We found 26544 price guide item(s) matching your search
There are 26544 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
26544 item(s)/page
Two mid 20th century Danish tile top tables CONDITION REPORT: Larger example is 87cm wide by 55cm deep by 50cm high. Other is 70cm wide by 45cm deep by 50cm high. Both fundamentally in good order but with obvious cosmetic wear and tear e.g. watermarks to the tops, scuffs and scratches to the tops and legs. Also there are some splashes/brushes of paint on the wood in some areas.
An Iznik pottery tile Turkey, 16th Centuryof irregular form, the white ground decorated in cobalt-blue and turquoise with a central rosette issuing tendrils overlaid with palmettes forming a quatrefoil lattice, surrounded by flowerheads and medallions containing palmettes 23.4 x 23.4 max.For further information on this lot please visit Bonhams.com
A fine early Victorian doll's house, c.1840, the exterior with stipple-effect paper and quoining to all sides, the panelled door flanked by moulded columns and pediment, the ground floor with two glazed windows to front and three to back, the first floor with three windows to front and back, all with glazing bars, the whole opening in three sections to reveal four rooms, the hallway and landing on two levels, papers, including some after William Morris, to walls and floors, fully furnished including Arts and Crafts wooden furniture, a tester bed, a canopy bed, a violin, Victorian chairs with original upholstery, a metal press and more, 87.5cm wide50cm deep69cm highCondition report: Purchased by the vendor's family c.1980. Lovingly cared for by the vendor's mother from the point of purchase up until 2018.Splits to the roof and back. Knocks, chips, losses and wear throughout. Left moulding return loose. Evidence of repainting to areas of the exterior. Evidence of repair. Some sash windows a little stiff. Splits to central door. Hinges replaced on all doors. Repairs and replacements to fixtures and fittings. Dirt, tears and degradation to wallpapers. Window at the top of the staircase loose. Staicase appears over/later painted. Split to top left bedroom floor. Wear, dirt and damage to floor 'tiles'. Furniture of varying ages. Some damage and repair to furniture. Mangle in kitchen functioning, although slightly misshapen in places. A couple of the loaves in the kitchen appear to be organic. Wear throughout.Please view additional condition images using this link: https://share.icloud.com/photos/0Srv8TWGrEck4DadvwqRo1wbwBelow are comments from the vendor:Bedroom (first floor left): papered walls after a design by William Morris and tile patterned paper floors, built-in wooden fireplace, furnishings include canopy bed with green silk upholstery, a doll, and a five-piece suite of Arts and Crafts furniture.Bedroom (first floor right): papered walls after a design by William Morris and floors, built-in wooden fireplace, a wooden tester bed with red and white bedding and a doll, an Art Nouveau cupboard and a wooden cheval mirror.Drawing room: papered walls and tile patterned papered floors, built-in fireplace, furnishings including Victorian chairs with original upholstery, curtains after a design by William Morris a wooden violin, a doll dressed in brown with a hat, and an oval needlepoint carpetKitchen: papered green walls and tile-patterned paper floors, built-in fireplace, furnishings including a wooden dresser with numerous ceramics, a metal press sewing machine, a cook doll, a glass cat, a metal press mangle machine with towel and a marble top kitchen table.Hallway and stairs: papered walls and tile-patterned papered floors, furnishings including a metal stand with drawers and mirrored top, metal coat stand, leather satchel, umbrellas and hats.
A near pair of Qajar pottery tiles,late 19th century, possibly Tehran, Northern Iran, decorated in the Iznik palette, each relief moulded, one with a figure on horseback, the other with a courting couple and a lady-in-waiting,horseback tile 29cmcourting couple tile 32 x 26cm (2)Condition report: Two chips to edges of the tile with a figure on horseback. Tile featuring couple has cracked corner and repair, section lost to reverse.
A Qajar Cuerda Seca pottery tile panel, 19th/20th century, Iran, each decorated in polychrome with a hunting scene, the four tiles mounted within a wooden firescreen, mounted 46 x 46 cm Condition report: Loss and patching to the tile surface, chipped to the corner, loose within frame, the frame knocked and scratched chips and losses.
A group of English medieval church/priory architectural stonework and tile fragments, some pieces with inscribed labels of provenance, including two fragments of figures supposedly from the lowest row of niches of Wells Cathedral, Somerset, four sections of stonework from Merton Priory, Surrey (destroyed in 1538) from excavations from 1898-1929, a section of a door jamb from the cloisters of Glastonbury Abbey, a section from the reredos of Lady St Mary church, Wareham, Dorset, and a section of the reredos of Cuthbert Church, Wells, Somerset with traces of red paint Provenance - A. T. Arber-CookeCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He initially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975. The inscribed labels in this lot were probably produced in the 1940s-50s.
