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Lot 980

A Stag dressing table with triptych mirror and a matching chest of drawers.

Lot 980F

An occasional table with lower shelf

Lot 980V

A small drop leaf gateleg table

Lot 981M

A side table with lower shelf and low revolving bookcase

Lot 981W

A dressing table swing mirror, stand a/f.

Lot 981Z

A side table with lower drawer

Lot 982P

A dark wood Priory style hall table with two drawers, 25'' wide x 16 1/2'' x 28 1/2'' tall

Lot 982U

A dark wood oval drop leaf gateleg table

Lot 982W

A Formica dropleaf kitchen table

Lot 167

Five white plastic chairs and white oval patio table with umbrella and stand, plus two green chairs.

Lot 246

A coffee table and a tool box.

Lot 25

A fold up plastic table with metal extending legs.

Lot 299

A glass topped patio table with recess for umbrella, 55'' x 35'' x 27'' high.

Lot 310

A Table, 59'' long x 32'' wide x 29'' high.

Lot 328

A fold-up table and a Nobo notice board.

Lot 343

A Scheppach HS120 band saw with six hand saws, spirit level and routing table.

Lot 478

A fold-up table, 71'' x 29''.

Lot 487

A cased Taymar blow lamp, camping stove, table pigeon hole box, tin trunk, etc.

Lot 534

A picnic table, 59'' x 52'' overall.

Lot 535

A picnic table, 59'' x 52'' overall.

Lot 622

A small folding card table with green baize top.

Lot 626

A dressing table with two over two long drawers, 39'' wide x 20'' deep x 60'' high overall.

Lot 649

A fold up table 72'' x 23''.

Lot 733

An oval coffee table 48'' x 24'' x 20'' high

Lot 1814

Milieu de table , Seltener Tafelaufsatz von David RoentgenMahagoni auf Mahagoni massiv, feuervergoldetes Messing/Bronze. Ovales Tablett auf sechs kleinen Ballenfüßen als Untersatz für Dekoration oder Schalen in der Tischmitte. In einem erhöhten Rahmen mit Bronzebändern und umlaufendem plastischen Perlband. Auf der Unterseite gestempelt "D.ROENTGEN". H 4,5, B 53, T 38 cm.Neuwied oder Paris, um 1780 - 85.Im Frühjahr 1779 erhielt David Roentgen vom französischen König Louis XVI. den Titel „Mécanicien privilégié du Roi et de la Reine“. Wenige Monate darauf bezog er eine Immobilie in Paris und stellte als Geschäftsführer Johann Gottlieb Frost (1751 – 1814) an. Im Mai 1780 kaufte David Roentgen das Meisterrecht der Pariser Ebenistenzunft und durfte dann auf dem Pariser Markt eigene Produkte anbieten, die vermutlich alle mit dem Schlagstempel seines Namens versehen waren. Den JME-Stempel, der 1741 von der Jurande des Maîtres Menuisiers Ebénistes eingeführt und neben dem Namensschriftzug eingeschlagen werden musste, durfte er hingegen nicht führen. Sein Geschäft in der Rue de Grenelle nannte er „A la ville de Neuwied“. Pierre Kjellberg veröffentlichte eine Anzeige Roentgens vom 8. Januar 1781, in der er verschiedene Schreibtische, Bürostühle, Toilettentische, mechanische Schatullen, Pianoforte und Spieltische mit vielen verschiedenen Marketerien anbot. Im Dezember 1785 übernahm der inzwischen in Paris verwurzelte Jean Gottlieb Frost das Geschäft, musste allerdings wenige Jahre später, nach der Revolution 1789, Konkurs anmelden.LiteraturZum Stempel s.a. Greber, Abraham und David Roentgen. Möbel für Europa, Bd. 1, Starnberg 1980, S. 270.S.a. Kjellberg, Le mobilier français du XVIIIe siècle, Paris 2008, S. 757 ff.

Lot 17

A console table measuring approximately 75 cm x 110 cm x 40.

Lot 19

A circular topped pine kitchen table and four chairs, table approximately 74 cm x 106 cm. [5]

Lot 20

A freestanding open bookcase measuring approximately 116 cm x 110 cm x 30 cm and a glass topped coffee table 41 cm x 109 cm x 54 cm. [2]

Lot 23

A rectangular dining table with six chairs, table approximately 70 cm x 170 cm x 90 cm. [7]

Lot 34

A dressing table with mirror, approximately 145 cm x 115 cm x 55 cm

Lot 48

A kneehole dressing table with triptych mirror and six drawers, approximately 146 cm x 145 cm x 47 cm.

Lot 54

A demi lune console table with carved decoration on tripod supports, approximately 94 cm x 84 cm x 40 cm.

