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Zierlicher Boulle-Tisch Höhe: 64 cm. Breite: 71 cm. Tiefe: 47 cm. Frankreich, um 1720. Über vier gedrückten Kugelfüßen, welche durch einen X-förmigen Steg miteinander verbunden sind, der sich in einem ovalen Medaillon trifft, vier gekantete Beine mit überkragenden Kapitellen. Die vier Beine über Eck gestellt, gerade Zarge, überkragende, den Zügen des Möbels folgende Tischplatte mit goldpunzierter Lederschreibplatte. Allseitig mit Boulle-Dekoration in geschnittenem Messing über rot hinterlegtem Schildpattfond, dekoriert mit Bandelwerk und Blütenkartuschen. Minimal rest. (1250683) (1) DELICATE BOULLE TABLE Height: 64 cm. Width: 71 cm. Depth: 47 cm. France, ca. 1720. With minimal restoration. Export restrictions outside the EU.
Chinoiser Louis XV-Sekretär Höhe: 110 cm. Breite: 62 cm. Tiefe: 33,5 cm. Unter der Abdeckplatte gestempelt "Boudin" und "JVE". Paris, zweite Hälfte 18. Jahrhundert. Der Holzkorpus mit Vernis Martin gefasst, mit polychromem chinoisen vegetabilen Dekor auf schwarzem Fond. In Bronzesabots stehender zweitüriger Korpus mit darüberliegender Klappschreibplatte und dahinterliegender mehrschübiger Inneneinrichtung in Rosenholz. Den Zügen des Möbels folgende profilierte Marmordeckplatte. Zwei Schlüssel vorhanden. (1250591) Chinoiserie Louis XV secretary Height: 110 cm. Width: 62 cm. Depth: 33.5 cm. Stamped ''Boudin''_ and ''JVE''_ under the table top. Paris, second half of the 18th century. With two keys.
Bernardino da Asola, um 1490 - 1535/40 DAS LETZTE ABENDMAHL Öl auf Leinwand. 113 x 267 cm. In vergoldetem, ornamental verzierten Rahmen. Stark ins Querformat reichende Gemälde mit zentraler Darstellung des als bekanntes horizontales Element gestalteten Tisches mit polychrom gestaltetem Unterkleid und ornamental mit Rauten verziertem weißen Tischtuch. Zentral vor einem Ehrentuch der von einem Nimbus umstrahlte Christus, seine Hand auf Johannes liegend, an dem Tisch verteilt die Jünger. Rückwärtig mit Ausblick auf eine im Sfumato angedeutete Stadt. Die Szene wird belebt durch einen Mundschenken und einen Diener sowie einen Hund, welcher im Begriff ist sich über einen Brotkorb herzumachen. Das vorliegende Gemälde orientiert sich nicht zuletzt an dem bekannten Abendmahl von Leonardo da Vinci, das wesentliche Merkmale der Darstellung vorwegnimmt. Die venezianische Leinwand zeugt von der dortigen Tätigkeit des um 1490 in Brescia geborenen Bernardino da Asola, der ebenda starb. Bernardino da Asola, ca. 1490 - 1535/40 THE LAST SUPPER Oil on canvas. 113 x 267 cm. In gilt frame with ornamental décor. The painting features a pronounced landscape format with the horizontally designed table covered in a white tablecloth decorated with lozenges ornaments at the centre of the composition and Christ surrounded by a halo at the table''~s centre with his hand resting on Saint John and surrounded by the other disciples. The background suggests the depiction of a city in sfumato technique. The scene is animated through the inclusion of a cup-bearer, a servant and a dog about to steal bread from a basket. The painting on offer for sale here is inspired, not least of all, by Leonardo da Vinci''~s Last Supper, anticipating essential features of the depiction. Bernardino da Asola was born and died in Brescia. The Venetian canvas attests for his work there in ca. 1490.
