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Lot 448

A Louis XV serpentine inlaid satinwood side table, the floral inlay and crossbanded top with gilt metal border enclosing mirror and compartments over serpentine aprons, sabre legs with gilt metal floral mounts, 54cm wide x 72cm high x 37cm deep

Lot 449

A marble and gilt Rococo console table, the moulded serpentine top over a pierced scallop shell and floral frieze, raised on scroll and floral cabriole legs united by shell and floral stretcher, 110cm wide x 83cm high x 42cm deep, with floral and acanthus pediment over elaborate pierced acanthus frame enclosing bevelled mirrored plate, 135cm high

Lot 456

A Scottish Regency oval mahogany and inlaid side table, the crossbanded and boxwood strung top, over a single frieze drawer raised on square tapering legs, terminating in spade feet united by X frame stretcher, 59cm wide x 71cm high x 43cm deep

Lot 458

A Victorian marble top mahogany washing table, the grey rectangular top over three short drawers, towel rail, raised on baluster turned legs, united by stretcher, 91cm wide x 75cm high x 46cm deep

Lot 461

A Louis XV mahogany and inlaid triangular side table, the pierced gilt metal gallery over floral inlaid top, inlaid frieze flanked by carved acanthus vessels raised on fluted turned legs, terminating in splayed legs united by stretcher with central finial

Lot 467

A satin birch hall table, the rounded rectangular top over a single frieze drawer raised on barley twist legs, terminating in tapering turned feet, 99cm wide x 75cm high x 55cm deep

Lot 468

A pine side table, the rounded rectangular top over a single frieze drawer raised on baluster turned legs, terminating in ceramic castors, 100cm wide x 71cm high x 68cm deep

Lot 469

An oak gate leg table, the moulded oval top on barley twist legs united by stretcher, 75cm wide x 73cm high x 40cm deep (100cm extended)

Lot 470

A pine circular kitchen table, the moulded top raised on baluster column quad form legs, 138cm diameter

Lot 502

A late oak 19th century Jacobean style side table, the mask and scroll carved pediment over rectangular top and carved frieze drawer, raised on baluster turned legs terminating in bun feet united by stretchers, 92cm wide x 100cm high x 45cm deep

Lot 512

A mahogany twin pedestal dining table, the rounded rectangular top over plain frieze raised on gun barrel turned column reeded sabre legs, terminating in brass claw caps and castors, including three additional leaves, 75cm high x 200cm long x 110cm wide (350cm extended)

Lot 517

A Regency style sofa table, the cross banded top over inlaid frieze drawers, ring turned support sabre quadraform legs terminating in brass lion paw feet and castors (flap lacking)

Lot 518

A Georgian mahogany tea table, the moulded rectangular top over plain frieze, raised on square legs, 92cm wide x 73cm high x 45cm deep

Lot 418

An Edwardian mahogany writing table with four short drawers, 75cm high x 98cm wide

Lot 26

"Stanley Davies, Arts & Crafts oak drop flap low table with shelf, octagonal section legs, SD cipher, 1958, 106x 38x 68cm max"

Lot 98

"Stanley Davies, Arts & Crafts circular low table on four outstretched feet united by arched stretcher, SD cipher 1957, 69x 51cm"

Lot 102

"Cotswold School, oak refectory table, the top constructed of a single piece of oak, the octagonal legs on trestle base with chamfered edges, 185x 95x 72cm"

Lot 103

"Cotswold School, oak circular occasional table, on slim supports with cruciform base, the edges with carved detail, 38x 58cm d"

Lot 104

"Stanley Davies, Arts & Crafts walnut occasional table on four octagonal section legs and x base, SD cipher and 1957, 40x 40x 43cm"

Lot 105

"Stanley Davies, Arts & Crafts oak table after a design by Ernest Gimson, circular top, pentagonal section legs and stretcher, 51cm dia x 58cm h"