Lot 6

Finmar Furniture - A mid century Finmar model 51 armchair designed by Alvar Aalto and similar folding occasional table. [2] The chair has the Finmar label to the underside of the chair. (photo attached) Condition Report: Chair appears structurally sound, there are a couple of screws missing from the seat section or original screws removed and re-drilled, scrape / scuff marks throughout. (additional photos added)

Lot 7

A collection of garden furniture and items to include a white painted, cast aluminium table and two chairs, bird bath, planter and other.

Lot 8

Various furniture to include chairs, small pine chests of drawers, demi lune console table and other.

Lot 2

Ernesto Shikhani (Mozambique, 1934-2010)The Last Supper, 1977 signé et daté en bas à droite 'Shikhani, 1977'huile sur toilesigned and dated 'Shikhani, 1977' to the lower rightoil on canvas100 x 200cm.39 3/8 x 78 3/4in.Footnotes:ProvenanceHotel Pinhal Ofir - Esposende, Portugal (don de l'artiste)Collection privée, PortugalPuis par descendance au propriétaire actuelErnesto Shikhani est né en 1934 dans la région de Muvesha au Mozambique. Dès le début de son apprentissage artistique il se consacre à la sculpture, guidé par le maître portugais Lobo Fernandes alors enseignant au Núcleo de Arte, à Maputo. Son travail est empreint d'un mélange audacieux, à mi-chemin entre les pratiques artistiques traditionnelles mozambicaines et les propositions plastiques contemporaines de l'époque. Cette toile est réalisée en 1977, trois ans après la signature du traité d'indépendance du Mozambique. Accord précédé d'une lutte pour la liberté qui entraina dix années de guerre civile avec le Portugal, laissant derrière elle un pays profondément marqué par la violence. Ernesto Shikhani, comme d'autres artistes mozambicains témoins de l'injustice sociale des anciennes colonies portugaises, met son art au service d'un nationalisme mozambicain naissant et assumé. Beaucoup d'entre eux seront cependant censurés par la Police de renseignement portugaise (PIDE) sous l'égide d'un gouvernement encore en proie aux maximes religieuses et racistes de l'époque. Cette œuvre représente une des plus célèbres scènes bibliques, la Cène, illustrant Jésus entouré de ses apôtres. À la seule différence que les personnages sont ici de couleur noire, une attaque évidente à la mentalité suprémaciste blanche qui imprégnait alors les mœurs coloniales portugaises au Mozambique.Lors d'un séjour au Portugal à l'été 1977, il fait cadeau de cette toile à l'hôtel de Pinhal Ofir – Esposende, où il réside. L'Hôtel confie alors la toile à une société d'encadrement, appartenant à la famille de l'actuel propriétaire. Dans le contrat, chose assez classique à l'époque, est mentionné que si l'œuvre n'est pas récupérée au bout d'un an elle deviendrait la propriété de l'encadreur.L'Hôtel Pinhal Ofir n'alla jamais chercher l'œuvre, jugée trop polémique par le gouvernement portugais.When commencing his artistic training in Mozambique, Ernesto Shikhani first dedicated himself to sculpture, guided by the Portuguese master Lobo Fernandes who was then a teacher at the Núcleo de Arte school of Maputo. From 1970, he expanded his practice to also focus on painting. Shikhani's work is marked by a bold hybridity – he fuses traditional Mozambican artistic practices with contemporary approaches to artmaking. The present work was created in 1977, three years after Mozambique secured independence from Portuguese colonial rule. This liberation was preceded by a struggle for freedom that had resulted in a decade-long civil war, leaving behind a country deeply marked by violence.Ernesto Shikhani, like other Mozambican artists who witnessed the social injustices of the former Portuguese colonial rule, put his art to the service of a nascent nationalism. Many of his works were censored by the Portuguese Intelligence Police (PIDE) who worked under the aegis of a government still caught in the grip of the religious and racist maxims prevalent in this period. The work represents one of the best-known biblical scenes, The Last Supper, and portrays Jesus and his apostles gathered around a table. The only difference in Shikhani's work is that the characters are portrayed as black, a provocation to the white supremacist mentality that impregnated the lingering colonial ideologies prevalent in Mozambique at the time. During his visit to Portugal in the summer of 1977, Shikhani donated the present work to the Hotel de Pinhal Ofir-Esposende, where he stayed. The hotel entrusted the painting to a framing company belonging to the family of the current owner. In the framing contract it was written that if the work was not recovered within a year, it would become the property of the framer – a stipulation common at the time. The Hotel Pinhal Ofir-Esposende never sent for the work, which was considered too controversial by the Portuguese government who had threatened to close the establishment if they decided to exhibit the painting.For further information on this lot please visit Bonhams.com

Lot 2503

1920's silver part canteen, comprising six table spoons, six table forks, five dessert spoons, five side forks, and six teaspoons, hallmarked Pearce & Sons, London 1927 and 1928, plus a Victorian silver salt spoon, hallmarked Chawner & Co, London 1865, and an Edwardian pickle fork, hallmarked Joseph Gloster Ltd, Birmingham 1902, approximate total weight 51.58 ozt (1604.6 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Bowls of all spoons heavily knocked at ends and misshapen.Fork prongs with wear and uneven.Hallmarks with varying degrees of light wear, but mostly legible.

