A Small 19th Century Marquetry Table en Chiffonnière in the French transitional style. The circular top inlaid with a helm & halberds amidst scrolls of flowers in a chequer band and rosewood cross-banded border. The drum chest fitted with three small drawers to the front and ornamented with two panels of floral marquetry to the back with faux fluted stringing in between above three swept tapering legs united by an inlaid under-shelf, 31½ ins (80 cms) high, 14½ ins (37 cms) in diameter.
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A Good 19th Century Mahogany Extending Dining Table. The top having rounded corners and a moulded edge with three extension leaves, standing on six turned & reeded legs tapering down to brass castors. 28 ins (71 cms) high, 53 ins (135 cms) wide, 57 ins (145 cms) extending to 120 ins (305 cms) in length.
A Fine Regency Mahogany Sofa Table. The flame figured top having rounded end flaps on fly brackets and a moulded edge above four cock-beaded frieze drawers; two either side fitted with ornately cast brass knop handles. The turned column supports leading down to sabre legs with carved paw feet on ceramic castors, united by a pair of turned centre stretchers, 29 ins (74 cms) high, 32 ins x 58 ins (81 cms x 148 cms).
A Fine 19th Century Mahogany Drum-topped Library Table. The circular top having a green leather insert with tooled border. The frieze fitted with four drawers alternated with faux drawers and revolving on a baluster turned centre pedestal with a moulded circular base platform raised on three voluted scroll feet, 50 ins (127 cms) in diameter.
A Victorian Mahogany Work Table. The rectangular top with rounded corners and a moulded edge above two short drawers and one long drawer with faux twin-drawer facade. The table standing on two flared octagonal columns above outswept scroll legs united by a turned centre stretcher, 28¾ ins (73 cms) high, 22½ ins x 14 ins (57 cms x 36 cms).
A Late Victorian Oak Book Table. The slightly sloped rectangular top above two open tiers joined by a grid of dowels and turned balls either side and standing on reel turned legs united by a turned under-stretcher, terminating on ceramic castors, 32 ins (81 cms) high, 27½ ins (70 cms) wide, 13 ins (33 cms) deep.
A Small Cast Iron Pedestal Table and Two Stools: The table having a circular top clad in embossed brass on a stop fluted centre column above entwined serpents and a tripod base painted black, 29 ins (74 cms) high, 23½ ins (60 cms) in diameter. The stools with round padded seats on centre columns and four out-swept paw feet, 17½ ins (44.5 cms) high.
A Small Oak 'Coaching' Table and a Folding Cake Stand. The occasional table having a near round top approximately 18 ins (46 cms) in diameter on four turned legs united by a X-form stretcher; once pivoting to fold the top down, now fixed, 19¾ ins (50 cms) in height. The three tier cake stand hinged to plain uprights and standing on outswept feet, 35½ ins (90 cms) in height.
A Pair of Royal Worcester Table Ornaments. The twin dished comports each modelled with a girl & boy dressed in Kate Greenaway style costume predominantly in white with gilt trim. The flat basket weave dishes raised on the branches of oak trees sprouting gilded leaves. Impressed marks to base V2 936 and V5 937, 7½ ins (19 cms) in height (A/F).
A Specimen Marble Topped Tripod Table. The round top inlaid with a compass star to the centre and irregular stone specimens of a black ground around the border, resting on a 19th century ebonised base having a wrythen reeded baluster columns above shaped silhouette cut legs terminating on small bun feet, 25½ ins (65 cms) high, 23 ins (58.5 cms) in diameter.
A Pietra Dura Pedestal Table. The circular top inlaid with birds at a bird bath to the centre framed by a key pattern border incorporating various coloured stone specimens. The black marble base having a bold baluster column centring a carved cup of crested leaves above decorative turning and a triform plinth raised on paw feet, 30 ins (79.5 cms) high 27 ns (69 cms) in diameter.
A 19th Century Italian Painted Centre Table, Circa 1860. The serpentine top with a Siena marble inset in a beaded frame above a swept skirt carved with sprigs of marguerite daisies and foliage. The cabriole legs embellished with carved husk flowers and pendant garlands tumbling down to the scroll knop feet, 28 ins (71 cms) high, 25 ins x 20 ins (64 cms x 51 cms).
