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Janet Fish (American, b. 1938). Watercolor on paper still life depicting a group of figs, walnuts, and apricots or peaches spread across a wooden table atop a checked tablecloth and polychrome Chinese plate. Pencil signed and dated 1987 along the lower right. There is additionally an illegible pencil inscription along the lower right. Labels from Simms Fine Art, New Orleans, Louisiana; Robert Miller Gallery, New York, New York; and Knight Works, Inc., Clifton, New Jersey are affixed to the verso.Sight; height: 22 5/8 in x width: 29 5/8 in. Framed; height: 31 7/8 in x width: 38 3/8 in.Glass has cracked along the left corner.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 22 5/8 in x width: 29 5/8 in. Framed; height: 31 7/8 in x width: 38 3/8 in.
Elizabeth Grant (American, 20th century). Oil on canvas board painting depicting a still life composition of a plaster cast male bust sculpture, fruit, a pitcher, and wine on a table.Height: 22 in x width: 28 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 22 in x width: 28 in.
Group of four lithographs depicting Pierre-Auguste Renoir's (French, 1841-1919) "Sur la Terrasse," depicting a woman and a child seated on a terrace at a table in front of a lush garden. Each signed in plate as well as impressed with Renoir's signature. Editioned 57/450, 58/450, 59/450, and 62/450.(Each) Height: 29 3/4 in x width: 21 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.(Each) Height: 29 3/4 in x width: 21 1/4 in.
Modern table top polychrome painted metal standing mobile or kinetic sculpture consisting of geometric shapes in vibrant colors such as yellow, red, blue, and green. Great piece for collectors of Alexander Calder (American, 1898-1976).Keywords: Curtis Jere, Memphis Milano.Height: 24 in x width: 26 in x depth: 9 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 24 in x width: 26 in x depth: 9 1/2 in.
Livio de Marchi (Italian, b. 1943) carved wooden trompe l'oeil table. Also known as the "Carpenter of Venice," Marchi is renowned for his elaborate wooden creations ranging from tables to a drivable wooden Ferrari F50. This excellently carved wooden table showcases Marchi's skill as a carpenter while tricking the eye into believing the draped tablecloth is real fabric. Signed and editioned 28/30 on a fold of fabric to the right of the drawer.Height: 24 in x width: 25 in x depth: 24 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 24 in x width: 25 in x depth: 24 in.
Style of John Dickinson (American, 1920-1982). Console table with galvanized steel draped across the top to resemble fabric. A label with "MADE IN ITALY" adhered along the inside of table.Height: 29 1/4 in x width: 50 in x depth: 16 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 29 1/4 in x width: 50 in x depth: 16 in.
Isamu Noguchi (American, 1904-1988) for Knoll, USA. Cyclone Dining Table with a white laminate birch plywood tabletop and steel wire cyclone columns set into a cast iron black base. Superb mid-century modern design.This design was initially conceived in 1953 as a rocking stool after Noguchi returned from a trip to Japan and was inspired by their use of plastic materials in furniture. However, Hans Knoll upon seeing the stool wanted the design to be adapted to a table as well. Noguchi switched out the plastic for wire and scaled the design to a size fitting for a table. The Bertoia wire chair, as the stool came to be known, was marketed alongside the Cyclone table until 1974. In 2003, the table was reintroduced and reproduced according to Noguchi's meticulous original drawings.Height: 28 5/8 in x diameter: 36 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 28 5/8 in x diameter: 36 in.
George Nelson (American, 1908–1986) for Herman Miller, USA. Nelson Pedestal Coffee Table, designed in 1954, featuring a circular round black laminate MDF top with a black aluminum column that tapers into four slim legs. Simple, clean mid-century modern design. Herman Miller label and George Nelson label affixed along the underside of the top.Height: 21 1/2 in x diameter: 28 1/2 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 21 1/2 in x diameter: 28 1/2 in.
Paul Cadmus (American, 1904-1999). Etching on paper titled "Stewart's" depicting a rowdy bar or diner scene full of people surrounding a table. Signed in pencil along the lower right. Titled and numbered "13/35" and "II" in pencil along the lower left. Second edition of 2, printed in 1979 and conceived in 1934.Provenance: Estate of Paul Cadmus (d. 1999) afterwards Jon Anderson (d. 2018).Height: 14 1/2 in x width: 18 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 14 1/2 in x width: 18 in.
