Sign in
Register
notifications_none notifications Alerts

We found 1181390 price guide item(s) matching your search

Refine your search

Year

Filter by Price Range
  • List
  • Grid
  • 1181390 item(s)
    /page

Criterion Auctioneers Ltd - London & Bath
Lot 168

A Regency rosewood tilt top dining table on acanthus scroll carved pedestal and platform base. H.72 D.137cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 19

A late 19th century oak lamp table with marble top on square section stretchered supports. H.77 L.38 W.38cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 21

A late 19th century country oak side table with moulded top on square section stretchered supports. H.71 L.91.5 W.55.5cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 235

A vintage brass table lamp, a railwayman's storm lantern marked GWR and two brass spring scales. H.34.5cm (Tallest)

More details

Criterion Auctioneers Ltd - London & Bath
Lot 24

A Victorian carved and painted tilt top table with acorn and oak leaf detail and glazed inset tapestry top depicting a young couple each with original applied printed face and hands. H.75.5 L.87 W.69cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 257

A mid century Art Deco style burr walnut dressing table with cloud shaped bevelled mirror above drawers on shaped plinth base. H.148 W.116 D.56cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 33

A vintage four branch cut glass table chandelier with original shades and crystal drops. H.59cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 34

A pair of vintage twin branch table candelabras in glass and with cut crystal drops. H.49cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 53

A black lacquered low table with all over scrolling foliate decoration. H.38 L.108 W.54cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 65

An Indian teak metal bound coffee table on circular section supports. H.40.5 L.110.5 W.61cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 74

A contemporary curved glass designer occasional table. H.43 W.50 D.50cm

More details

Criterion Auctioneers Ltd - London & Bath
Lot 79

An Indian teak, metal bound and studded low table on cabriole supports. H.40 W.135 D.90cm

More details

Adams
Lot 81

Seán Keating PPRHA RSA RA (1889-1977)Don QuixoteOil on board, 73.5 x 84cm (29 x 33'')Signed versoProvenance: Boston (1927); British Artists Association, Buenos Aires (1928); Helen Hackett Gallery New York (1929); Grace Horn Gallery, Boston (1929).For Irish artist, Seán Keating, the artistic and allegorical possibilities offered by literature were endless. A fluent French speaker, his interest in all things Spanish was ignited on meeting his future wife, May Walshe, in 1916. Raised in a convent in Spain, May was so immersed in the culture that the language of her dreams was Spanish. It was hardly surprising that he would turn to one of the best-known works of Spanish literature to critique issues such as self-invention, social change, questions of truth, and the cult of individualism at the time.Miguel de Cervantes published the first part of Don Quixote in 1605, followed by a second volume in 1615, and ever since the central eponymous and comical character has been popular as a satirical metaphor for those not enamoured of the political classes, or of the self-satisfied. Formerly Alonso Quijano, the delusional old man read so many chivalric novels that he lost his mind. Led by his over-ripe imagination, he decided to transform himself into a knight. He created a cardboard helmet and found himself an ancient horse and an old suit of armour. In the guise of Don Quixote he took to the roads to serve his nation as a chivalric knight, but failed miserably in the face of a series of catastrophic events. Along the way he acquired the services of an elderly assistant, Sancho Panza, otherwise known as the magician, whose role was initially self-serving, yet ultimately, he helped his master through the reality of the terrible tribulations that they encountered. The first image in a series of three relating to Don Quixote was El Prestigiador Despojado (The Magician), a portrait of Sancho Panza, which was painted by the artist in 1918. It is now in the collection of the Crawford Gallery in Cork.Keating did not return to the theme again until the late 1920s, and when he did, it was Don Quixote’s character that offered him the opportunity to allegorically critique the impractical pursuit of idealist goals by politicians, and individuals amid the socially, economically, and politically problematic years of the late 1920s and 30s. Indeed, it was Don Quixote who gave his name to the term ‘quixotic.’ Thus, this version, Quixote, was the first of two images of the unlucky knight. Painted in the artist’s home in Killakee in the Dublin Mountains in 1927, it was initially sent to an exhibition in Boston organised by the then President of the RHA, Dermod O’Brien.Quixote is a quiet and contemplative painting in which the eponymous antihero appears without his suit of armour. He sits in an undefined but decorative interior setting, his hand on a book, his sword and helmet on the table, thinking about his future, and of his supposedly chivalric deeds. But he has yet been fully taken over by the delusions that haunt the character in the book. That was to come in the second version of the painting, which Keating produced amid major political change in Ireland in 1932, and titled Don Quixote (sold in Adams in 2010).Don Quixote is described in the novel as tall and gaunt. Keating always chose his models to suit the character he wanted to portray. In this instance, he used a man with suitable physical attributes from among those that modelled the Dublin Metropolitan School of Art. The same man appears in this version, Quixote (1927), in Quixote Model’s Interval (1927) (private collection), in Good Old Stuff (1928) (private collection) and in Don Quixote (1932).Dr Éimear O’Connor HRHAAuthor: Seán Keating: Art, Politics, and Building the Irish Nation (IAP, 2013).Director: The Tyrone Guthrie Centre at Annaghmakerrig.

