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Lot 101

An Arts and Crafts mahogany octagonal centre table, manner of Edward William Godwin, 72cms h, 90cms w, 90cms d

Lot 213

A Victorian oak tripod table

Lot 110

A George IV mahogany pedestal sofa table, 71cms, 49cms w, 78cms l

Lot 187A

A teak drop-leaf coffee table

Lot 105

A Victorian mahogany dining table, 73cms h, 121cms w, 136cms l

Lot 86

A small Ipswich oak gateleg table, 48cms h, 26cms w, 60cms l

Lot 329

A pair of Victorian mahogany chairs, an oak barleytwist occasional table, etc. (5)

Lot 156

A G-Plan Astro teak and glass topped circular coffee table

Lot 290

A Formica drop leaf kitchen table and four chairs

Lot 332

A mahogany folding cake stand, a mahogany nest of tables and an occasional table

Lot 221

An oak refectory table and six chairs

Lot 283

A walnut display cabinet, mahogany coffee table, a gilt framed mirror and a metal and glass corner stand

Lot 181

A small teak drop leaf table

Lot 235

A cherry wood drop-leaf dining table

Lot 262

An Edward VII mahogany two drawer side table

Lot 298

A coopered oak bucket, an oak nest of tables, an occasional table, a bamboo jardiniere stand and two Victorian mahogany chairs

Lot 98

An early 20th Century Burmese carved hardwood occasional table, 51cms h

Lot 334

An oak barleytwist gateleg table and four chairs

Lot 250

A bentwood table and two chairs

Lot 307

An oak drop leaf trolley, an oak occasional table and a beech bentwood chair

Lot 187

A teak coffee table, a gentleman's beech valet stand and a birch sewing box

Lot 121

An Ipswich oak gateleg dining/wake table, 75cms h, 154cms l, 55cms w

Lot 212

A small oak bobbin turned gypsy's table

Lot 64

A Victorian mahogany dining table, 75cms h, 125cms w, 147cms l

Lot 149

A teak and glass topped coffee table

Lot 277

A mahogany and red leather topped coffee table and a walnut coffee table

Lot 263

An Art Deco oak octagonal occasional table

Lot 187B

A teak drop-leaf table

Lot 285

A mahogany coffee table, nest of tables and a demi-lune hall table

Lot 94

A Liberty & Co. Arts and Crafts mahogany occasional table, by William Birch, 71cms h

Lot 251

A carved oak credence table

Lot 66

A Victorian mahogany extending dining table, 73cms h, 121cms w, 191cms l

Lot 92

An Indian hardwood and brass inlaid folding octagonal occasional table, 51cms h

Lot 188

A teak extending dining table

Lot 48

An Arts and Crafts beech table top easel, 41cms h, with circular Pre-Raphaelite style print, an oak and silver mounted cigarette box and treen pot and cover

Lot 253

An oak barleytwist sewing table

Lot 291

A Chinese carved hardwood occasional table

Lot 193

A teak extending dining table and six chairs

Lot 165

A Danish teak and glass topped coffee table

Lot 640

A peach glass dressing table set, tray chipped

Lot 778

A silver lamp table lighter, (missing wick and top), and a silver mustard, (missing hinge pin), 88g

Lot 882

Nine table place name holders

Lot 612

A Shelley drip glaze dish, a Royal Winton dessing table tray, candlestick and powder pot, and three James Kent chintz dishes (Royal Winton tray a/f, chipped)

Lot 770

A silver dressing table tray, decorated with Reynolds angels, by William Comyns, London 1901, 550g, 35cm x 25cm

Lot 277

Susanna Coffey EST. Sunflowers 1, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.  

Lot 278

Susanna Coffey EST. Sunflowers II Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.  

Lot 279

Susanna Coffey EST. Sunflowers III, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.  

Lot 280

Susanna Coffey EST. Sunflowers IV, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.  

Lot 331

George Little Table Clip, 2020 Pencil and China Wax Marker Signed verso 15 x 10cm (5¾ x 3¾ in.) George Tormod Little was born in Hammersmith, London, UK, in 1988. He lives and works in London. His recent solo exhibitions include shows at CO2 Gallery in Rome, Italy; Mother Space, Shoreditch, London, UK; Elephant and Castle - Winter projects, London, UK and Ana Cristea Gallery, New York, USA. His works were shown in groups shows at the Lion and Lamb Gallery, Shoreditch, London, UK; Fell Space, London, UK; the Saatchi gallery, London, UK.   His work is in the collection of the Saatchi Gallery, London.  