Charles Burton Barber, ROI (British, 1845-1894)Only a Shower signed and dated 'C. Burton Barber 1884' (lower right); inscribed 'Only a Shower/C. Burton Barber./1 Tichfield Rd North Gate Regent's' (on remnants of a label attached to the stretcher)oil on canvas60.9 x 76.2cm (24 x 30in).Footnotes:ProvenanceThomas McLean, London. Anon. sale, Christie's, New York, 6 May 1999, lot 64, as No Ride Today.Private collection, UK (acquired from the above sale). ExhibitedLondon, Institute of Painters in Oil Colours, 1884-5, no. 417 (illustrated, no. 34).Charles Burton Barber was in some respects the equal of Sir Edwin Landseer... his private pictures for the Queen were the most satisfactory... for a quarter of a century he was 'commanded' to attend the Royal Palaces to paint pictures for Royalty.(Harry Furniss, Introduction to The Works of Charles Burton Barber, 1896)The present lot is an exceptional example of Victorian genre, by an artist once regarded as the finest painter of animals in Britain. A favourite of Queen Victoria and Prince Albert, Charles Burton Barber succeeded Landseer as the Queen's Painter of Animals, producing numerous studies of the Queen's pets, as well as of her grandchildren. Barber attended the Royal Academy Schools as a young man, winning several medals, and had his first work accepted for exhibition at the Royal Academy in 1866, aged just 20. According to his biographer Harry Furniss, Barber 'loved to paint the stag', but his work was rather eclipsed by Landseer's own highland scenes; as a result, 'Barber came down from the solitude of the northern fastness and took to painting dogs and cats in the studio', much to the delight of Barber's dealers, who 'discovered the fact that the public bought pictures of children and dogs'.While he may have felt pigeon-holed in his choice of subject and driven by his financial responsibilities as a family man - he noted to his brother that 'manufacturing pictures for the market is just the devil' - nonetheless Barber produced an impressive body of work during his short career, conscientious and meticulous in his attention to detail: 'Everything required for the picture was bought or made... days and weeks were spent' to finalise the composition and render every object in the finest detail.Only a Shower is a prime example of Barber's craft; brilliantly rendered, down to the fine details on the objects that adorn the table, the subject is tender while avoiding being over-sentimental. Barber's proficiency at painting animals is self-evident; they are painted with great skill and anatomical accuracy, lending a sense of realism to the scene. As Furniss observes 'Burton Barber was never guilty of humanising his animal.... How perfectly the painter adapts the animal to the part, and yet it remains an animal! Not a muscle... is contorted for effect'.1As well as his regular showings at the Royal Academy, Barber was a frequent exhibitor at the Institute of Painters in Oil Colours (being elected a member in 1883), Walker Art Gallery, Manchester City Art Gallery and the Fine Art Society. Examples of Barber's work in public collections include A special pleader (1893, Touchstones, Rochdale) and In Disgrace (1886, Flyde Borough Council, St Annes, Lancashire).1 The Works of Charles Burton Barber, London, 1896, passim.For further information on this lot please visit Bonhams.com
John Edward Newton RI (British, active 1835-1891)Rival performers signed with monogram and dated '1861' (lower right)oil on canvas24.5 x 31cm (9 5/8 x 12 3/16in).Footnotes:ExhibitedLiverpool, Liverpool Academy, 1861, no. 281 (£26 5s).London, The Royal Society of British Artists, 1862, no. 941 (£25. 5s)This delightful genre subject by the Liverpool artist John Edward Newton shows an amateur musician, looking attentively at a musical score as he prepares to play. It is not clear whether he welcomes or is distracted by the song of a caged bird, but perhaps it was the artist's intention to emphasise the purity and simplicity of the birdsong, by comparison with the musician's own attempts with his instrument. Hence the painting's title The Rival Performers (as it was exhibited at the Liverpool Academy in 1861).Newton was an extraordinary technician and one whose works invited comparison with the Dutch interior and still-life painters of the seventeenth century. He shows the male figure seated and cross-legged, dressed with crumpled informality and wearing a smoking cap. The impromptu nature of his playing is indicated by the way in which the score rests precariously on the edge of the table. The room that he occupies appears to be a relatively comfortable one, with tape-edged curtains and a fine casement window with wide panes of glass suggesting that this sitting-room may have belonged to one of the fine terraced houses in Liverpool's 'Newtown', on the north and east of the city's historic centre and to which the Liverpudlian