Lot 2520

Three George III silver Old English pattern table spoons, the first example hallmarked Newcastle, probably 1788, makers mark worn and indistinct, the second hallmarked James Young, London 1785, and the third hallmarked George Burrows (I), London 1791, each approximately L22cm, total approximate weight 5.49 ozt (171 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks, and some slight wear to edges of bowls.Hallmarks with varying degrees of wear, but mostly legible.

Lot 2521

Two George III silver Old English pattern table spoons, hallmarked Thomas Wallis II, London 1806, and Peter & William Bateman, London 1811, approximate total weight 4.34 ozt (135.3 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Hallmarks generally clear and legible, however makers marks with some wear.

Lot 2544

Group of silver, comprising Edwardian silver mounted hand held mirror, embossed throughout with fruiting vines, hallmarked W G Keight & Co, Birmingham 1907, an Edwardian silver mounted hair brush embossed with flowers and vines, hallmarked William Neale & Son, Birmingham 1905, three early 20th century cut glass dressing table jars with silver covers, various hallmarks, and an early 20th century jar and cover of plain cylindrical form with domed cover and ball finial, upon circular stepped baseCondition Report:General wear commensurate with age and use, including surface scratches, nicks, indentations and knocks.Dressing table mirror and brush both with heavy knocks, compression and splits.Dressing table jars also with a number of knocks.Jar and cover with heavy knock to side of foot.Hallmarks with varying degrees of wear.

Lot 2545

Early 20th century silver and tortoiseshell mounted four piece dressing table set, comprising handheld mirror, hair brush and two clothes brushes, each with inlaid silver husk and foliate swag detail, hallmarked E S Barnsley & Co, Birmingham 1919Condition Report:General wear commensurate with age and use, including surface scratches, nicks and indentations.Hallmarks generally clear and legible, however makers marks with some wear.Tortoiseshell dull, would benefit from a clean.Bristles worn and discoloured.

Lot 2546

Silver mounted four piece dressing table set, comprising hand held mirror, hair brush and two clothes brushes, each with engine turned decoration and vacant central panel with foliate surround, hallmarked Birmingham 1919 and 1921, makers mark worn and indistinct Condition Report:General wear commensurate with age and use, including surface scratches, nicks, small indentations and knocks to edges.Decoration worn.Hallmarks with varying degrees of wear, makers mark to all worn and indistinct, and to mirror heavily worn.Brush bristles heavily worn, discoloured and bent.

Lot 2551

George III silver Old English pattern table spoon, hallmarked Robert Cattle & James Barber, York 1809, L22cm, together with a pair of George III silver Old English pattern dessert spoons, hallmarked Robert Cattle & James Barber, York 1812, L17.5cm, approximate total weight 4.50 ozt (140 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Hallmarks with some wear.

Lot 2570

Pair of 20th century American silver table spoons, the stems cast with flower heads, impressed Sterling, L22cm, approximate weight 4.72 ozt (147 grams)Condition Report:General wear commensurate with age and use, predominantly in the form of surface scratches, some deeper scratches, and nicks.Marks clear and legible.

Lot 2571

Set of eight American silver handled Normandy Rose pattern table knives, marked Sterling, together with a further matching set of eight smaller knives, the blades stamped Wallace Sterling Handle Stainless Blade, largest L25cm, smaller L23cmCondition Report:General wear commensurate with age and use, including surface and nicks.Marks with some wear but generally clear and legible.

Lot 2580

Four George III silver Old English pattern table spoons, hallmarked Stephen Adams I, London 1776, London 1794, makers mark partly worn and indistinct, William Eley, William Fearn & William Chawner, London 1812, and London, makers mark and date letter worn and indistinct possibly William Chawner II,1817, approximate total weight 8.42 ozt (262 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Wear to edges of bowls, and two bowls with knocks.Hallmarks with varying degrees of wear.

Lot 2611

Edwardian silver grenade form table lighter, of globular form with flambeau neck, hallmarked Chester 1904, makers mark worn and indistinct, H8.5cmCondition Report:General wear commensurate with age and use, including surface scratches, and some light knocks around lower section. Edges of flambeau next bent inwards. Lacking wick. Hallmarks with some wear, but still legible, however makers mark worn indistinct.