A Fine Late 17th/Early 18th Century Indo-Portuguese Marquetry Table Cabinet on Later Stand. The rectangular cabinet clad in ebony with intricately engraved bone inlay depicting an allegorical scene to the fall front and panels of undulating foliate scrolls with birds. The front opening to reveal a fitted interior decorated throughout with elaborate marquetry and retaining original small drop handles on cast face mask mounts. The cabinet measuring 15 ins (38 cms) high, 22½ ins (57 cms) wide, 10¾ ins (275 cms) deep. The ebonised stand having an arcaded front and panelled back with six turned columns leading down to a breakfront platform on turned ball feet.
A Pair of Gold Patinated Bronze Table Lamps signed A. Erdmann. The baluster bodies adorned with ribbon tied reeding and ears of wheat rising from the pedestal bases, with sprays of foliage issuing berries forming the handles and crowning the tops, 19½ ins (50 cms) high.
A Late 19th Century Contra-partie Boulle-work Writing Table in the Règence stye. The rectangular top with tooled leather insert framed by a band of red tortoiseshell foliage issuing mother-of-pearl, malachite and lacquered blooms on a brass ground. The swept apron with similar inlay centred by decorative banners edged in tasseled drapery and standing on square tapering cabriole legs mounted with bearded satyr heads and foliate crested paw sabots, 29 ins (74 cms) high, 39 ins x 22½ ins (99 cm x 57 cms).
A Chinese Rosewood Altar Table inlaid with mother-of-pearl. The rectangular top with cleated borders above a moulded frieze and pierced apron inlaid with engraved mother of pearl sprays of bamboo, peaches and flowers with blossom heads adorning with legs running down to carved lion paw feet, 37¾ ins (96 cms) high, 41 ins x 20¼ ins (104 cms x 51.5 cms).
A Fine Quality Late 19th Century Chinese Hardwood Desk/Cabinet. The piece richly carved with panels of prunus blossom and dragons writhing through scrolling cloud forms and having a pierced top rail above small drawers and cupboards to the upper section, with a rectangular marble top on a table form base. The frieze fitted with three drawers and raised on cabriole legs united by an X-form stretcher centred by an lavishly decorated rectangular platform, 52 ins (132 cms) high, 36 ins (91 cms) wide, 22 ins (56 cms) deep.
A Chinese Carved Hardwood Table/ Stand. The petalled top with pink marble insert in a carved border of undulating flowers and gadrooned edging. The pierced frieze carved with cherries and foliage raised on grotesque headed legs united by a moulded circular under-shelf and terminating on ball & claw feet, 23 ins (59 cms) high, 21½ ins (55 cms) in diameter.
A 19th Century Oriental Inlaid Rosewood Tray with ormolu mounts, The glazed rectangular tray panel inset with mother-of-pearl, ivory, coloured stones and woods depicting a lady sat at a table beneath a blossom tree by rockwork, with calligraphy to one side. The galleried edge crisply cast with floral garlands entwined in ribbons and raised on the backs of reclining sphinxes, with foliate handles either side, 24 ins x 15 ins (61 cm x 38 cms).
A Louis XV Style Porcelain-mounted Writing Table quarter-veneered in tulipwood with inlaid diagonally grained rosewood bands. The top having a tooled leather insert, the frieze with a drawer on one side and finely cast gilt bronze mounts of crested foliage and sprays of laurel leaves & berries. The Sèvres style porcelain inserts painted with romantic scenes in bleu celeste borders enriched with gilding, 35 ins (79 cms) wide, 17 ins (43 cms) deep.
A Small Group of Ceramics: A Small Parian Bust of Shakespeare 4½ ins (11.5 cms) high, two other parian figures; one of girl with bird perched on her shoulder 12½ ins (32 cms) in height, the other of a classical female with wheat sheaf 13 ins (33 cms) in height. A Japanese Satsuma vase and cover (A/F) 15 ins (38 cms) in height and a Belleek style part dressing table set on tray.