More details

Adams
Lot 55

William John Leech RHA ROI (1881-1968)Self Portrait with Window and TableOil on board, 50 x 38cm (19¾ x 15'')SignedProvenance: Taylor Label on back. Listed as No.5 “Self-portrait with window and table” in the list compiled by Leo Smith of paintings by W.J.Leech in his studio at Clandon, 5 September 1968, for Greenwood & Loryman. Accountants, London for death duty purposes by the Dawson Gallery, 4 Dawson St., Dublin 2.When William (Bill) Leech, with his wife May Botterell, moved out of London to live at West Clandon, near Guildford in Surrey, in 1958, Leech was already in his late 70’s. Moving into his newly built studio, in the garden, gave him renewed energy to paint and his subject matter was mainly his garden and his self-portraits. These “Self-portraits” depict Leech wearing his black hat, to cover his white and balding head, looking searchingly out towards the viewer, sitting posed in front of his ‘Aloes’ series, painted in the 30’s. He is questioning his life’s work as a painter.In this “Self-portrait” Leech is not wearing his debonair black hat, but captures himself in his casual jacket and open neck shirt, framed by the lighted window onto the garden. Always aware compositionally, he sits to the right, with the edge of the table forming a strong diagonal towards the upright metal bar of the window. Clothes draped casually over the edge of the chair to the left and the green ceramic vase with its darker green plant, all create his studio environment.Leech’s searching expression is now more haunted, with a hint of despair, perhaps reflecting on his long life as a painter, during which he did not achieve the promise of his early success. When he wrote to Leo Smith, of the Dawson Gallery in 1966, he recognized this failure; “You see not much success really but you cannot be a recluse all your life as I have been and have worldly success. I had an idea when young, that if the work was good enough it would sell in the end. The end is the word……”This is one of the last “Self-portraits” Leech painted and it maintains all the dexterity and skill the painter possessed. When his second wife May died on 10th July 1963, aged eighty-three years, Leech was a very lonely man and 5 years later on 16th July 1968 at age eighty-eight, after being diagnosed as terminally ill, Leech fell from the railway bridge at West Clandon onto the tracks below.Dr Denise FerranAugust 2021

More details

Bishop & Miller Auctioneers Ltd
Lot 11

Works of art to include pewter taste de vin, small pewter measure, metal horse model, two glass candlesticks, brass candle snuffer, dressing table brush and mirror etc. (qty)

More details

Bishop & Miller Auctioneers Ltd
Lot 84

Porcelain and works of art to include three Aynsley fruits and flowers of Somerset plates, Delft blue and white ware, glass dressing table pots, three horse brasses etc. (qty)

More details

Bishop & Miller Auctioneers Ltd
Lot 35

Quantity of textiles, consisting of table clothes, some with patterns (qty)

More details

Bishop & Miller Auctioneers Ltd
Lot 12

Works of art to include opera glasses, ebony dressing table pot, glove stretchers, and pair of candlesticks, cheroot holders, brass dressing table pins dish etc. (qty)

