There are 1177565 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA MID-VICTORIAN WALNUT FOLDOVER TEA TABLE, the rectangular crossbanded top with rounded corners over a convex frieze with scroll and leaf-carved ends, raised on an acanthus leaf carved tapering columnar standard, supported on a quadpartite platform on boldly leaf and scroll carved feet. 0.74m by 0.87m by 0.43m (closed)
A good quality Jersey Militia silver table spoon hallmarked London 1913, overstruck maker`s mark CTM (Charles T. Maine, Jersey, late 19th-early 20th century), fiddle pattern, with Jersey Militia crest above a cartouche with engraved initials to terminal, 8¾in. (22.25cm.) long, weight 3.25 tr.oz.
A Channel Islands silver fiddle pattern table spoon hallmarked London 1899, maker`s mark overstruck CTM (Charles T. Maine, Jersey, late 19th-early 20th century), with bright cut decoration; together with a set of three bright cut fiddle pattern tea spoons by the same maker, London 1896, total weight 4.25 tr.oz. (4)
An American Sterling silver part dressing table set Gorham, early 20th century, comprising a hand mirror, hair brush, clothes brush and cut glass jar and cover, decorated with engraved ribbon tied floral swags; together with a matched Gorham silver mounted faux-tortoiseshell comb and another American silver hand mirror with loop handle and beaded border. (6)
An early George III silver table spoon Robert Sallam, London 1768, Hanoverian pattern, engraved initials NLM beneath terminal, 8¼in. (20.7cm.) long; together with a smaller 18th century Hanoverian pattern spoon with rat tail to bowl, marks rubbed, engraved initials EF beneath terminal, 7½in. (19cm.) long, weight 2.8 tr.oz. (2)
A Victorian silver Old English pattern table spoon William Eaton, London 1844, with bright cut foliate decoration; together with a George V bright cut fiddle pattern table spoon, Joseph Rodgers & Sons, Sheffield 1922; a set of five Victorian bright cut fiddle pattern tea spoons, J. P. Genge, London 1890; and three other bright cut fiddle pattern tea spoons, weight 8..4 tr.oz. (9)
Joanne Gee (British, second quarter 20th century) - after Pierre Bonnard `The Table` oil on canvas, bears signature lower right, signed `Joanne Gee after Bonnard` to canvas verso, bears `James Bourlet & Sons Ltd., 17 & 18 Nassau Street, Mortimer Street W.` label to stretcher verso 39½ x 29½in. (100.25 x 75cm.) * The original by Bonnard, c.1925, one of his Late Interiors, was presented to The Tate by the Courtauld Fund Trustees in 1926 and remains in the collection, although not on permanent display. See Illustration.
A George IV brass inlaid rosewood occasional table the rectangular top with rounded corners, inlaid with brass scroll stringing to the edges, over a shallow frieze with applied gilt brass husk border, raised on a faux rosewood painted turned and spiral reed carved baluster column, to an incuse triform base on three gilt brass ball feet with foliate mounts, 18 x 16in. (45.75 x 40.75cm.), 28¼in. (71.75cm.) high. See Illustration.
A Victorian burr walnut serpentine fold over card table the well figured top with book matched veneers, swivelling to open and reveal storage beneath, on a baluster and ring turned column carved with husks on a matted ground, on four foliate and fruit carved cabriole style supports with scroll feet and brass casters, 35 x 17¾in. (90 x 45cm.), 29¼in. (74.5cm.) high. See Illustration.
An Indian specimen marble table top probably mid-20th century, octagonal, the white marble inlaid with semi-precious stone including lapis lazuli and malachite, decorated with a central floret surrounded by intricately inlaid floral and foliate trails, 36in. (91.4cm.) diameter, together with an associated low square glass base, 15in. (38.1cm.) high. See Illustration.
A fine quality French Sevres style gilt bronze table casket mid-19th century, believed to have been purchased at the 1851 Great Exhibition by the current vendor`s great grandfather, the rectangular casket with outset columns to the corners surmounted by turned finials, set with six Sevres style gilded and hand painted porcelain panels depicting putti in various playful poses, the shallow pagoda style cover with scroll mounts to the corners, centred with a similar oval panel, the whole with finely engraved floral and foliate decoration, set upon an integral conforming shaped and stepped plinth base with similarly engraved border, the interior lined in the original fine dark blue silk velvet, 9½ x 8in. (24 x 20.25cm.), 4¾in. (12cm.) high, complete with original key, on an ebonised and red velvet base beneath a glass dome (cracked). * The casket contains the original purchaser`s `Exhibition Admission Card 1851` in a gilt lettered morocco leather wallet with emerald green silk lining, containing two `Season Ticket of Admission to the Exhibition of the Works of Industry of All Nations 1851`, No.350 (Henry Baker) and No.4407 (in pink card - Caroline M. Baker). Henry Baker was the son of Sir Robert Baker and the architect and surveyor of St. Pancras Station and the adjoining Baker Street. See Illustration.
A bronze figural table lamp c.1900, modelled as a classical maiden holding a flaming torch in one hand, the other held aloft to support a six light `lantern`, containing a removable cut glass hexagonal candle holder with swing handle, standing on a stepped square plinth with foliate border, 12in. (30.5cm.) high. See Illustration.
A William IV inlaid rosewood sewing or jewellery table cabinet circa 1835, the hinged pagoda form lid with mother of pearl and steel dot and line inlay, the raised platform with reel moulded borders and centralised pierced mother of pearl panel depicting a swan amongst reeds, opening to reveal a recessed mirror within a frame of gilt tooled leather pulling forward to reveal a secret letter deposit, over a fitted tray with pin cushions and various open and lidded compartments, above twin doors with conforming mother of pearl inlay, opening to reveal three drawers, the upper and central drawers for storage, the lower with folding writing slope, turned rosewood handles to sides, on a reel moulded base raised on turned bun feet, 12 x 9in. (30.5 x 23cm.), 13in. (33cm.) high.
A late 19th/early 20th century Swiss table top musical box, rosewood and line inlaid rectangular case of small proportions, sixty-six tooth steel comb playing on a 23.5cm brass cylinder, plays sixteen airs, levers for play/stop and change/repeat to one side, wind handle to the other side, case size 49cm long
A 19th century Swiss rosewood, marquetry and line inlaid table top musical box, the hinged top revealing a 33cm bras cylindrical drum playing airs on six chased bells, to one side levers for play/stop and change/repeat, to the other a wind handle, number 288-76, case size 65cm wide by 39cm deep by 30cm high.
A Victorian mahogany tea table of rounded rectangular form, the hinged fold over top above a moulded edge frieze, on a tapering octagonal support on an upturned urn style plinth, set on a flat quadripartite base terminating in carved scroll feet with brass castors, 856cm wide by 42cm deep by 76cm high (folded dimensions).
A Regency period mahogany and cross banded tilt top mahogany breakfast table, the rounded rectangular hinged top crossbanded over reeded edge, above a turned urnular column and tripartite support radiating outswept reeded legs terminating in brass capped castors, 132cm long by 91cm wide by 71cm high
Loading...