Caracalla AV Aureus. Rome, AD 216. ANTONINVS PIVS AVG GERM, laureate, draped and cuirassed bust right, seen from behind / P M TR P XVIIII COS IIII P P, radiate lion radiate walking to left, thunderbolt in jaws. RIC 283a; C. 366; Biaggi -; Calicó 2754; BMC -; Hill 1546. Extremely Fine. Very Rare. From the Ambrose Collection. This aureus was struck at the beginning of Caracalla’s ill fated campaign against the Parthian Empire, and a year before the emperor’s assassination in AD 217. The invasion of Parthia in AD 216 was the culmination of an aggressive foreign policy in the east, and followed the invasions of adjoining kingdoms, which resulted in the annexation of Osroene. Prior to the invasion, Caracalla had agreed to marry the daughter of King Artabanus V and commit to maintaining peace in the region, only to attack the bride and guests at the wedding in order to provoke war. The reverse design alludes to Caracalla’s eastern military ambitions at this time, depicting a radiate lion with a thunderbolt in its jaws. Whilst the radiate lion is a clearly solar symbol and thus represents the East, the thunderbolt refers to Jupiter. This composite image therefore has been interpreted as Roman dominance over the east, and as a symbol of the combined divinity of Jupiter and Sol. Caracalla is thus drawing heavily on celestial imagery to propagandise his eastern campaign; the type would subsequently be revived by Philip I, Philip II, Gallienus, Aurelian and Probus, all of whom mounted campaigns in the East. The lion type may also have held some personal significance for Caracalla, who Cassius Dio tells us would surround himself with lions, one of which was a special pet called Akinakes (Persian for ‘short sword’) that was his companion at table and in bed. The type may have lost some of its shine for Caracalla after a bad omen when, after having been disturbed by a dream of his father Septimius warning him he would avenge Caracalla’s murder of his brother, his lion Akinakes seized him and tore his clothes.
Six Foot Cased Model of JP Morgan's "Corsair" This was Morgan's second yacht named "Corsair". This yacht served as a flagship of the New York Yacht Club while Morgan was Commodore. The model has a planked and caulked deck, raised panel mahogany bulwarks and cabins, skylights, with brass bars, five lifeboats and launches, etc. Mounted into a free standing mahogany showcase with raised panel table and inlaid marquetry. Case dimensions: 77"x18"69"
Malabar X in Wood Case A Scale Model of the John Alden Designed Schooner “Malabar X". The planked deck carries a long cabin with oval portholes, toe-rail, skylights, and companionways, other details include anchor windlass, stovepipe, anchor, binnacle, helm, rigged with a suit of seven finely stitched sails. Fitted into a beautiful mahogany display case with table. 45” long x 16” wide x 74” high with table.
Fine Model of the America's Cup "Endeavor" Cased ship model of the America's Cup challenger "Endeavor" of 1934. Precise details include a planked deck with winches, toe rails, skylights, companionway, wheel, binnacle, and many others. Authentically rigged with a suit of linen sails. Mounted into a custom wood framed case with matching table stand. 45" long x 16" deep x 89" high.
Model of Presidential Steam Yacht Mayflower Fine model of the Presidential steam yacht, "Mayflower", with planked deck. Details include raised mahogany cabin work, numerous skylights, ventilator funnels, winches, anchors etc... Nine, highly detailed lifeboats and launches hang from brass davits. Hull is painted ivory above the waterline and deep red below with a gold bootstripe. Fitted into a custom mahogany display case with table. Dimensions 50” long x 15” wide x 55” high
Magnificent Model of the USS Constitution. USS Constitution model in glass case with table stand. Plank on frame model rigged with a full suit of sails. Details include cannon on carriages, pumps, long boat, gratings, stove pipe, rope coils, powder casks, etc. Mounted into a free- standing mahogany display case with marquetry inlay. Dimensions: 46 x 19 x 63
Cased Model of American Steam Yacht "Aphrodite" Aphrodite” was launched in Bath, Maine in 1898, designed by Charles Hanscom. the long trunk cabin carries six lifeboats and launches. Rigged with three masts, the two foremasts are square rigged. brass fittings include binnacle, wheels, winches, capstan etc.. Mounted into a free standing display case with inlaid marquetry and table. Dimensions: 50" x 15" x 55".
Cased Model of the Schooner Atlantic Highly detailed model of the schooner yacht "Atlantic". Details include winch, ventilators, companionways, masts, booms, rigging and full suit of stitched linen sails, anchor and davit, funnel, deck lights, cleats, etc. The hull is painted black above the waterline and red below. Mounted into a wood framed case with table stand. Dimensions: 52" x 16" x 68" with table.