More details

Bonhams
Lot 5

Nina Hamnett (British, 1890-1956)Rooftops signed 'Hamnett' (lower left)oil on canvas53.4 x 36.8 cm. (21 x 14 1/2 in.)Footnotes:ProvenanceThe Artist, from whom acquired byFrank Griffith, thence by descentPrivate Collection, U.K.Nina Hamnett was born in Wales and studied at the London School of Art and also in Paris. During, and following, her studies she forged friendships with a wide circle of the most respected creatives of the time including Henri Gaudier-Brzeska (for whom she posed nude), Ezra Pound, Pablo Picasso and Jean Cocteau, in addition to sexual relationships with Amadeo Modigliani and Roger Fry to name but two. She gained notoriety for a wildly unconventional attitude (having once danced naked on a café table in Montparnasse 'just for the hell of it'), was a heavy drinker and openly bisexual and promiscuous, all of which earned her the informal title of 'The Queen of Bohemia'. Yet in spite of her flamboyant reputation, she was a serious artist in her own right and greatly admired by Walter Sickert, who attempted (and failed) to guide her professional development. Her work was exhibited widely during the First World War at both the Royal Academy in London and the Salon d'Automne in Paris and in 1932, she published Laughing Torso (an auto-biographical account of her controversial life) which became a bestseller in the U.K. and U.S. Sadly, however, in the years that followed she was consumed by alcoholism and met an untimely end in 1956 having fallen out of her apartment window and become impaled on the railings below. One of the more interesting characters of the period, Hamnett's work is rarely seen on the open market with the present example having previously been in the collection of her artist friend Frank Griffith (1889-1979) whom she met in Paris.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

More details

McTear's
Lot 845

EDWARDIAN MAHOGANY CIRCULAR TWO TIER OCCASIONAL TABLE, with inlaid detail, on stretchered tapered supports, 60cm diameter

More details

McTear's
Lot 718

SATINWOOD SIDE TABLE, the bowed breakfront over a frieze drawer flanked with two cupboard doors and on square tapered legs ending in castors, 122cm wide

More details

McTear's
Lot 725

MAHOGANY PLANT TABLE, the square top richly carved with thistles, on square tapered supports with undertier, 84cm high

More details

McTear's
Lot 742

REPRODUCTION MAHOGANY DINING TABLE AND EIGHT CHAIRS, the table with circular top, 183cm diameter, on quadruple pillar supports with splayed feet, the chairs with railed back and including two carvers

More details

McTear's
Lot 848

VICTORIAN NEEDLEWORK TABLE, with adapted top, on turned column to three scrolled supports on castors, 65cm wide

More details

McTear's
Lot 786

VICTORIAN SILVER PLATE MOUNTED HORN TABLE SNUFF MULL, mounted with a stag, on front paw foot with partial presentation inscription, 27cm high

More details

McTear's
Lot 716

SATINWOOD SIDE TABLE, the bowed breakfront with a superstructure fitted with small drawers, over frieze drawers and on square tapered legs ending in castors, 122cm wide

More details

McTear's
Lot 860

PAIR OF AUSTRIAN JUGENDSTIL 'SHELL' TABLE LAMPS BY MORITZ HACKER, natural shell shades on flowing silvered bases, the columns modelled as semi-naked maidens, one with stamped maker's mark, nos. 34 and 35 to bases, 26.5cm high (2)

More details

McTear's
Lot 712

EDWARDIAN BIJOUTERIE TABLE, the hinged rectangular top and sides glazed, 59cm wide, one leg partially missing

More details

McTear's
Lot 817

1970S COFFEE TABLE,inset with Poole tiles, on chrome plated supports, the rectangular top 123cm x 46cm

More details

McTear's
Lot 799

SET OF EIGHT ORMOLU TABLE COMPORTS BY FERDINAND BARBEDIENNE, late 19th century, the shallow glass bowls gilded with bands of scrolls, the ormolu bases signed to the rim and dated 1876, suspended with a series of foliate swags, on quadruple scroll supports bearing applied masks to knees, on paw feet, 27.2cm diameter (8)

More details

McTear's
Lot 825

MAHOGANY DINING TABLE OF CHIPPENDALE DESIGN, with gadroon moulded edge, on castors, 238cm long when extended

More details

McTear's
Lot 827

MAHOGANY DEMI-LUNE FOLD OVER CARD TABLE, on cabriole supports to claw and ball feet, 77cm wide

More details

McTear's
Lot 846

WILLIAM IV MAHOGANY FOLD OVER CARD TABLE, on tapered column to quadripartite base on bun feet, 92cm wide

More details

McTear's
Lot 714

ART NOUVEAU TABLE LAMP, with mushroom form leaded shade, on flowing silvered base inset with mother of pearl roundels, apparently unmarked, 48cm high.