middle classes were then gravitating. In 1860 Newton had sent works to the Liverpool Academy from an address in Everton and which may perhaps have been the setting for the subject. It seems likely that the work is a self-portrait or alternatively shows a family member. Domestic self-indulgence is suggested by the hookah pipe which rests on the window sill.A brief biography of John Edward Newton is given in H.C. Marillier's The Liverpool School of Painters (1904). Although a member of the Liverpool Academy from 1856 to 1867 and an exhibitor in the annual exhibitions in the Academy galleries in Old Post Office Place, Marillier saw Newton as somewhat out of place there (although he emphasises Newton's friendship with James Campbell who was one of the leaders of the progressive group of Pre-Raphaelite inspired artists associated with the Academy). Newton seems to have moved from one specialisation to another, painting landscapes, and still-lifes of flowers and fruit, as well as of domestic subjects such as the present. All are characterised by a meticulous handling of paint and idiosyncratic observation. By the late 1860s this love of detail was coming to be regarded as somewhat old fashioned as artists introduced greater breadth and painterliness to their compositions and came to be less concerned with the specificity of place or type, an artistic direction which may have been discouraging to Newton. Nonetheless, The Rival Performers may be recognised as one of the finest genre or domestic subjects of the Liverpool School of painters at the time of that group's most remarkable florescence.We are grateful to Christopher Newall for his assistance in cataloguing this lot.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
A modern 9ct gold 0.4ct solitaire diamond ring, set with modern round brilliant diamond, colour approx K/L, clarity approx SI2/SI3, size N, 2.9gNo damage or repair, diamond is bright and fiery with a yellow tint and a few internal fractures under the table, settings lightly abraded, hallmarks clear, stamped 375.
A pair of Dutch silver table candlesticks, fluted decoration with relief embossed roundels and beaded borders, height 25cm, loaded basesNo obvious damage or repair, high points are very worn with a few small holes on roundels, general wear all over, 1 stick is slightly leaning, Dutch hallmarks slightly rubbed, both have loaded bases
ASPREY - a pair of George V silver squat Corinthian column table candlesticks, with removable sconces, by Asprey & Co Ltd, hallmarks Sheffield 1912, height 14.5cm, loaded bases1 stick has a dented and bent base corner, both have small holes appearing on stepped bases, wear to high points, hallmarks rubbed
An Antique 18ct gold ruby and diamond marquise cluster panel ring, set with old European-cut rubies and round brilliant-cut diamonds, total diamond content approx 1ct, setting height 21.2mm, size O, 4.7gNo damage or repairs, all stones present, 1 ruby has a small chip on the table, diamonds bright white and fiery, settings lightly abraded, mark clear, stamped 18ct
A modern platinum 0.4ct Princess-cut solitaire diamond ring, diamond weight calculated from measurements: 4.30mm x 4.11mm x 2.92mm, colour approx J/K, clarity approx I1/I2, setting height 5.4mm, size P, 4gNo damage, diamond is relatively bright and fiery with 1 large internal fracture just under the table, settings quite worn with a section added on the back of the shank, hallmarks clear, stamped 900
A Victorian 9ct gold garnet and pearl half hoop ring, set with oval mixed-cut garnets and floral engraved shank, hallmarks Birmingham 1883, setting height 8.2mm, size M, 1.6gAll stones present with only 1 tiny chip on main garnet table, settings are quite worn with only 1 join mark visible on side of shank, hallmarks rubbed, stamped 375
An Antique platinum "ruby" and diamond cluster target ring, set with old European-cut ruby and old-cut diamonds, total diamond content approx 1ct, ruby dimensions approx: 5.38mm x 2.74mm, setting height 14.6mm, size K, 5.3gNo damage or repair, all stones present, unsure if ruby is natural or synthetic but does have a couple of very minor internal fractures near girdle, but otherwise clean and has a pinkish red hue and only a couple of very light facet edge abrasions, diamonds vary in colour and clarity, 1 has a table chip, settings generally abraded, mark rubbed, stamped plat
A 15CT GOLD PERIDOT AND PEARL EDWARDIAN BROOCH depicting lily of the valley, the peridot is emerald cut 9.5mm x 8.5mm, weight 6.2gms Condition Report: Brooch dimensions 3.6cm x 1.8cm. A scratch to the table facet, only just eye visible, very slight abrasions to the top facets and a few tiny chips only visible with a 20x loope, nice double refraction, no inclusions. All pearls in situ one is chipped probably from when it was set, as opposed to later damage, only visible with a loope. simple hook clasp ok. Stamped 15ct.