Model of Clipper Ship "Flying Cloud" Highest quality model of the American clipper ship "Flying Cloud". Planked deck with expertly executed cabins, hatches, skylights, etc... Hull is copper sheathed below the waterline and painted black above. intricately rigged with all appropriate standing and running cords including clove hitched shrouds and ratlines mounted into a mahogany display case with matching table. 55" long x 21" wide x 69" high.
Collection of RMS Coronia ephemera Large collection of RMS Coronia "The Green Goddess" ephemera including, cabin accommodations both first class and others, booklets, brochures, deck plans, an American Express travel brochure advertising the Coronia, Fourth of July dinner menu from 1953, as well as a large selection of 8 black and white original photographs and a piece of Coronia stationery, a table card etc..
Museum Quality Model of Corsair IV Exceptional model of Corsair IV, JP Morgan's private steam yacht. This model is outfitted with raised paneled mahogany cabins, planked deck, turned brass fittings, rigged masts etc... Detailed longboats and launches hang from davits. The vessel flies the New York Yacht Club burgee and the Morgan house flag. Mounted into a mahogany display case with matching table. 56" long x 16" wide x 57" high
Detailed model of the Lightship Nantucket Museum quality model of the Lightship Nantucket, outfitted with countless milled brass fittings. Carved hardwood hull, painted brass masts etc. Also showing well executed cabin work. Mounted into a glass and mahogany display case with table stand. 44" long x 15" wide x 61" high.
Five Foot Cased Model of Altantic Expertly crafted model of the famous schooner yacht “Atlantic” of 1904, once owned by Harold Vanderbilt. Model has planked decks, mahogany skylights with brass bars, lifeboats hanging from davits, cabins, hatches etc. Rigged with a full set of linen sails. Mounted with brass columns into a free standing mahogany display case with raised panel table. 69 x 18 x 82.
A SOVIET AGITLAK KEEPSAKE BOX OF ZASEDANIE VOLISPOLKOMA, A. KOTUKHIN, PALEKH, 1927of a rectangular shape with rounded corners; the hinged cover depicting a meeting of the executive committee of the township board; a multiple figure composition features four chairmen seated at a table while discussing agenda and taking notes; they are shown in front of a protruding administrative building with a red standard on top, the other structures around it indicate that the event is taking place at the center of a town, which emphasizes the importance of such meeting; two large groups of people shown gathered together on the left and on the right, their gestures express an active partake in the meeting; the bottom part of the composition features a woman and three children engaged in a play; an ornate gilded border runs around the cover of the box; a gilded vegetative garland, presented in the traditional miniature painting style of Palekh, runs around the body of the box; carmine interior; length: 19 cm (7 1/2 in.), height: 8 cm (3 1/8 in.); signed in Cyrillic A. Kotukhin inscribed s. Palekh and dated lower right.LOT NOTESThe present lot is an artist`s revision of the subject of a meeting of volispolkom. The painting greatly resembles, both in composition and a subject matter, a scene that he depicted on a cover of another keepsake box two years earlier. The 1925 version is currently a part of the collection of the Insitute for Art Industry`s Museum of Folk Art in Moscow.Kotukhin, Aleksandr Vasilyevich (1886-1961) was one of the pioneers of the art of Palekh lacquer miniature. Furthermore, he became one of the founders of Palekh Artel of Ancient Painting in 1924 and its first chairman. Kotukhin helped the invention and development of Palekh`s signature papier-mache technique. His works are particularly celebrated for the skillfulness of intricate ornamental gilding. He also was the first one amongst the other Palekh artists to illustrate lacquer ware with Pushkin`s fairy tales. PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
ANATOLY KAPLAN (RUSSIAN 1902-1980)Illustrations to Sholem Aleichem's Tevye the Milkman (Leningrad: Khudozhnik RSFSR, 1966), Volume III, 65 x 46 cm (25 5/8 x 18 1/8 in.). Autolithographs comprising: title page, table of contents, frontispiece and 26 plates. Each numbered, titled and signed in Cyrillic in pencil. Copy number 37 from the edition of 175; loose in cloth portfolioIMPORTANT NOTEThis lot will be sold after Shabbos at 7:30 PM New York time.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
DAVID BURLIUK (RUSSIAN 1882-1967)Portrait of Elias Fournier, Greenport, LI, 1947watercolor on paper40.7 x 30.2 cm (16 x 12 in.)signed and inscribed lower right Burliuk Greenport L.I. N.Y.; inscribed and dated on table Elias Fournier 1947PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