Lot 113

"Stanley Davies, Arts & Crafts table box with stepped lid, a similar pencil box, both with incised mark for craftsman Sidney Allen Johnston 1957, three further boxes from the Davies workshop, probably apprentice pieces, unmarked (4)"

Lot 118

"Stanley Davies, Arts & Crafts walnut writing table, the top with two compartments and pigeon holes with draw down top, three lower drawers, shaped apron and square section, 84.5x 95x 53cm"

Lot 145

"Stanley Davies, Arts & Crafts oak side table, chamfered block legs, tenon stretchers, c1958, 66.6x 50.3x 63cm"

Lot 246

"Art Deco chrome table lamp with cut out figure of a bather, flame shade, 52cm"

Lot 254

"Art Deco walnut lamp table the circular top on a curved base, 140cm"

Lot 255

"Art deco oak coffee table with two circular tiers and carved enrichment on oval base with eight feet, 68cm w"

Lot 259

"German Art Deco oak cased chiming clock made by Mauthe, another similar clock and an Art Deco fan shaped easel table mirror (3)"

Lot 267

"Art Deco circular coffee table, walnut, black chamfered legs, 85cm dia"

Lot 309

"Belgian Art Deco table lamp decorated in geometric orange and black glazes, 31cm h"

Lot 351

"Art Deco walnut dining table, twin block supports, 91x 182cm, and a set of six swept comb back dining chairs on tapering block legs"

Lot 397

Meredew teak table cabinet with single drawer and fitted interior

Lot 398

"Card table with swivel top and undertier and wheels, made by Eastcraft Scotland, 1960`s, 65x 45x 63.5cm"

Lot 399

"1960`s Danish teak triangular table, 76.5cm"

Lot 400

"Nathan nest of 4 teak coffee tables, comprising; circular table with an inset glass top on three rectangular section legs and three elliptical tables, 82.3cm dia"

Lot 423

"Glostrup Denmark, teak oval dining table, `Y` legs, and six shaped back chairs with upholstered seats"

Lot 425

1950`s plastic raffia wound table lamp and shade and a 1950`s Columbine lamp with triangular shades

Lot 429

1960`s glass top coffee table on tubular chrome base by Piefs

Lot 435

"Rosewood extending table on two supports with boomerang shaped feet, 160cm extending to 280x 93.5cm"

Lot 446

"1960`s teak circular coffee table, 99.5cm dia"

Lot 464

"Continental stained coffee table, inverted bow top with similar lower shelf, tapering box legs, 120x 41cm "

Lot 468

"Fritz Hansen, Denmark, a teak laminated tray table on folding black stained base"

Lot 474

"Coloured glass table light in the manner of Michael Powolny, the trumpet shade of dusky pink on black foot and with black rim, acid etched script Italia, 30cm h, fitted for electricity "

Lot 479

"Sarome table lighter, c.1970"

Lot 484

"1950`s Swedish table by Alberts, circular form on conical pedestal with three splayed feet"

Lot 486

"Memphis style glass coffee table on a sculpture stone finish base, 116x 66cm"

Lot 518

"Danish rosewood circular table by Skovby, pedestal base and two leaves, 125cm extending to 225cm "

Lot 546

"Alvar Aalto (Finnish), an ebonised and birch two tier circular lamp table, Finmar label"

Lot 683

"French kid fan painted with 5 figures by a table in an interior flanked by 2 figures in a garden and cherubs, the reverse with a lake scene, with carved and pierced floral and gilt mother-of-pearl staves, in a J Duvelleroy case "

Lot 762

"Collection of fine lace, table linen, table runners, lace edging and trim"

Lot 1319

"Collection of Subbuteo Table football games, including Stadium Edition, International Edition, Club Edition, USA 94, Table Rugby with extra accessories and two other games "

Lot 43

Assortment of table lamps, candlesticks etc. and a glass and metal lantern hall light (af)