Rokoko-Kamingarnitur Höhe der Uhr: 28,5 cm. Höhe der beiden Leuchter: 17 cm. Das Zifferblatt signiert "Étienne Lenoir". 18. Jahrhundert In vergoldeter Bronze und Porzellan. Die Garnitur dreiteilig, als typische Ausstattung für ein höfisches Damenboudoir. Die drei Teile jeweils mit durchbrochen und geschweift gearbeiteten Standsockeln, mit C- und S-Bögen sowie stilisierten Rocailleblättern. Darüber erhebt sich je ein weit verzweigter Strauch mit zahlreichen, polychrom bemalten Porzellanblüten. Auf den Sockeln jeweils Porzellanfiguren: Unterhalb der Uhr ein Putto mit Vase, die seitlich zu stellenden Kerzenhalter mit Lämmchen, als Gegenstücke gearbeitet, darüber erhebt sich je eine florale Kerzentülle in Vergoldung. Die Uhr zwischen seitlich hochschwingenden Zweigen in einem flachen durchbrochenen Rokoko-Rahmen mit Gitter- und Blattwerk. Weißes Emailzifferblatt mit römischen Stunden. Das Werk an der Rückseite durch Glas abgedeckt. Der Uhrmacher Étienne le Noir (auch Lenoir) (1699-1778) war seit 1717 Meister. Seinerzeit gehörte er zu den hervorragenden Meistern der französischen Uhrmacherzunft, auch seine beiden Söhne signierten ihre Werke mit dem Namenszug des Vaters. Die Werkstatt bestand bis um 1820. Bekannt und beliebt waren auch seine Tischuhren in Zusammengestaltung mit Porzellan, wie sich solche Exemplare in verschiedenen öffentlichen Sammlungen befinden, wie etwa in der Münchner Residenz, Eremitage Sankt Petersburg, Getty Museum Malibu sowie Schloss Wilhelmsthal, Calden. Literatur: Pierre Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Editions de l'Amateur, Paris 1997. (1250603) (1) Rococo mantel set Height of clock: 28.5 cm. Height of candelabras: 17 cm. The dial signed ''Étienne Lenoir''. 18th century. Gilt bronze and porcelain. Three-part set as a typical interior design feature of a lady's boudoir. The three pieces are each standing on C- and S-shaped curved and open-work bases and are decorated with rocaille scrollwork. Each surmounted with broad bushes with numerous colourfully painted porcelain blossoms. The bases each show porcelain figures. The clock features twigs curving upwards on each side and a flat open-work Rococo frame. The table clocks in combination with porcelain by this clockmaker were also famous and popular and are held in numerous public collections such as the former Royal Palace Munich Residenz, the State Hermitage Museum in Saint Petersburg, the Getty Museum in Malibu and Wilhelmsthal Palace in Calden. Literature: P. Kjellberg, Encyclopédie de la pendule française du Moyen Age au XXe siècle, Paris, 1997.
Gérard Dagly, 1660 Spa - um 1715 Berlin, zug. Paar Lacktruhen mit Chinoiserien Berlin, Anfang 18. Jahrhundert. Höhe: 64,5 cm. Breite: 83 cm. Tiefe: 45,5 cm. Holzkorpus lackiert und mit ziselierten Eisenbeschlägen verziert. Auf gestelzten Balusterbeinen der kastenförmige Korpus mit gegossenen Handhaben an den Kurzseiten. Scharnierstülprunddeckel mit Eisenbeschlägen in japanischer Art. Allseitiger weißgrundiger Lackdekor mit Goldlackdarstellung chinoiser Landschaften mit Architektur, zarten Bäumen und Figurenstaffage. Besch. Vergleiche: Ein Spinett von Michael Mietke, welches von Gérard Dagly mit weißgrundigen Chinoiserien dekoriert wurde, befindet sich in Berlin im Schloss Charlottenburg. Ein weiteres weißgrundiges Chinoiserie Lackpaneel gehört der Stiftung Preußische Schlösser und Gärten. Auch ein Tisch mit solchem Dekor befand sich im Schloss Sanssouci bzw. im Chinesischen Teehaus in Potsdam. (12518146) Gérard Dagly, 1660 Spa '''' ca. 1715 Berlin, attributed A PAIR OF CHINOISERIE LACQUER BOXES Berlin, beginning of the 18th century. Height: 64.5 cm. Width: 83 cm. Depth: 45.5 cm. Comparative examples: A spinet by Michael Mietke decorated by Gérard Dagly with chinoiseries on white background, is held at Charlottenburg Palace in Berlin. Another chinoiserie lacquer panel on white background is held by the Stiftung Preußische Schlösser und Gärten. A table with the same décor was also held at Sanssouci Palace respectively the Chinese House in Potsdam.