‘…I saw the Queen being handed the wrong cakes…’ DU MAURIER DAPHNE: (1907-1989) British Author. T.L.S., Daphne, four pages, 8vo, Menabilly, Par, Cornwall, 16th August 1962, to 'My dear' (Foy Quiller-Couch). Du Maurier proclaims 'What a typical arrival! Be sure to see all fires are extinguished when you go to bed, and that the doors and windows are locked against burglars' and adds 'I have written my name under yours in Castle Dor, and have returned the book'. She continues to recount a visit from Queen Elizabeth II, 'Well, the Queen..I was so exhausted…from doing 26 vases of flowers the day before that I had lost my nerves when the moment came. I must say, it was rather splendid to see the big Rolls drive slowly up to the front door bearing the Royal Standard, and the Queen, a radiant figure in white, seated within. That was really the best of it. The actual hour passed very quickly really, but nobody hardly touched the enormous spread of tea I had prepared, and out of my eye I saw the Queen being handed the wrong cakes by Angela, and she even got a non-matching plate at one moment instead of the Rockingham! The nice Prescotts helped us, she chatting informally away to Prince P[hilip] about schools, and Colonel Prescott reviving old Grenadier memories with the Queen. The entourage seemed endless (actually we were 14) and disposed themselves about the Long Room, and old Sir Edward Bolitho spilt his tea, and was the only one to munch, and enjoy, a split with cream! The house had been scrubbed, and better scrubbed (I found Mr. Burt, 81 a few days before, washing down the Long Room mantle piece with Jeyes fluid!!) and so much tidied away that none of us have been able to find a thing since. No, I wore neither hat nor gloves, thank goodness. I wrote and asked a lady-in-waiting I knew, and she said "Not at an informal tea in one's own house." My relief was enormous. I haven't a hat to my name, tho' I could have borrowed gloves, and Flave had actually sent down a handsome white bag from Harrods, which I suggest we all borrow in time of need. Anyway, it's a good thing done, and I think the G'sman [Guardsman, her husband Frederick Browning] was very pleased at the honour shown….' Du Maurier also writes of children, 'I still wish they were better at amusing themselves and had more imagination. Paul, who is apt to be scared at bedtime, looked at me as if I were mad when I told him that Kits also used to be rather nervous, but was all right when he had a group of small Indians called Black Wolf and Laughing Thunder on his bedside table to guard him, along with a small soldier on one knee called Terry. "If you like", I said, "I will see if there are any Indians left in the playroom drawer." "But they aren't real", answered Paul, and I saw it was no good. My word, those toy Indians were as real to me as they were to Kits - the "Guarders" we always called them. It is a pity that children seem so factual these days, and I don't see why it should be anything to do with men whirling round in space.' and concludes by briefly referring to her own work, 'I have finished my Glass-Blowing book, and the publishers in England and U.S. very pleased with it. I was afraid they'd find it dull'. A small tape stain to the upper corner of the first and final pages, only very slightly affecting one word of text and not the signature, VG Foy Quiller-Couch - daughter of British writer Arthur Quiller-Couch (1863-1944), and a life-long friend of Du Maurier. Indeed, Du Maurier was accompanied by Foy Quiller-Couch when she became inspired with the storyline for her novel Jamaica Inn. In 1930, apparently around the time of the present letter, the two ladies were staying at Jamaica Inn and went riding on Bodmin Moor. They became lost in bad weather conditions and apparently sheltered for some time in a derelict cottage on the moor but were eventually led back to Jamaica Inn by their horses. Frederick Browning (1896-1965) British Lieutenant-General of World War II, deputy commander of the First Allied Airborne Army in Operation Market Garden, 1944. Husband of Du Maurier from 1932. Comptroller and Treasurer to Princess Elizabeth from 1948-52 and later Treasurer in the Office of the Duke of Edinburgh.
Vintage Ordnance Survey map of Scarborough, pair carved wood elephant bookends H17cm, 'The Story of the Life of George Stephenson Railway Engineer' by Samuel Smiles pub. 1862 and other books, pair brass wall sconces and a letter rack, model of a galleon, two dressing table mirrors and a collection of vintage cards
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1181390 item(s)/page