Lot 130

2x 1961 Tennis Banquet & Ball signed menu, guest list, Wimbledon Finals programme and City Press photographs - held in Honour of Angela Mortimer and signed profusely to both menu and guest list by 130 guests – The banquet was held on 10th. November 1961 at The Palace Hotel in Torquay to celebrate her success in the Wimbledon Ladies Singles Championship earlier that summer and other Grand Slam achievements, In the centre is a 4-page guest list card of those who sat at the top-table. The programme is autographed by; Teddy Tinling, John Barrett (her husband from 1967), Duncan Macaulay, F.H. Lowe, Charles Applethwaite, Clarence Jones, Pat Hird, John Ballantine, Colonel W J Legg (Wimbledon Referee), Duncan Macauley, Pat Hughes, and about 120 other guests plus a fine unmarked copy of the 1961 (75th. Anniversary Meeting) Wimbledon Programme from the twelfth day - Ladies` finals day together with 2 City Press photographic cards of both Mortimer and her opponent in the final, Miss Christine Truman. Angela Mortimer was inducted into the International Tennis Hall of Fame in 1993.(4)

Lot 9

FALK, ROBERT 1886-1958 Woman in Red. Portrait of Lyubov Georgievna Popesku , signed. Oil on canvas, 71.5 by 91 cm. "Provenance: A gift from the artist to Nina Lurie, Moscow. Thence by descent.Collection of Olga Dvoretskaya, Moscow, until 1975. Private collection, Moscow, until 1994.Private collection, UK.Exhibited: Robert Falk, Tsentral’nyi dom rabotnikov iskusstv, Moscow, 1939.Literature: D. Sarabianov, Yu. Didenko, Zhivopis’ Roberta Fal’ka. Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. 572, No. 801, illustrated.The portrait of the artist Lyubov Georgievna Popesku, marked the final stage in the creative evolution of Robert Falk’s images of women.Falk first met Lyubov Popesku in the Crimea in 1916, where he painted her in a notable Nude, now in the collection of the Tretyakov Gallery. The next meeting between artist and model was 15 years later, in a totally different time and place. By this time, having initially arrived in Paris on a short trip, Falk was already more firmly settled in France. His previous enthusiasm for Cézannism during the Jack of Diamonds period had now given way to an ever more intense quest for a unified environment, saturated with colour and with light enveloping people and objects. Seeing Popesku in Paris in 1930, Falk painted her portrait In a Red Turban, as a traditional psychological study and, two years later, Woman in a Blue Beret. The picture Woman in Red occupies a special place in this series.The pose — in which the artist Popesku sits at a table — was quite random. The fragile female figure is shown as slightly alienated, as if seized by a fleeting moment of melancholy. A distinctive feature of the composition is its circular movement, which dictates the direction of our gaze and leads us from her left hand, placed on the table, up to the slightly bowed head and hat, making the painting harmonious.According to Falk, the portrait was created as a study for the monumental canvas Old Women. Loneliness which was conceived as a definitive summation of life. This female figure, still young and with traces of her former beauty, conveys much more clearly than other protagonists might the true meaning of the work. D. Sarabianov, speaking of this work, ascribed a special significance to the figure of Popesku. “Turned slightly sideways, away from the centre of the canvas, she is lost in this space, in this world, among other people. The figure of the woman was particularly important to Falk’s intention, demonstrating that the subject of his picture is not simply suffering from old age... It is the expression of emotional fatigue, anxiety, burn-out; in other words, of universal qualities born of the contemporary world — or perhaps intrinsic to mankind.”"