More details

Bonhams
Lot 59

An important Chamberlain Worcester cabinet plate by Thomas Baxter, circa 1820In the 'Regent' body, the rim moulded with shells and gadrooning picked out in gold, the cavetto fully painted with an arrangement of seashells on a richly grained wooden tabletop, the shells including a paper nautilus and a wentletrap, the panel outlined with a fine black line and surrounded by a wide gilt band and a formal classical border, 21.4cm diam, red script mark referring to New Bond Street addressFootnotes:ProvenanceBonhams sale, 7 December 2005, lot 254Twinight CollectionIllustrated by John Sandon, Worcester Porcelain (2009), p.21. For the same shells arranged on a grey marble table top, see the celebrated Swansea plate by Thomas Baxter in the National Museum of Wales (NMW A 38267), illustrated by John O Wilstead and Bernard Morris, Thomas Baxter The Swansea Years 1816-19 (1997), p.38. Baxter returned to Worcester after leaving Swansea, working first for the Flight, Barr and Barr partnership before moving to Chamberlain where he replicated this extraordinary still life scene.In the Museum of Royal Worcester is a pair of Chamberlain plates painted by Thomas Baxter with still lives of fruit. These had remained in the works collection and were acquired by R W Binns for his first museum. The panels on these plate and the present lot mirror a style that Thomas Baxter had used on Coalport plates painted twelve years earlier while he was in London. In June 1820, Chamberlain supplied to John Eversley '30 dessert plates, gadroon and gold with fine paintings of fruit', at a cost of £2 17s. 6d. each- a considerable sum. Presumably these thirty plates had different still life subjects by Baxter and it is likely the present lot with shells was part of this special commission.Baxter is justifiably famous for his shell painting. Examples painted while he was at Flights factory include panels that were titled by Baxter himself 'shells from nature'. In other words, instead of just copying prints of shells, Baxter drew real shells and he would have borrowed actual specimens from collectors. Lewis Dillwyn, proprietor of the Swansea factory owned a notable shell collection, but as Wilstead noted (op cit, pp.37-38), it is unlikely Baxter's Swansea plate was painted from any of Dillwyn's shells. The precious wentletrap shell, named from the Dutch for 'spiral staircase', was once considered to be extremely rare and in the mid 18th century some specimens were sold to collectors for enormous sums. Even as late as 1786 an example belonging to the Duchess of Portland sold at auction for seven guineas. Placing a wentletrap among his shell composition, Thomas Baxter was possibly appealing to wealthy patrons from his time in London, who would have appreciated such a valuable specimen.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

More details

Koller Auktionen AG
Lot 117

[Zurlauben, Beat Fidel Baron de].Tableaux topographiques, pittoresques, physiques, historiques, moraux, politiques, littéraires de la Suisse. 5 in 4 Bänden. (2 Text- u. 2 Tafel-Bände sowie 1 "Table analytique" v. E. A. Quétant ). Mit 1 gest. Frontispiz von Née nach Moreau le jeune, 2 gest. Titeln und 2 gest. Vortiteln, 2 gest. Kopfvignetten (davon 1 mit 2 Portraits von Zurlauben u. De la Borde), 6 doppelblattgr. Karten, 2 doppelblattgr. Plänen u. 241 (davon 1 doppelblattgr.) Kupfertafeln.Paris, L'Imprimerie de Clousier, 1780-1786. Gr.-Folio. Marmorierte Kalbslederbände d. Z. mit je zwei goldgepr. Rückenschildern, reicher Rückenvergoldung, goldgepr. Deckel- und Innenkantenbordüren, sowie dreiseitigem Goldschnitt (Kapitale etwas bestossen und teils mit kleinen Ausbrüchen bzw. Fehlstellen im Bezug, Rücken mit kleinen Wurmspuren, schwache Bereibungen an Bünden, Gelenken und Kanten).Barth 17338 - Cohen/R.1075 - Feller/Bonjour 505 ff. - Haller I, 235 - Lonchamp 3362 - Wäber 38 - Brunet V, 1546 - Lewine S. 581. - Zweite Ausgabe des grössten und berühmtesten Schweizer Ansichtenwerkes des 18. Jhs. Enthält mehrheitlich Ansichten der bedeutendsten Orte, Berge, Seen, Karten (1 Generalkarte, Basel, Berner Oberland, Neuchatel u. Schaffhausen) u. 2 Pläne (Basel und "plan perspectif" mit Bergpanorama der Zentralschweiz), historische Ereignisse, Münz- u. Siegelbilder. - Mit "Table analytique" im 4. Band angebunden. - In den Seitenrändern minimal gebräunt, vereinzelt leicht stockfleckig. Insgesamt sauberes Exemplar in prachtvollen Einbänden der Zeit.