Tischuhr Tischuhr Raab (Ungarn), 18. Jh., Johann Melchior Unsinn (Unzin) Floral gravierte Messingfront mit Zifferring mit römischen und arabischen Ziffern, Sichtfenster für Scheinpendel, seitlich Ornamentapplikationen. Im Arkus Hilfszifferblätter für Schlagwerk und Repetition sowie Plakette bez. "Joh. Melch. Unsinn Raab". Spindelhemmung, Rückpendel. 1/4-Stundenschlagwerk auf zwei Glocken. Repetition. Schlüssel. H. 26 cm. Dabei: Uhrgehäuse, Holz, Nussbaum furniert, dreiseitig verglast, mit seitlich eingestellten Pilastervorlagen. Min. besch Provenienz: Privatsammlung, München. Vgl. Abeler, Jürgen, Meister der Uhrmacherkunst. Wuppertal 1977, S. 627. Tischuhr A table clock Raab (Hungary), 18th century, Johann Melchior Unsinn (Unzin) Engraved. In the arcus, additional dials for the striking mechanism and repeater and plaque inscribed "Joh. Melch. Unsinn Raab". Verge escapement, back pendulum. 1/4 hour-striking mechanism on two bells. Key included. Height 26 cm. Additional: a watch case, wood, veneered with walnut, glazed on three sides. Minor damage Provenance: private collection, Munich. Cf. Abeler, Jürgen, Meister der Uhrmacherkunst. Wuppertal 1977, p. 627.
Spieltisch Spieltisch Süddeutsch, 18./19. Jh. Furnier Obstholz, Nussbaum, Ahorn u. a. Hölzer. Auf konischen kannelierten Beinen. Aufklappbare Platte. Eingelegter Dekor mit Sternen, Rosetten u. a. Rest., erg., min. best. 75 x 90 x 45 (90) cm. Spieltisch A games table South German, 18th/19th century Veneered with walnut, veined walnut, maple and other kinds of wood. Restored, additions, minor damage. 75 x 90 x 45 (90) cm.
Ernst Karl Georg Zimmermann Ernst Karl Georg Zimmermann 1852 München - 1901 ebenda Disput am Wirtshaustisch R. u. signiert und 1878 datiert. Rücks. Etikett Galerie Mensing, Hamburg. Öl auf Holz. 34 x 26 cm. Rest. Min. besch. Rahmen min. besch. Ernst Karl Georg Zimmermann Ernst Karl Georg Zimmermann 1852 Munich - 1901 ibid. Dispute at the inn table Signed and dated 1878 lower right. Label of the Galerie Mensing, Hamburg verso. Oil on panel. 34 x 26 cm. Restored. Minor damage. Minor damage to frame.
Tischchen Tischchen Süddeutsch (Franken?), 18. Jh. Furnier Nussbaum, Nussmaser, Zwetschge. Auf geschweiften Beinen. Einschübiger Zargenkasten mit abgerundeten Ecken und geschweifter Platte. Bandwerkdekor. Rest., erg., Alters-/Gebrauchsspuren. 75 x 75 x 51 cm. Klebeetikett wohl des 19. Jhs. "Caroline Prott (?) Würtzburg". Provenienz: Privatsammlung, München. Tischchen A small table South Germany (Franconia?), 18th century Veneered with walnut, veined walnut and plum. Restored, additions, signs of age / wear and tear. 75 x 75 x 51 cm. Adhesive label probably of the 19th century "Caroline Prott (?) Würtzburg". Provenance: private collection, Munich.
Muthesius, Eckart: Interiors of Manik Bagh Palace Photographer: Eckart Muthesius. Interiors of Manik Bagh Palace in India. 1933. 4 vintage, large-format, warm-toned, matte gelatin silver prints. Each circa 22,5 x 34 cm. 2 with Architekt E. Muthesius Berlin blindstamp in lower right corner; each with number/annotation in pencil on the verso. The images show the Maharani's bedroom, the bed designed by Louis Sognot, Charlotte Alix, wall lighting fixture and floor lamp designed by Eckart Muthesius, round glass and metal table designed by Djo-Bourgeois, carpets with gray and blue pattern designed by Ivan da Silva Bruhns; the Breakfast room; the Maharaja's bedroom with dressing table with mirror by Louis Sognot and Charlotte Alix as well as chaise longue by Le Corbusier; the Music room. – Corners and edges bumped/ with traces of use, oxidation mirroring in edges, one print with a few brown fixer spots in right area, otherwise fine tonal prints in good condition. Lit.: Reto Niggl. Eckart Muthesius. Der Palast des Maharadschas in Indore. Architektur und Interieur. 