Lot 227

Musik - - Händel, Georg Friedrich. Xerxes, an Opera (in 3 Acts. Text by N. Minato). London, Walsh, nach 1738. 107 S. Noten in Kupferstich (ohne je 1 Bl. Titel und "Table of Songs"). 35,5 x 25,5 cm. Unbeschnittene lose Blätter mit Spuren ehemaliger Interimsheftung, in altem Papierumschlag.RISM A, H bzw. HH 327. - Gestochene Partitur von Händels berühmter Oper, erstmals aufgeführt und gedruckt 1738. Die Platten weisen hier bereits deutliche Abnutzungsspuren auf, vermutlich liegen Abzüge aus dem weiteren Verlauf des 18. Jahrhunderts vor (das Exemplar der Amalienbibliothek wird z.B. auf 1755-60 datiert). - Breitrandig, etwas gebräunt, der beidseitige Druck vielfach durchschlagend.

Lot 2173

Photobücher - - Burri, René. Trois fois chez nous. 3 Bände. Mit zahlreichen ganzseitigen, teils farbigen photographischen Abbildungen. Zürich, Dino Simonett, 2008. 31 x 23,4 cm. Farbig illustrierte Halbleinenbände mit Rückentiteln in goldfarbenem, von René Burri signierten, betitelten und nummerierten Original-Pappschuber (Kanten minimal berieben).Eins von 50 auf dem Schuber von Burri signierten und nummerierten Exemplaren, wurden alle drei Bände nochmals von Burri auf dem Vortitel signiert. - Enthalten sind die Titel "77 strange sensations", "Berner Blitz" und "Nous sommes treize à table". - Tadellos.

Lot 102

Fireplaces.- Gauger (Nicolas) Fires Improv'd: Being a New Method of Building Chimneys, so as to Prevent their Smoaking, translated by J.T.Desaguliers, first edition in English, advertisement leaf and 9 folding engraved plates at end, contemporary ink note of acquisition to front free endpaper "Read this little book the 24. Oct. 1715 & I find it but very little worth, there being much said to little purpose" and with annotations/corrections to text, engraved bookplate, an attractive copy in contemporary calf, morocco label, spine slightly rubbed, [Harris 244], for J.Senex and E.Curll, 1715 § Leutmann (J.G.) Vulcanus famulans oder sonderbahre Feuer-Nutzung welche durch gute Einrichtung der Stuben-Osen, Carmine..., fifth edition, engraved frontispiece and 55 folding plates of fireplaces, ovens, tea and coffee machines etc., folding letterpress table, a little browned, some light worming, modern boards, Wittenberg & Zerbst, S.G.Zimmermann, 1764, 12mo & 8vo (2)⁂ The first item was first published in Paris in 1713. This is "the earliest treatise on domestic heating and the basis of all eighteenth-century books on the subject in English...Desaguliers published a translation of Gauger's book, omitting what he thought superfluous and adding his own improvements to suit the burning of coal in England". (Harris). Maybe it was Desaguliers' alterations which left the owner unimpressed. Despite ESTC calling for 4pp. appendix at end Harris does not; this appears to be part of the second edition of 1736 which states "with an Appendix" on the title.

Lot 168

NO RESERVE Bleackley (Horace) Life of John Wilkes, 1 vol. bound as 2, extra illustrated with frontispiece and 197 plates, 2 folding, most 18th or 19th century engravings, 1 folding table, 27 ff. additional related text trimmed, mounted and bound-in, scattered faint spotting, near contemporary half-morocco by Bayntun, gilt, 8vo, 1917.

Lot 226

NO RESERVE Juvenile.- Astronomy.- Lectures on astronomy, and natural philosophy, for the use of children, large folding letterpress table, lacking half-title, table with short tear, without loss, charming marbled endpapers, contemporary calf, gilt, worn, but holding firm, 8vo, Bath, Printed by R. Cruttwell, and sold by C. Dilly, Poultry, London, 1794.⁂ A scarce little provincially printed work, with US holdings limited to Harvard.

Lot 232

Music.- Croft (William) Musica Sacra: or, select Anthems in Score, 2 vol. in 1, engraved portrait frontispiece, letterpress titles in red and black to both vol., vol. 1 engraved dedication leaf, vol. 2 letterpress dedication leaf, both vol. with an engraved 'Table of Anthems', with ink manuscript annotations, vol. 1 184 engraved plates of music, vol. 2 155 engraved plates of music, a few instances of ink annotations, two nineteenth century ownership inscriptions to front pastedown, cracking to gutter at upper hinge, vol.1 plate 110 and vol. 2 plate 44, contemporary vellum, gilt, remains of morocco label to spine, upper cover slightly warped, folio, John Walsh, John and Joseph Hare, [c.1730].⁂ A reissue of the [1724-25] edition, vol. 1 with engraved dedication leaf replacing letterpress dedication and without the list of subscribers in the original edition.

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