Lot 333

George Little Table for One, 2020 Watercolour, Pencil, and China Wax Marker Signed verso 15 x 10cm (5¾ x 3¾ in.) George Tormod Little was born in Hammersmith, London, UK, in 1988. He lives and works in London. His recent solo exhibitions include shows at CO2 Gallery in Rome, Italy; Mother Space, Shoreditch, London, UK; Elephant and Castle - Winter projects, London, UK and Ana Cristea Gallery, New York, USA. His works were shown in groups shows at the Lion and Lamb Gallery, Shoreditch, London, UK; Fell Space, London, UK; the Saatchi gallery, London, UK.   His work is in the collection of the Saatchi Gallery, London.  

Lot 504

Imam Raad Gaze (Oranges on Turquoise Table), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City.   Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer.   Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement.   His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).

Lot 1112

BEYEREN, ABRAHAM HENDRICKSZ VAN BEYEREN, ABRAHAM HENDRICKSZ VAN 1620 Den Haag - 1690 Overschie Titel: Stillleben mit Fischen. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 65 x 77cm. Bezeichnung: Monogrammiert mittig auf der Tischkante: AB f. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Abraham Hendricksz van Beyeren Niederlande Niederländische Schule 17.Jh. Originale Fische Malerei Küchenstück BEYEREN, ABRAHAM HENDRICKSZ VAN BEYEREN, ABRAHAM HENDRICKSZ VAN 1620 The Hague - 1690 Overschie Title: Still Life with Fish. Technique: Oil on canvas. Mounting: Relined. Measurement: 65 x 77cm. Notation: Monogrammed middle of the edge of the table: AB f. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Abraham Hendricksz van Beyeren The Netherlands Dutch School 17th C. Old Masters Fish Painting Kitchen Scene

Lot 12

English, dated 1844, signed to top of the limb 'Powell & Lealand, Makers, London', standing on typical Powell & Lealand tripod with large trunnions supporting body, large plano-concave mirror on Powel single-sided support, fully mechanical stage with X-Y control with substage accessory mount, triangular bar with rack and pinion focusing, limb with struts supporting back of the body tube, fine focus wheel to side of limb, also with an unusual mahogany stand, accessory case includes: A pre-RMS threaded 1in objective Lieberkuhn & can. A pre-RMS threaded 1/2in objective & can. A 1/8in empty can. A camera lucida eyepiece. A complex substage achromatic condenser with integral stops and aperture. A low power eyepiece A medium power eyepiece. A high power eyepiece. A set of 3 dark wells. A bar tool. A live box. An eyepiece polariser. A substage analyser. Stage forceps. Stage condenser. all in fitted French polished mahogany cabinet which also includes; a large microscope stage, a frog/fish plate, a bodytube with an erector lens and a large table bullseye, case height 41cm

Lot 65

English, c.1800, the engraved paper laid on mahogany table, trade cartouches Designed for the New Portable Orreries by W Jones, and Made and Sold by W&S Jones 30 Holborn London graduated with days of the month and of the houses of the Zodiac with names, signs and pictures, compass directions and degrees of amplitude and azimuth, table of principal affections of the planets dated ‚'Jany 1st 1794 Published as the Act directs by W. & S. Jones‚' giving details for each of the six planets nearest the sun for the year 1794, , also with tables for the revolutions and distances of the satellites of Jupiter and Saturn, with a diagram entitled The Solar System with positions for each of the planets and dated from 1796 to 1810, the 1¬Ω-inch globe made up of 24 hand-coloured engraved gores, signed Bardin London with graduated equatorial, ecliptic and one meridian, Tasmania as a peninsula in New Holland, mounted with brass twilight pointer and held above an angled ring to alter the height of the ivory moon, a secondary ring graduated with the signs for the houses of the Zodiac, and a disc showing the phases of the moon, on multi-wheeled geared mechanism, at the centre the brass sun mounted on the central axis, with planet arms for the ivory Mercury and Venus, the mechanism driven by a cranked handle in original oak case with brass oil lamp which can be fitted as alternative to the brass ball sun, table diameter 32.3cm. Condition Report:The mahogany table is sound with no losses or shrinkage cracks, the engraved paper is complete, without paper losses but faded with some wear and some stains (please see images, the third online image shows the largest stain). The Bardin globe appears in good condition with no losses. The brass clockwork mechanism is complete and fully functioning with very little wear and retains much of the original lacquer. However, the brass nut securing the mechanism to the table is missing. The pointer is missing and the ring adjusting the altitude of the moon and the zodiac ring appear to have been repaired. There appear to be no other repairs or replacements, assuming the ivory ball representing Mercury has been cleaned rather than replaced.