1930. Stuttgart 1996, ill. p. 60, 75 and 80. Raphaèle Billé/Louise Curtis. Moderne maharajah, un mécène des années 1930. Exhibition catalogue, Musée des Arts décoratifs, Paris, Paris 2019, ill. pp. 86-87, 90-91, 110-111 and 113. Provenance: Eckart Muthesius Archive Muthesius, Eckart: Interiors of Manik Bagh Palace Photographer: Eckart Muthesius. Interiors of Manik Bagh Palace in India. 1933. 4 vintage, large-format, warm-toned, matte gelatin silver prints. Each circa 22,5 x 34 cm. 2 with Architekt E. Muthesius Berlin blindstamp in lower right corner; each with number/annotation in pencil on the verso. The images show the Maharani's bedroom, the bed designed by Louis Sognot, Charlotte Alix, wall lighting fixture and floor lamp designed by Eckart Muthesius, round glass and metal table designed by Djo-Bourgeois, carpets with gray and blue pattern designed by Ivan da Silva Bruhns; the Breakfast room; the Maharaja's bedroom with dressing table with mirror by Louis Sognot and Charlotte Alix as well as chaise longue by Le Corbusier; the Music room. – Corners and edges bumped/ with traces of use, oxidation mirroring in edges, one print with a few brown fixer spots in right area, otherwise fine tonal prints in good condition. Lit.: Reto Niggl. Eckart Muthesius. Der Palast des Maharadschas in Indore. Architektur und Interieur. 1930. Stuttgart 1996, ill. p. 60, 75 and 80. Raphaèle Billé/Louise Curtis. Moderne maharajah, un mécène des années 1930. Exhibition catalogue, Musée des Arts décoratifs, Paris, Paris 2019, ill. pp. 86-87, 90-91, 110-111 and 113. Provenance: Eckart Muthesius Archive
PICASSO PABLO: (1881-1973) Spanish Painter. An exceptional illustrated A.L.S., Olga et Picasso (also signing on behalf of his first wife), to one side of a picture postcard depicting a Christmas winter scene to the recto, Paris, 2nd January 1919, to Mr & Mrs [Henri] Defossé, at the Coliseum Theatre in London, in French. At the head of the letter Picasso has executed a wonderful, charming original pen and ink drawing of a Christmas dinner, apparently for four people with a turkey, two bottles of wine accompanied by four glasses and several bunches of grapes and other fruits laid out on a table. A decorative, dark flowing line adorns the upper part of the exquisite drawing with the year 1919 at the head. Beneath his drawing Picasso writes a brief message to his friends, presenting them with the Christmas dinner, 'Dear friends, here you have, with this well-served table, our best wishes', also adding the address of his Parisian home and workshop at Rue la Boetie in his hand beneath his signature. Such detailed original ink drawings by Picasso, particularly from this earlier stage of his career, rarely appear at auction and the present example is enhanced by an interesting association. Some very minor, light age wear, otherwise VG Henri Defossé (1883-1956) French Conductor, Pianist & Composer. Sergei Diaghilev's favourite conductor, Defossé was chosen to lead the Ballets Russe at London's Coliseum Theatre in 1918 & 1919. Olga Khokhlova (1891-1955) Russian Ballet Dancer, the first wife of Pablo Picasso and one of his early artistic muses. Khokhlova first met Picasso whilst dancing in Diaghilev's Parade in 1917 for which the artist had designed the set and costumes. They married in July 1918 and in July the following year they travelled to London together for the performance of Diaghilev's Le Tricorne for which Picasso had again designed the costumes and stage.