Mixed ancient items, including pottery tile fragments, bronze lamp, small pottery animals and figures, ushabti, tin with many metal buttons, musket balls, 10 large hand made iron nails with decorated heads (largest 24cm long)Condition report: Nearly all excavated and with consequential damage, crushing, implement damage, accretions, discolouration, ushabti broken and repaired,
A large quantity of various Delft, Spode and Continental blue and white ceramics, to include two flowerbricks, a pair of jardinieres, a framed tile, a pair of twin handled pot pourri dishes, a charger, a ewer, a pie funnel, etc (qty.)Condition report: some small chips to edges of tilechip to rim of bowl inset with strainer - also crazingcrazing to baluster form vasecrazing to larger flowerbrick
M & T Ltd London - A quality retro vintage mid 20th Century teak wood tile top coffee table / occasional centre table of simple rectangular form. The table having a angled chamfered edge top set with twelve square tiles and central teak strip running down the centre. Raised on angular tapering supports. Label present to underside. Measures approx 48cm x 123cm x 50cm.
Believed Vallauris - A good retro vintage 20th Century French steel framed tile topped coffee table / center occasional table of oval form. The table having a series of tiles atop with Macintosh Art Nouveau stylized flower decoration with a luster type finish to the coloured tiles. Thick steel frame with all being raised on steel framed supports. Measures approx 43cm x 103cm x 46cm.
FRANCIS PICABIAMAUROIS (ANDRÉ) Le Peseur d'âmes. Précédé d'un frontispice et suivi de huit illustrations de Francis Picabia, 'EXEMPLAIRE B/ IMPRIMÉ POUR MADAME GERMAINE EVERLING-PICABIA', being one of 6 'hors commerce' copies on japon impérial from an overall edition of 366 copies, INSCRIBED BY BOTH MAUROIS AND PICABIA TO THE ARTIST'S WIFE on the half-tile, with an A WATERCOLOUR SIGNED 'Picabia' and a typed letter signed by the publisher Antoine Roche loosely inserted, 9 full-page colour lithographs after Picabia by Daniel Jacomet, without the additional suite of plates referred to in the justification, 2 small abrasions on title, partially unopened in publisher's wrappers, glassine outer wrapper, board chemise and slipcase, these toned and rubbed, 4to (280 x 225mm.), Paris, Antoine Roche, 1931Footnotes:A WATERCOLOUR SIGNED 'Picabia' - IN GERMAINE EVERLING-PICABIA'S FINE ASSOCIATION COPY OF 'LE PESEUR D'ÂMES', INSCRIBED TO HER BY BOTH MAUROIS AND BY PICABIA.This first illustrated edition of the book (published in the same year as Maurois's first edition) was limited to 366 copies. Ours is the second of only six 'hors commerce' copies specially printed for the collaborators and associates, and the half-title bears inscriptions to Everling from both Maurois (undated but probably contemporary) and Picabia (1944):'Pour Mme Germaine Everling-Picabiaen très sympathique souvenir du Peseur d'ÂmesAndré Maurois''Pour Germainequi n'aime pasla mer mais quiaime Lorenzaen véritable mèreFrancis qui aime Germainecar Germaine aimeFrancis PicabiaCannes 12 mars 1944voilà!'Picabia had met Germaine Everling in 1917 and she became his constant companion, common-law wife, and the mother of their son Lorenzo (mentioned in the inscription). They separated in 1933, two years after Le Peseur d'âmes was published, but they always remained close and Everling (or Everling-Picabia as she sometimes styled herself) continued to be involved with the artist's work, contributing prefaces for the catalogues of his exhibitions in the South of France and loaning artworks.The watercolour (signed 'Francis Picabia', on india paper, and measuring, 210 x 270mm.), is inscribed on the reverse by Everling 'Premier essai d'illustration du Peseur d'Âmes, selon une inspiration que Picabia abandonna par la suite. / Germaine E. Picabia'. The naturalistic scene depicted is of several soldiers gathered around a table in the countryside, one of them, in shirt sleeves, uncorking a bottle of wine.Antoine Roche's two-page typed letter to Picabia, dated 17 May 1931, is in effect the publisher's agreement that Picabia should proceed with the projected illustrations. Whilst full of gushing praise for the artist's first drafts, mentioning 'entre nous' that the drawings supplied the 'atmosphere mysterieuse' that was lacking in the text, he does think them difficult to reproduce and makes some stylistic recommendations