Lot 94

English, c.1850, signed Cary London, constructed of lacquered brass, table clamp to base with single joint, extending column, adjustable prism with blue glass filter and viewing hole, in original red leather covered velvet lined case, case width 23cm

Lot 130

Italy.- Swinburne (Henry) Travels in the Two Sicilies, 2 vol., first edition, half-title in vol.2 only, folding engraved map, 2 plans, 20 plates (2 folding) and one folding letterpress genealogical table, some foxing, short tear to map, bookplate of James Frampton, contemporary tree calf, gilt, a little rubbed and scratched but overall a very handsome copy, 4to, 1783-85.

Lot 156

Turkey.- Knolles (Richard) The Generall Historie of the Turkes from the first beginning of that Nation to the rising of the Othoman Familie, third edition, engraved title, 32 engraved illustrations in text (31 portraits and 1 battle scene), woodcut initials, lacking A1 (blank), Table misbound at beginning, scattered manuscript corrections or underlining, contemporary manuscript quote to final leaf verso, 7pp manuscript notes loosely inserted, occasional tiny marginal worming (G1-M6; 2O4-2V6; 3X1-4D6), ink stain affecting text (R4), short marginal tear (3Q6), short tear affecting text (K6), occasional faint spotting, one or two tiny rust holes, bookplate, contemporary panelled calf, rebacked, a little rubbed, slight bumping to corners and extremities, [STC 15053], folio, Adam Islip, 1621.

Lot 159

Voyages.- Cook (Captain James) A Voyage to the Pacific Ocean, 3 text vol. only, first edition, 24 engraved plates and maps, some folding, a couple in vol. 3 proud at fore-edge and slightly frayed, folding table, slight marginal worming towards end of vol.1, some foxing, offsetting and light browning, contemporary diced russia, gilt, rebacked and vol.1 & 2 recornered, vol.3 corners worn, old lot number sticker to upper cover of vol.3, 4to, by W. and A. Strahan, 1784.⁂ First edition of the official account of Cook's third and final voyage. The third volume was written by Capt. James King. Without the accompanying folio atlas.

Lot 179

Mathematics & Navigation.- Gunter (Edmund) The description and vse of the sector, crosse-staffe, and other instruments:...and the vse thereof in astronomie, navigation, dialling, and fortification, &c., 4 parts in 1 vol., second edition, engraved additional pictorial title and frontispiece, woodcut diagram to printed title, 2 woodcut plates, 2 printed slips ('The Scale of Chords and Rumba' and 'A Table for the use of the Chaine'), numerous woodcut diagrams and illustrations in text, without blank 2L2, the odd instance of later pencil marginalia, additional title with small ink stain and crease, occasional spotting or light staining, lightly browned, contemporary blind-ruled calf, sympathetically rebacked, spine in compartments and with red morocco label, rubbed, [Tomash & Williams G102; STC 12523], small 4to, Printed by William Iones, for Iames Bowler, and are to be sold at the Marigold in Pauls Church-yard, 1636.⁂ A solid copy of this considerably expanded second edition, which is rarely found complete (our copy lacking only a blank). Includes a chapter on the mathematics of fortification not published before. It 'must rank with Eden's translation of Cortes's Arte de Navegar and Wright's Certaine Errors as one of the three most important English books ever published for the improvement of navigation... [Gunter] opened up... an entirely new field, that of arithmetical navigation' (Waters, Art of Navigation, p. 359).

Lot 31

Drake (James) Drake's Road Book of the Grand Junction Railway, second edition, with folding hand-coloured engraved map but without the optional plates, folding table of distances, [1838]; Drake's Road Book of the London and Birmingham Railway, folding hand-coloured engraved map, folding table of distances, 3 engraved advertisements, [1839] § Roscoe (Thomas) The Book of the Grand Junction Railway, additional engraved vignette title, folding hand-coloured engraved map, engraved plates, [1839], all original cloth, gilt, the first two pictorial, a little rubbed; and 2 others by Roscoe, 8vo (5)

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