More details

McTear's
Lot 1100

PAIR OF ROYAL CROWN DERBY TABLE CANDLESTICKS, with fluted tapering columns, on square concave bases, decorated in the Imari pattern, transfer mark, 27cm high (fitted for electric light if required) (2)

More details

John Nicholson's
Lot 367

A pair of 20th Century oil on panel, Still life paintings of mixed fruit on a table edge, signed J. Howard, each 5" x 7".

More details

John Nicholson's
Lot 402

19th Century, Interior scene with two men seated and a young child at a table, oil on canvas, 14" x 12".

More details

McTear's
Lot 535

SET OF SIX VICTORIAN SILVER TABLE FORKS AND DESSERT FORKS, maker George Angell, London 1866, Fiddle and Thread pattern, engraved initial 'B' to reverse, the table forks 20.2cm long, approx. 900g gross

More details

McTear's
Lot 465

COLLECTION OF SCANDINAVIAN SILVER CUTLERY, .830 grade including table forks and spoons, numerous by David Andersen, of various patterns, some with engraved initials and crests, weighable silver approx. 2800g, also white metal items including a soup ladle with gilt bowl and a small group of plated items

More details

McTear's
Lot 531

THREE WILLIAM IV IRISH SILVER ‘GRAND JURY’ TABLE FORKS, maker Edward Power and Edward Twycross, Dublin 1835, the Fiddle pattern fork with engraved 'County Antrim Grand Jury' crest to reverse, 20.6cm long, approx. 210g

More details

McTear's
Lot 506

ART DECO SILVER MOUNTED DRESSING TABLE SET, maker Saunders, Shepherd & Co Ltd, London 1935, comprising mirror, a pair of clothes and hair brushes, with engine turned detail.

More details

McTear's
Lot 485

ART NOUVEAU SILVER-BACKED FOUR PIECE DRESSING TABLE SET, maker Cornelius Desormeaux Saunders & James Francis Hollings Shepherd, Chester and Birmingham circa 1907, comprising a hair brush, two clothes brushes and a hand mirror, each embossed with a central draped female figure holding a lute, surrounded by stylised foliage, the hand mirror and brush with engraved initial to handle, the hand mirror 18.6cm long

More details

McTear's
Lot 527

SET OF FIVE GEORGE III IRISH SILVER TABLE SPOONS, maker J S (unascribed), Dublin 1799, engraved initials within bright cut borders, 23.6cm long, approx. 320g

More details

McTear's
Lot 526

COMPSITE SET OF TWENTY-THREE 19TH CENTURY SILVER TABLE FORKS, nineteen maker William Johnson, London 1834, four maker Messrs. Eady, London 1858, Queen's pattern, double struck, engraved crest and initial to reverse, 20.2cm long, approx. 2660g gross

More details

McTear's
Lot 532

SET OF FOUR WILLIAM IV SILVER TABLE SPOONS, maker Richard Britton, London 1835, Fiddle pattern, engraved initials 'RMM', and a further set of four, engraved initial 'K', London 1858, maker W. R. Smily, both circa 21cm long, approx. 550g gross