for the next set, ending with the suggestion that Picabia sell the drafts to 'quelque bibliophile'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SELTENES MODELL EINES STADTHAUSES AUS DEM HOLLÄNDISCHEN DORF FÜR HEINRICH GRAF VON BRÜHLMeissen, Modell von J. J. Kändler und P. Reinicke um 1743, Ausformung um 1760.Auf rechteckigem Grundriss ein dreistöckiges Gebäude mit umlaufenden Fensterreihen inklusive Dachgeschoss, mit bogenförmigem Eingang auf einer Langseite und rotem Ziegeldach mit je drei Gaubenfenstern und zwei Schornsteinen auf dem Dachfirst. Spuren einer blauen Schwertermarke mit Punkt.17,8 x 12,5 x 8,5 cm.Provenienz:- Sammlung Dr. Siegfried Ducret, Zürich.- durch Erbfolge an Rosmarie Schmidt-Ducret, Binningen, Nachlass.Literatur:Melitta Kunze-Köllensperger, Miniaturarchitekturen für die Brühlsche Desserttafel, in: Schwanenservice, 2000, S.120 Abb.84.Das Stadthaus Modell gehört zu einem grossen, idyllischen Arrangement für eine festliche Desserttafel, bestehend aus Kirchen, Scheunen, Bauernhäusern, herrschaftlichen Palais und Stadthäusern. Im Inventar von 1753 der Konditorei von Schloss Pförten wurden insgesamt 51 Stadthäuser von insgesamt 93 Kleinarchitekturen aufgelistet. Die Modelle wurden seit 1743 von Kändler, Reinicke und Ehder entworfen und umgesetzt.Der figürliche Tafelschmuck, der zunächst aus Teig, Zucker und Tragant geformt wurde, bevor das Porzellan Einzug hielt auf der Desserttafel, spielte bei der Demonstration des fürstlichen Reichtums eine grosse Rolle und der Premierminister unter dem sächsischen Kurfürsten, Heinrich Graf von Brühl, hat das Image des Porzellans mit seinen prominenten Manufakturaufträgen massgeblich mitgeprägt.Noch im Nachlassinventar Brühls aus dem Jahr 1765 wurde unter Kapitel XII wie folgt vermerkt: „An Porcellain, so in der Conditorey und in täglichen Gebrauche sich befindet, von unterschiedener Gattung” lediglich noch „Zwey und sechzig (62) Stück Häuser von diversen Sorten”.Vergleichstücke und weiterführende Literatur: Melitta Kunze-Köllensperger, Idylle in Porzellan. Kostbare Tischdekorationen aus Meissen, 1996, Nr. 14; M. Kunze-Köllensperger, Miniaturarchitekturen für die Brühl'sche Desserttafel, in: Schwanenservice, 2000, Kat. Nr. 165 (Museum für Kunst und Kulturgeschichte Dortmund); M. Kunze-Köllensperger, Sammlung Ritter von Kempski von Rakoszyn, 2008; Glanz des Barock, Sammlung Ludwig, 1993, S. 181; F. Kirsch, 100 Jahre Porzellane und Fayencen des 18. Jahrhunderts, 2019, S. 360-366. RARE MODEL OF A TOWNHOUSE FROM A DUTCH VILLAGE FOR COUNT HEINRICH VON BRÜHLMeissen, model by J. J. Kändler and P. Reinicke ca. 1743, moulded ca. 1760.Three-story building with a rectangular layout, with windows all-around, an attic, an arched entrance on one side, and a red tile roof with three dormer windows and two chimneys. Traces of a blue sword mark with dot.17.8 x 12.5 x 8.5 cm.Provenance:- Collection Dr. Siegfried Ducret, Zurich.- By succession to Rosmarie Schmidt-Ducret, Binningen, estate.Literature:Melitta Kunze-Köllensperger, Miniaturarchitekturen für die Brühlsche Desserttafel, in: Schwanenservice, 2000, p. 120, Ill. 84.The townhouse model is part of a large, idyllic arrangement for a festive dessert table, consisting of churches, barns, farmhouses, stately palaces and townhouses. In the 1753 inventory of the confectionery of Pförten Castle, a total of 51 townhouses were listed out of a total of 93 small architectures. The models were designed and realized by Kändler, Reinicke and Ehder since 1743.This kind of figural table centerpiece was initially made of dough, sugar and gum tragacanth before porcelain found its way onto the dessert table. It played a major role in demonstrating princely wealth, and the Prime Minister under the Saxon Elector, Count Heinrich von Brühl, played a major role in shaping the image of porcelain by placing substantial orders with the Manufactory.Comparative pieces and further reading: Melitta Kunze-Köllensperger, Idylle in Porzellan. Kostbare Tischdekorationen aus Meissen, 1996, No. 14; M. Kunze-Köllensperger, Miniaturarchitekturen für die Brühl'sche Desserttafel, in: Schwanenservice, 2000, Cat. No. 165 (Museum für Kunst und Kulturgeschichte Dortmund); M. Kunze-Köllensperger, Collection Ritter von Kempski von Rakoszyn, 2008; Glanz des Barock, Collection Ludwig, 1993, p. 181; F. Kirsch,100 Jahre Porzellane und Fayencen des 18. Jahrhunderts, 2019, pp. 360-366.

-
26544 item(s)/page