Lot 19

BOGDANOV-BELSKY, NIKOLAI 1868-1945 The Teacher`s Guests , signed. Oil on canvas, 80.5 by 102 cm. Provenance: Private collection, UK.The work will be included in the book on N. Bogdanov-Belsky being prepared by A. Kouznetsoff.The Teacher’s Guests by Nikolai Bogdanov-Belsky is the artist’s reworking of his celebrated work The Teacher’s Name Day. Executed with impeccable skill, it presents a significant departure from his earlier works painted at the turn of the century and bears witness to the creative strides made during his later period.The idea of a work on the theme of village children invited to tea with their teacher was first conceived of by Bogdanov-Belsky in 1908, when visiting the estate of a landowner named Ushakov, in Tver Province. There he executed a sketch entitled Visiting the Teacher from which, two years later, he painted the large-scale work that brought him celebrity in Europe. Sadly, it has been lost and is known only from reproductions. The artist, however, carefully preserved the sketch itself and used it as the basis for several variations which would have been well-known by his contemporaries, including The Teacher’s Name Day, The Teacher’s Birthday and Visiting the Teacher.When Bogdanov-Belsky left Soviet Russia for Latvia in 1924 he took the sketch with him, and it is today preserved in the Art Museum in Riga. As an émigré he again turned to the theme of children having tea in a garden, always composed from fresh sketches drawn from life and never forfeiting the principles of Impressionism, which for him were still relevant. Thus his protagonists change from picture to picture and this large work, The Teacher’s Guests, is a splendid demonstration of this. Painted while the artist was living in Latvia, this work continues to focus on the theme of a happy village childhood, which allowed him to address the creative problems of light and colour that interested him. By arranging his figures within their landscape and using lively, vivid, vibrant colours, the artist fills the picture with the fleeting movement of foliage trembling in the wind and with the sense of a glimpse of real life. The composition is imbued with the desire to convey artistically the link between man and nature and to suffuse the canvas with light and air.It was most likely local youngsters who posed for this picture, alongside the artist’s young wife, who often modelled for Bogdanov-Belsky’s portraits and genre works. Incidentally, many of the teacher’s guests can also be seen in his other works of the time. We can, for example, recognise the little girl in the flowered headscarf and striped top, drinking tea from a saucer, as the protagonist in the romanticised work Inspiration, and the two urchins sitting at the end of the table nearest to us as the young visitors to an artist’s studio in the painting Guests.

Lot 591

* A FABERGÉ SILVER FLATWARE SERVICE MARKS OF KARL FABERGÉ IN CYRILLIC, MOSCOW, 84 STANDARD, 1899-1908 Length of a table knife 27 cm, of the fish slice 32 cm, wooden box 50 by 60.5 cm. Related literature: For the Devyatnins family arms, see Obschiy Gerbovnik Dvoryanskih Rodov Vserossiyskoy Imperii (Complete Armorial of the Noble Families of the Russian Empire), started in 1797, part 6, no. 88.Comprising 134 pieces: twelve table knives, twelve fish knives, twelve knives, twelve dessert knives; twelve table spoons, twelve dessert spoons, twelve tea spoons, twelve coffee spoons; twelve table forks, twelve fish forks, twelve dessert forks; one fish slice, one cheese knife; the handles cast and chased with a monogram inside laurel wreath and arms of the Devyatnins noble family on the reverse, in a large new wooden case with two drawers, made upon the model of the original case.

Lot 64

AN ASTON & SON TABLE SNUFF BOX OF MILITARY INTEREST, bright cut engraved scrollwork throughout, the lid with Kings Own 2nd Staffordshire Militia insignia in high relief, gilt interior, the base engraved presentation inscription `Presented to the 2nd Staffordshire Militia by Capt R.J.K. Levett, Feb 1st 1858`, Birmingham 1857, (approximately 310g)

Lot 65

A SILVER REPOUSSE TABLE CASKET, cartouche shape, Birmingham 1902 (approximately 256g)

Lot 103

A SET OF SIX GEORGE SMITH/WILLIAM FEARN FIDDLE AND THREAD PATTERN TABLE SPOONS, London 1789/90, (approximately 457g in all) (6)

Lot 277

A PAIR OF RUSKIN TABLE LAMPS, 1920`s/30`s, orange/blue crystalline glazes, mounted on plinths, impressed `Ruskin England`, height 33cm, (one damaged at top rim) (2)

Lot 407

A TABLE TOP POLYPHON, late 19th Century, probably German, pine case, pictoral card to inner lid, with six 14cm discs, width 18cm

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