More details

McTear's
Lot 534

COMPOSITE SET OF VICTORIAN SILVER FIDDLE AND THREAD PATTERN TABLE APPOINTMENTS, comprising four table spoons and six dessert spoons, maker George Angell, London 1859-61, engraved initial 'B', the table spoons 22.2cm long, and six teaspoons, maker Holland Son & Slater, London 1884, approx. 910g gross

More details

McTear's
Lot 423

PAIR OF 19TH CENTURY SILVER TABLE SPOONS, maker JL, likely Scottish provincial, Hanoverian pattern, engraved initial to the back of the terminal, 22.3cm long, along with a set of four teaspoons and a caddy spoon, 240g gross

More details

McTear's
Lot 437

GEORGE VI SILVER AND GUILLOCHE ENAMEL-BACKED THREE PIECE DRESSING TABLE SET, maker W.G. Sothers, Birmingham 1937, comprising hair brush, clothes brush and hand mirror, the hand mirror 26.8cm long

More details

McTear's
Lot 567

ELIZABETH II SILVER MOUNTED SIX-PIECE DRESSING TABLE SET, maker T P, London 1963, comprising hand mirror, pairs of clothes and hair brushed and a comb, all with engine turned and bright cut foliate detail

More details

McTear's
Lot 530

THREE GEORGE IV IRISH SILVER ‘GRAND JURY’ TABLE FORKS, maker James England and M. West, Dublin 1820, the fiddle pattern forks with County Antrim Grand Jury crest to reverse, 20.3cm long, approx. 220g

More details

McTear's
Lot 413

SUITE OF SILVER PLATED TABLE APPOINTMENTS, twelve place knives and forks, six place tea and table spoons, with carvers, sauce and soup ladles, contained in a mahogany tabletop canteen with presentation inscription from the '...Grand Master of the Order of Druids, 1925-26...', the canteen 44.8cm wide

More details

McTear's
Lot 489

EDWARDIAN SILVER CORIANTHIAN COLUMN TABLE LAMP, maker Fenton Brothers, Sheffield 1906, on a stepped square base with gadrooned borders, weighted, 70cm to shade, along with a matched silver plated example (2)

More details

McTear's
Lot 431

EDWARDIAN SILVER DRESSING TABLE JAR AND COVER, maker William Comyns, London 1902, of waisted cylindrical form, 7.5cm diameter, along with a silver evening purse, with fitted interior, 147g gross (2)

More details

McTear's
Lot 508

A SET OF TEN GEORGE IV SILVER TABLE SPOONS, maker Alexander Edmonstoun III, Edinburgh 1828, in the Kings pattern and each with engraved stag's head armorial to terminal, and a group of matched 19th century forks of the same pattern, various makers, approx. 1494g gross, also a set of eight knives by Hamilton & Inches with silver plated handles.

More details

McTear's
Lot 435

GEORGE V SILVER BACKED FIVE-PIECE DRESSING TABLE SET, maker Joseph Gloster ltd., Birmingham 1911, comprising a pair of hair brushes, a pair of clothes brushes and a hand mirror, each piece embossed with stylised foliage, the hand mirror 29.9cm high

More details

McTear's
Lot 411

EDWARDIAN SILVER DRESSING TABLE MIRROR, maker Arthur & John Zimmerman Ltd., Birmingham 1902, the frame embossed with scrolls and foliage, inset bevelled oblong glass, easel backed support, 39.8cm high, 25cm wide

More details

Tennants Auctioneers
Lot 3144

An HMV Model 110 Table Grand Gramophone, With No. 2 soundbox, in carton, gooseneck tonearm, speed regulator and indicator, in oak case, with a period HMV needle box with take-and-discard compartments, HMV needle packet, and HMV Loud Tone tin; with a good quantity of records including Zonophone green label, some HMV red label, other labels and two book of HMV Nursery records on orange label. (qty)

More details

C & T Auctioneers and Valuers Ltd
Lot 211

Ranger tinplate clockwork Pool Players toy, American 1950s, lithographed in various colours with two pool players and table with holes numbered 1, 3, 4 and 10 to the centre, 14 ¼” (36cm) long, good working condition.

More details
Loading...Loading...
  • 1181390 item(s)
    /page

Recently Viewed Lots