece, last quarter 19th century,: the rectangular shelf with canted front corners, above a plain breakfront frieze, the jambs with stylised blank corbels with scallopped terminals, above block bases; the shelf 177cm wide, 31cm deep; the fireplace width excluding shelf, 147cm; the aperture 96cm high, 104cm wide
A Sèvres octagonal tray or stand, date code for 1791, the well painted with a basket of flowers including tulip, rose, auricula and lilac, resting on a marble shelf, reserved on a sea green ground within a formal gilt border, blue interlaced Ls mark enclosing OO date code, painter's mark B, some later decoration, a chip to one handle and restoration to the other, 24.7cm.
Contemporary satin birch bedroom furniture, including a chest of drawers, two short and four long drawers, width 88cm, depth 44cm, height 110cm, a smaller chest with three long drawers, width 88cm, depth 44cm, height 72cm, and a pair of bedside tables, each with an open shelf above two drawers, width 46cm, depth 41cm, height 62cm.

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104473 item(s)/page