A SUBSTANTIAL PLATINUM THREE STONE DIAMOND RING set with estimated approx 3.55cts of old cut diamonds, in platinum crown mounts, finger size Q1/2, weight 4.9gms Condition Report: I cannot give a full diamond appraisal, i.e the 4 C's as I am not qualified to do so. I can tell you what I can see with knowledge of inclusions and quality of gem stones up to Gemmology Association Certificate level. Overall; By eye a bright sparkly substantial diamond ring, not top colour posibly in the region of I to K colour, as it does draw a little yellow when compared to other diamonds. Middle;- 8.02 x 8.15 x 4.35mm =1.80cts, By eye, a bright sparkly diamond, hand cut not perfectly round. Very thin girdle in places, with tiny tiny nibbles. A clear feather and grey carbon spot to the table, no eye visible. A further patch with a little carbon towards one edge, appears like a hazy patch by eye if you are really looking for it. . Side one;-6.41 x 6.28 x 3.65mm=0.93cts visibly not round, has a large cleavage flake to the under girdle, I don't think it has been chipped off, I think it is an unpolished flaw, to remove it would have lost a lot of the weight. Side two;-6.51 x 6.35 x 3.14mm= 0.82cts, another area of very thin girdle with tiny nibbles out of it. Tiny carbon spots to the table, and some further towards the girdle. Mount;- area of wear/flattening to the top and bottom of the shank from rubbing on another ring with associated wear to the under bezel, plenty of metal there to tidy this up if you felt necessary. Claws ok at the moment, some a bit on the thin side.
A SUBSTANTIAL EDWARDIAN DIAMOND DROP PENDANT BROOCH set with estimated approx 4.57cts of old brilliant cut diamonds, in white metal millgrain settings, backed in yellow metal. The size of the diamonds start at 0.50cts to approx 0.07cts. Dimensions 4.8cm x 3.4cm, weight 9.2gms Condition Report:I cannot test the metal, it would ruin the item. Overall bright clean and white, no flaws eye visible. Largest diamond, twinned crystal scar to the left of the table, only visible by eye if you really look for it. The diamond directly below this one has a chip to the edge possibly due to a thin girdle and the millgrain setting. Applies to all some clear feather/crystal inclusions and a tiny bit of carbon.
Patrick Caulfield R.A. (British, 1936-2005)Occasional Table (Cristea 29) Screenprint in colours, 1972, on Arches, a proof aside from the numbered edition of 500, printed by Kelpra Studio, London, published by Observer Art, London, with margins, 737 x 1018mm (29 x 40in)(SH)(unframed)Footnotes:Click for an instant shipping quoteThis 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
A 17th century and later Continental miniature table cabinet, the pair of doors, top and sides all with ivory line inlaid panels of stylised flowers, the doors enclosing an arrangement of panelled small drawers, the central deep drawers with ivory inlaid urn of flowers and portico cresting to the drawer above, the inside of the doors inlaid in ivory with a full length portrait of a man and a lady within arched surround, with 'I.M.' and '1623' below, 20cm wide
An early 20th century extending 'D' end dining table, of narrow proportions extending via a handle and worm mechanism, the two extra leaves with hinged friezes, square section tapering legs, spade feet, with label attached inscribed 'The Bath Cabinet Makers Co. Ltd, 33 Gt. Pulteney St, London, Shipfitting Furnishing Craftsmen and Decorations', 137 x 91cm extending to 231 x 94cm
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1181627 item(s)/page