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Y Finn Juhl (Danish 1912-1989) for Bovirke BO-101 Bench / Coffee Table, designed circa 1953 rosewood, enamelled steel and brass(41cm high, 150cm wide, 45.5cm deep (16.1in high, 59in wide, 17.9in deep))Footnote: Note: Sold in compliance with CITES regulations, with (non-transferable) Transaction Specific Certificate no. 613295/01. Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Finn Juhl (Danish 1912-1989) for France & Søn Coffee Table, 1950s model FD531/45, teak(45cm high, 175.3cm wide, 60.3cm deep (17.7in high, 69in wide, 23.7in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-27 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.
Finn Juhl (Danish 1912-1989) for France & Daverkosen Side Table, circa 1950s model FD531, teak, 'France and Son' label, 'FRANCE AND SON / DENMARK / 36060'(39.5cm high, 59.5cm wide, 42.5cm deep (15.5in high, 23.4in wide, 16.7in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-26 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.
Charles Jencks (American 1939-2019) for Aram Designs Limited Set of Six 'Dice Tables / Seats', 1985 painted wood(each 45cm high, 33.5cm wide (17.75in high, 13.25in wide))Footnote: Charles Jencks was an American landscape designer, architectural historian and cultural theorist, who published over thirty books and was famous as a theorist of Postmodernism in the 1980s. The current works were displayed in an exhibition of Symbolic Furniture by Charles Jencks at London’s Aram Designs in 1985, and clearly bears his Anglo-American signature style and the experimental and transitional nature of Post Modern architecture of its times. Jencks’ intention with symbolic furniture was to create works that were still somewhat general, but also capable of specific meaning and function, that might reassert its rightful place and give anonymous space a place and location. It was the completion of his London house that provided the major opportunity to design the furniture to fit with the programmatic system of the house, and the decoration of the house was basically about the Cosmos with rooms decorated to suggest five seasons (including the Indian Summer) around the Sun Stair and the Moonwell. In particular the dice table-seats were intended to relate to the Spring furniture, and were made to be reversible and flexible in use, with the proportions being the same as the Parthenon triglyphs.
Charles Jencks (American 1939-2019) for Aram Designs Limited 'Light Table', 1985 signed, dated and titled (to the base), unique, parchment paper and painted wood(50cm high, 43cm wide (19.75in high, 17in wide))Footnote: Charles Jencks was an American landscape designer, architectural historian and cultural theorist, who published over thirty books and was famous as a theorist of Postmodernism in the 1980s. The current works were displayed in an exhibition of Symbolic Furniture by Charles Jencks at London’s Aram Designs in 1985, and clearly bears his Anglo-American signature style and the experimental and transitional nature of Post Modern architecture of its times. Jencks’ intention with symbolic furniture was to create works that were still somewhat general, but also capable of specific meaning and function, that might reassert its rightful place and give anonymous space a place and location. It was the completion of his London house that provided the major opportunity to design the furniture to fit with the programmatic system of the house, and the decoration of the house was basically about the Cosmos with rooms decorated to suggest five seasons (including the Indian Summer) around the Sun Stair and the Moonwell.
§ Sir Peter Blake C.B.E. R.D.I. R.A. (British 1932-) for Aram Designs Limited Two 'Step' Lamps Finnish birch plywood(Taller lamp: 143cm high (56.25in high) (including shade); Smaller lamp: 110cm high (43.25in high) (including shade))Footnote: ‘When I was asked by Zeev Aram to design a piece of furniture for his exhibition, my first thought was, which is the ‘simplest’ furniture – a table. So I designed a table. I wanted it to be very basic, as though a child had drawn it, like a kitchen table. Then I chose to have it made from thick plywood, to make the legs from ply, and turn the ‘constructed’ surface to the front of the table, to show how it was made. The construction of the corners is always the same, as a table can be made to order by simply giving the size of the table top and the height. It can be plain wood, sealed, or stained white, black and primary colours, on their own or a combination – red, yellow and blue. Later I decided that a lamp which matched the table would be interesting, and designed that too.’ (Peter Blake, 1986 quoted in accompanying Aram Design Limited catalogue)
§ Sir Peter Blake C.B.E. R.D.I. R.A. (British 1932-) for Aram Designs Limited Two 'Simple' Tables comprising a dining table and low table, Finnish birch plywood, the low table painted(the dining table 71.5cm high, 90cm wide and 90cm deep (28.25in high, 35.5in wide, 35.5in deep); the low table 38cm high, 62.5cm wide and 62.5cm deep (15.25in high, 24in wide, 24in deep))Footnote: ‘When I was asked by Zeev Aram to design a piece of furniture for his exhibition, my first thought was, which is the ‘simplest’ furniture – a table. So I designed a table. I wanted it to be very basic, as though a child had drawn it, like a kitchen table. Then I chose to have it made from thick plywood, to make the legs from ply, and turn the ‘constructed’ surface to the front of the table, to show how it was made. The construction of the corners is always the same, as a table can be made to order by simply giving the size of the table top and the height. It can be plain wood, sealed, or stained white, black and primary colours, on their own or a combination – red, yellow and blue. Later I decided that a lamp which matched the table would be interesting, and designed that too.’ (Peter Blake, 1986 quoted in accompanying Aram Design Limited catalogue)
Pierre Cardin (French 1922-2020) Console Table / Desk brushed aluminium and laminated wood(80.5cm high, 97cm wide, 40cm deep (31.7in high, 38in wide, 15.7in deep))Provenance: Pierre Cardin Showroom, Germany; Modernes Auction, Munich, 15 April 2004, Lot 176; Private Collection, UK.
Arne Jacobsen (Danish 1902-1971) Table, designed 1958 ebonised wood and aluminium(47cm high, 58cm diameter (18.5in high, 22.8in diameter))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-17 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.
Poul Kjaerholm (Danish 1929-1980) for E. Kold Christensen Table, designed 1956 model EKC-61, slate and chrome steel, the steel frame stamped with manufacturer's mark(33cm high, 84cm wide, 84cm deep (13in high, 33in wide, 33in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-42 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.
§ Dame Laura Knight R.A. (British 1877-1970) Ballet Dressing Table Signed and inscribed with title (lower right), pencil and charcoal(25cm x 36cm (10in x 14in))Footnote: A fairly precise study for a fully worked up painting. The ballet dressing room was a favourite theme of Knight's which she explored in oil and print.
IAN GREGORY (1942-2021); a salt glazed model of a table, impressed IG mark, diameter 12cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
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1181627 item(s)/page