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Chapmans: a set of twelve 20th Century Georgian style mahogany dining chairs (including two carvers), with yoke top rails and interlaced vasiform splats, above drop-in padded seats, raised on reeded square section legs united by stretchers; together with a Georgian style twin pedestal mahogany dining table, with three additional leaves, the rectangular top with reeded edge, above twin baluster turned columns, raised on outswept tripartite legs terminating in brass caps and castors, 315 (extended) x 112 x 76cms high.
E Gomme G Plan, a China white bedroom suite, comprising, three-door wardrobe with central mirror, raised on ebonised tapering legs, 171 x 122 x 57cms; a chest of drawers with an arrangement of four long drawers, raised on ebonised base, 78.5 x 96.5 x 47cms; a dressing table with triptych dressing mirror above a central frieze drawer above two banks of two short drawers, raised on ebonised tapering legs 133 x 124 x 46cms; a dressing table stool, with saddle seat and raised on tapering ebonised legs and a bedhead with central padded headrest, flanked by two single glass shelves and drawers, raised on tapering ebonised legs, 101.5 x 242 x 50cms. (5)
Calder, Alexander. La proue de la table. Journal rédigé par Yves Elléouet et illustré par Calder. Numéro zéro. 4 Bl. mit 8 Illustrationen (einschl. Umschlag). 2 lose Bogen. Paris, Éditions du Soleil Noir, 1967. Erste Ausgabe des Journals, erschien neben der in 55 Exemplaren herausgegebenen Vorzugsausgabe des Lyrikbandes, die 7 Originalradierungen Calders enthielt. - Mittig gefaltet; wohlerhalten.
-- "a cartoonist who is brilliant and very cruel"-- Kelen, Emery Fl. Indian Round-Table Conference. 1 Bl. Titel, 2 Bl. Druckvermerk und 35 kolor. Karikatur-Abbildungen. 38 x 28 cm. Lose Bl. in OSchlangenlederimitat-Flügelmappe (Kanten und Ecken etwas berieben) mit 2 Schließbändern. In OLeinenschuber. London, E. Kelen, (1930).Als "epreuve d'artiste" bezeichnetes, nicht nummeriertes Exemplar (Gesamtauflage: 200 Ex.). Druckvermerk von Kelen signiert, sowie mit einer eigenhändigen Widmung von ihm versehen: "Herrn Dr. Glück freundlichst gewidmet E Kelen - 1930 Weihnachten"). Die Karikaturen zeigen die Teilnehmer der Konferenz, die den Dominion-Status des Subkontinents zum Thema hatte und zeitlich am Beginn der indischen Unabhängigkeitskampfes stand (Stichwort: Gandhis Salzmarsch). In einem Beitrag der University of Nottingham ist über Kelens Werk Folgendes zu lesen (https://www.nottingham.ac.uk/research/groups/conferencing-the-international/representations/caricature.aspx, abgerufen am 26.10.2020): "Emery Kelen (1896-1964) was one of the, if not the, most famous caricaturist of the interwar period. Pulled out of art college and drafted into the Hungarian army during the First World War, Kelen emerged as a lifelong opponent of war. In the 1920s, often collaborating with Alois Derso, Kelen crafted the art of depicting the political and diplomatic scene. Conferences were one of his key sites, with sought-after drawing produced at the 1925 Locarno Conference, the 1933 London Economic Conference, the 1932 World Disarmament Conference, and at the permanent conferencing of the League of Nations in Geneva. Lithographic portfolios could also be commissioned, as with these portraits (individual and table) produced during the first two sessions of the Round Table Conference.Kelen devotes a chapter of his reminiscences of the interwar period, Peace in Their Time (1963), to his coverage of the conference. He dismissed it politically, suggesting the delegates had been selected to create as little nuisance as possible; the sort of people who enjoyed watching white men carrying burdens. But he devoured it socially, relishing the mixes and clashes of personalities. While he clearly had Indian friends, he lapsed frequently into orientalist stereotypes of the irrational Indian, barely separate from the state of nature. Here, he recalled the opening of the conference in November 1930: 'Imagine the House of Lords gone mad. I sat in the balcony listening to King George V opening the Round Table Conference, and spread below me were the great banks of turbans, fluorescent in the Gothic dusk, sulphur yellow, hellish red, poison green, and shocking pink, and when the king had done they came to life and popped around like fireflies.' Added to his usual accentuation of body shape and facial expression came a whole new range of racial colouring.For the few female delegates there could also be a dose of body-shaming and casual misogyny. During the second conference session the Maharani of Baroda organised a charity ball to benefit Charing Cross Hospital. Kelen drew caricatures of the Indians there present and Sarojini Naidu later wrote to her children of the event that: 'Another long interval was occupied by a cartoonist then who is brilliant and very cruel. We had some R.T.C. cartoons then and there to the merriment of the audience; the one of me is terrible but it sold for 15 guineas then and there in aid of children’s hospital.' Kelen later described Naidu as one of the ladies '... who eat Hungarian caricaturists for breakfast. Her generous mouth followed an upward curve and ended in a malicious curl underscored by the shadow of a moustache.' He compared her gait to that of a pouter pigeon and criticised her use of golden jewellery. He admired her political work 'But face to face with my white paper, I became an ugly truth-teller. From the day I drew Mrs. Naidu’s portrait for the benefit of the Charing Cross Hospital, and half of Who’s Who roared, I lost a valued friend ... Fat poetess! I am one with Luther at the Diet of Worms: ‘Here I stand, I cannot do otherwise. God help me! Amen.' - Wohlerhaltenes, sauberes Exemplar des sehr seltenen Portfolios.
Herbert Kampf (1896-?) Flower still life with corn and blue grapes on a wooden table. Signed and dated '42 lower right. Label on the back: Grosse Deutsche Kunstausstellung 1942 im Haus der Deutschen Kunst zu München. Provenance: Verlag Heinrich Hoffmann (HDK no. 271). The Haus der Deutschen Kunst was opened in 1937 and used as an exhibition room for artists approved by the Nazi-regime until 1945. The work was acquired by the art collector and official photographer of Adolf Hitler, Heinrich Hoffmann (1885-1957). Hoffmann had a shop in Munich in the '20s where Eva Braun worked as his assistant. Board 119 x 89 cm.
Partly mahogany Victorian-style table with two drawers, marked Lexington dining table USA, 20th century, h. 78, size 193 x 115 cm.Deels mahonie Victoriaanse-stijl uitschuiftafel met bandintarsia ingelegd en 2 laden, gestempeld onderzijde Lexington dining table USA, 20e eeuw, h. 78, br. 193, d. 115 cm.
Walnut Renaissance-style dinner table decorated with carving of figures, about 1900, with 3 h. 115, size 115 x 75 till 198 x 75 cm.Walnoten Renaissance-stijl uitschuiftafel op gestoken zijpoten met reliëfdecor van figuur, ca. 1900, h. 74, br. 115, d. 75 cm. (max. bladmaat 198 x 75 cm.
Mahogany extending dining table with 2 drawers, early 19th century, h. 78, w. 132, d. 117 cm. with 2 table tops, 132 x 45 cm. (provenance by Christie's)Mahonie uitschuiftafel met 2 laden op taps toelopende poten uitlopend in bronzen wieltjes, vroeg 19e eeuw, h. 78, br. 132, d. 117 cm. hierbij 2 tussenbladen 132 x 45 cm. (aangekocht bij Christie's)
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1181627 item(s)/page