[VERDI GIUSEPPE]: (1813-1901) Italian Opera Composer. A vintage unsigned sepia 2 x 3.5 photograph, the albumen print depicting Verdi seated in a full length pose alongside an elaborately carved wooden table. Neatly mounted to a card (2.5 x 4) to give the appearance of a carte-de-visite. One extremely small, very minor nick to the left edge of the image, VG
ANNUNZIO GABRIELE D´: (1863-1938) Prince of Montenevoso. Italian Writer, Poet and WWI Soldier. Known as ''The Prophet''. A good A.L.S., `Gabriele´, one page, 4to, n.p., 22nd September 1909, to Sirocchia, in Italian. On his personal printed stationery bearing to the heading one of his printed devises ''Per Non dormire'', d´Annunzio states `La tua partenza mi ha lasciato molta malinconia. Sei stata cosi dolce per me! Ti vedo scendere dalla terrazza per la piccola scala, verso la mia tavola. Arrivederci!´, ("Your departure has left with me a lot of melancholy. You were so sweet to me! I can see you coming down the small staircase, from the terrace to my table. See you soon!"), further asking for a friendly word. A very clean and unusual letter by The Prophet. The present letter could have been addressed to his translator Maria Votruba. Matted in black, easily removable, alongside an 8 x 11 photograph of D´Annunzio, the attractive image depicting him in a formal head and shoulders pose, to an overall of 17 x 12 (42cm x 30cm). VG
An Italian 19th century ivory inlaid ebony writing table, in the style of Ferdinando Pogliani, the rectangular top centred with an inlaid ribbon and foliate design and framed with a pierced gallery, above a frieze front drawer with further inlay with hanging curtains, floral swags and other foliate motifs, raised on four straight tapered legs joined by a shelf, 79 cm high x 48 cm deep x 71 cm wide
A canteen of silver for a table setting of twelve, comprising twelve of each: dinner knives and forks, entree knives and forks, eighteen soup spoons, twelve serving spoons, of various dates and makers, some with German hallmarks, all designed with beaded borders, combined weight (forks and spoons) 3.75 kg
***LOCATED AT GRESLEY****Three various tables, comprising a late Victorian oak gateleg table, measuring 75cm high, 1930 oak gateleg table with a cupboard section to central bed and a Victorian mahogany Sutherland table, with turned supports, of various sizes (3)
*** ITEM LOCATION BISHTON HALL** A 20th Century oak standing lamp with a fluted column; a 20th century print; A 20th Century oak ship helm circular occasional table, constructed with from one helm on a column, raised on the helms handles on splayed feet. (3)CONDITION:***OBJECT LOCATION BISHTON HALL COMBINED WITH LINE 2***
Rail, early to mid 20thC overseas railway literature mainly USA comprising printed engineering design plans for rolling stock, The Grain Belt Construction & Development Co. Ltd. letters and documents dated 1927 referring to building a railway from Quebec to Chibougamau, Telegraphic Train Orders, Telegrams, Way-bills, time table, Conductor's Car Report cards, tourist maps, 1953 'Netherlands Railways Facts and Figures' booklet with associated presentation brass plaque, 'Les Chemins De Fer Suisses Au Cours D'un Siecle 1847-1947' (A Centenary of Swiss rail) presentation book (gen gd) (approx. 200)
Provincial Silver - a George IV silver Fiddle pattern table spoon, 22.5cm long, York 1821; a George III Fiddle pattern dessert fork, James Barber & William Whitwell, York 1818; a teaspoon, Edward Jackson, York 1818; a George III Old English pattern table spoon, 23.5cm long, Thomas Watson, Newcastle 1811; a table fork, Reid & Sons, Newcastle 1855; a sugar or caddy spoon, Peter Lambert, Newcastle 1834; a George III Old English pattern table spoon, 23.5cm long, Richard Jenkins, Exeter 1795 (7), 11.25oz
A late Victorian silver shaped circular dish, the outswept border repoussé chased with flowers and C-scrolls, and then radiating wrigglework, above a pierced border of spheres enclosing crosses, wavy rim, 16cm diam, Fenton Brothers Ltd, Sheffield 1897, (1); a set of four Victorian silver navette-shaped salts, chased with foliage, crimped dart borders, Mitchell Bosley & Co, Birmingham 1897, (4); two lady's silver shaped dressing-table tidies, various maker's marks and dates, (2), [7], 6.75oz
A silver-gilt and blue enamel travelling dressing table set, by J W Benson Ltd, London 1927, plain mounts, comprising: a hand mirror, two brushes, a scent bottle, a circular box, a nail buffer, a nail file, a manicure item and a pair of gilt scissors, in a fitted velvet lined leather case with gilt mounts and a carrying handle, with a lock, but no key. length of mirror 13cm. Condition Report: Overall some wear to some of the marks, all parts are marked correctly, wear to the gilt mounts, mirror glass is good, bristles are good, scissors are sharp, some slight corrosion to the file, overall the enamel is good, some staining to the velvet interior, case is worn but clasp works.
A silver and tortoiseshell dressing table box, by William Comyns, London 1912, retailed by J.C. Vickery, Regent Street, London, oval form, the hinged cover set with a tortoiseshell panel, inlaid with silver ribbon-tied swag decoration, swag border, the interior velvet lined, on four bracket feet, length 15.2cm. Condition Report: This lot contains tortoiseshell and is subject to CITES regulations. marks are good, cover is part marked, solder repairs around the hinge, cover closes flush, some fading to the velvet the inside rim of the cover has gilding which has some wear, tortoiseshell is good, inlaid decoration good, green leather to the underside good.
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1181627 item(s)/page