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A late 19th/early 20thC Arts and Crafts oak dressing table and matching washstand, the dressing table with a rectangular plate above two trinket drawers, a tapering base with a further three drawers, each with copper ring handles, with long back plates, the washstand with a green tiled back and top above panelled door with tapering hinges and an under tier, the dressing table 107cm wide, the wash stand 100cm.
M. H. BAILLIE SCOTT (1865-1945) (ATTRIBUTED DESIGNER) OCCASIONAL TABLE, CIRCA 1898 mahogany(41cm square, 70cm high)Footnote: Literature: Andrews, J. Arts and Crafts Furniture, ACC, Woodbridge, 2005, p 122 & 123, where a similar model is illustrated and attributes Baillie Scott as the designer and the maker as The Guild of Handicraft.
Y SHAPLAND & PETTER, BARNSTAPLE (ATTRIBUTED MAKERS) HEXAGONAL OCCASIONAL TABLE, CIRCA 1910 mahogany with marquetry and mother-of-pearl inlay, stamped serial number R2089/129(53.5cm diameter, 65.5cm high)Footnote: Note: 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/
W. A. S. BENSON (1854-1924) TABLE LAMP, CIRCA 1890 brass and copper with moulded and cased glass shade, stamped BENSON, 29cm high including shade; together with TWO JOHN WALSH WALSH SHADES, frosted opalescent glass, 8.8cm outer diameter of the aperture, 20.5cm tallProvenance: The Peter Rose and Albert Gallichan CollectionFootnote: Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 126, pl. 102 where this example is illustrated
JOHN MOYR SMITH (1839-1912) FOR MINTON, HOLLINS & CO. GROUP OF FOUR AESOP'S FABLES SERIES TILES, printed earthenware, within tile border, mounted and later framed, each central tile 15cm square; together with 'WALPURGIS NIGHT' TILE PANEL, printed earthenware, printed MOYR SMITH, moulded pottery mark, mounted and later framed, 20cm square; and a KNIGHT’S OF THE ROUND TABLE' TILE PANEL, mounted and later framed, printed MOYR SMITH, each central tile 15cm square; a 'LOT'S WIFE' TILE PANEL, printed earthenware, printed MOYR SMITH, 20cm square, later framed; and a 'GIANT POPE' TILE PANEL, printed earthenware, printed MOYR SMITH, 20cm square, later framedProvenance: The Peter Rose and Albert Gallichan Collection
W. A. S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP, CIRCA 1900 brass and copper, with associated opalescent glass shade(31cm high)Provenance: The Peter Rose and Albert Gallichan CollectionFootnote: Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, p. 149, pl. 130 where this example is illustrated
AFTER ERNEST GIMSON LARGE ARTS & CRAFTS CENTRE TABLE, CONTEMPORARY oak, with English walnut and sycamore chequer inlay, bears label under top MATTHEW POMFRET/ POMFRET FURNITURE STUDIO/ CIRENCESTER(175cm diameter, 73.5cm high)Footnote: Literature: Carruthers A., Greensted M., Roscoe B. Ernest Gimson: Arts & Crafts Designer and Architect, Yale 2019, p.89, pl.77 where Gimson's own example is illustrated in situ at Sapperton, circa 1905 Note: The original design for this table is held at The Wilson, Cheltenham (1941.222:401) and is inscribed ‘Dining or Hall Table in English Oak’, signed and dated ‘Ernest W. Gimson / Daneway House Nr Cirencester / Aug – 1909’. An earlier, larger table in walnut was sold by Mellors & Kirk in March 2013. This table which has an ebony-inlaid edge was made for the designer’s brother Mentor Gimson (1851–1925) and measures 153 cm diameter, slightly smaller than the present contemporary copy.
Y R.D. RUSSELL (1903 - 1981) AND EDEN MINNS (1906-1998) FOR GORDON RUSSELL LTD TABLE, DATED 1930 rosewood and English walnut, bears original label FOREMAN: FRED SHILTON/ CABINET MAKER: W. MARKS/ MADE 30 JUNE 1930(253cm long, 76.3cm high, 121cm deep)Footnote: Note: To face the challenges of the changing market in design in the early 1930s Gordon Russell suggested that his youngest brother R.D. (Dick) Russell should train as an architect. Once he had qualified Dick returned to Broadway, at which point Gordon Russell relinquished his role as designer, passing the mantle to his brother and a team of designers including David Booth and Eden Minns who had trained with Dick as an architect. Minns went on to design radio cabinets for Murphy, with whom he later took up the position of Head of Cabinet Design. Note: Please be aware that this lot contains material that 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/
SID POLLARD, BAGBY ARTS & CRAFTS DINING SUITE, CIRCA 1950 comprising a DINING TABLE, oak, 135.5cm long, 75cm high, 75.5cm deep; and a SET OF FOUR CHAIRS, oak, with close-nailed leather upholstery, 43cm wide, 87.5cm high, 42cm deepFootnote: Note: Sid Pollard was one of Robert 'Mouseman' Thompson's craftsmen in the early days. He went on to produce his own work at Bagby in Yorkshire, all unsigned but characterised by the quality of the craftsmanship and the characteristic Mouseman features.
ENGLISH, MANNER OF E.W. GODWIN AESTHETIC MOVEMENT OCCASIONAL TABLE, CIRCA 1880 mahogany, with brass capped feet, stamped H576 to the underside(50.2cm diameter, 61cm high)Footnote: Literature: Aslin E. E.W. Godwin: Furniture and Interior Decoration John Murray 1986, p.79, pl. 59 and 60. Note: Sketches by Godwin of around 1881, held at the V&A, show designs with hipped cabriole legs and metal sabots.
ELENA POLENOVA (1850-1898) AT THE ABRAMTSEVO WORKSHOPS, MOSCOW OBLAST, RUSSIA TABLE, CIRCA 1890 carved and stained birch(89cm wide, 76cm high, 65.3cm deep)Footnote: Note: Elena Polenova was an accomplished, painter, illustrator and designer, having initially taken an interest in drawing from her mother, herself an amateur artist and children’s author. By 1870, she took further classes in watercolours and ceramics, and enjoyed an educational year abroad in Paris. However, the Russo-Turkish War had a profound effect on her and she abandoned her studies to focus on a nursing career, providing essential care to the wounded. In 1877, family tragedy and a devastating personal heartbreak prompted a move to Moscow to live with her older brother, the renowned painter Vasilii Polenov. With so much loss and tragedy surrounding her, Elena reverted back to her youthful interests and devoted herself entirely to art. Shortly after, she was introduced to Savva Mamontov, a wealthy businessman and patron of the arts. He had fostered a community of artists, musicians and designers on his estate and encouraged them to study traditional Russian culture as inspiration for their creative output. Elena immersed herself in this flourishing environment and by 1885 she had taken over management of the furniture workshops, a pivotal point in her career. Under her leadership, students at the Abramtsevo workshop enjoyed widespread critical acclaim across the globe; a table similar to the present lot was shown in the Russian Pavilion during the 1900 Paris Universal Exhibition. Elena is thought to have produced over 100 furniture designs during her time at the workshops and the influence from traditional Russian crafts is clear; boldly carved forms and patterns are sensitively reworked with her own intention of creating a captivating style that both striking and functional.
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