We found 6927 price guide item(s) matching your search

19th century cast iron hallway hat and coat stand, the arched frame decorated with overlapping foliage, central oval mirror surrounded by trailing oak leaves and acorns, with extending umbrella and stick stand, the curved plinth base decorated with acanthus leaves, with impressed and mounted R.d. lozengesDimensions: Height: 167cm  Length/Width: 72cm  Depth/Diameter: 30cm

Early 20th century bentwood hat and coat stand, the central column surmounted by a finial and fitted with eight scrolling coat hooks, above a lower ring with further scrolling hooks, on four bentwood supportsDimensions: Height: 201cm 

Early 20th century walnut hall stand, rectangular inset mirror above a veneered panel back with six metal coat hooks, central compartment with hinged cover over shaped apron, on cabriole supports united by stretcher shelfDimensions: Height: 182cm  Length/Width: 65cm  Depth/Diameter: 33cm

An oak bookcase, coat stand etc

A vintage Bentwood floorstanding hat/coat stand, 198 cm high

A large Bentwood hat and coat stand

A mahogany coat and stick stand

A hat and coat stand with turned finial, 186 cm. The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso 

Paul Storr, a George III silver four-bottle decanter set, comprising a silver-mounted stand, the quatrefoil base ensuite with a coat of arms, ensuite with four cut glass decanters, Paul Storr, London 1805, height (to top of handle) 26.5cm, height (of decanter) 19.5cm approx

ARR Bouke de Vries (Dutch b.1960) Blue and White Ceramics Sculpture Composition with Insects, a ceramic teacup and saucer with butterfly, bee and fly, ceramic mixed media sculptural composition, on a wooden base with glass dome, height including dome 16 cm x 21 cmProvenance: purchased by the vendor from the 'Reanimate, Repair, Meld and Mend', exhibition at the Blue Coat Display Centre, Liverpool, 2015 Condition:The sculpture sits on a turned wooden stand attached to a square wooden base, which appear to be in good order. The ceramic sculpture is created with a broken teacup and saucer, which is arranged into a position that appears to remain in its intended location. There is a butterfly, fly and a small bee attached and further organic material fixed in position in and around the teacup and saucer - all appear well preserved. There is a covering glass dome for the sculpture which is in good condition

Three pieces of reproduction furniture including an Ancient Marina hat and coat stand.

Various items of furniture comprising a hat and coat stand, a pine chest of three drawers, a rocking chair, a magazine rack, a small cupboard and a side table.

A mixed lot of furniture comprising hardwood coffee table, oak single drawer table, rush seat chair, Edwardian mahogany occasional table and a coat stand.

Black Forest coat stand , with carved bears on three stands. Four feet. 22 cm high. Late 19th Century. Small damages.

A mid century oak and cream painted wall mounted hall coat stand, with a central shield shaped mirror.

British Modern Design - Teak wood school / office tall hall coat / hat stand. Teak wood construction with later metal hooks and stretcher supports and plank base.174x36x36cm approx

A mid 20th century metal studio spotlight stand base, alongside a metal coat rack. The spotlight stand having a cast iron base over castors. The coat rack raised on splayed supports, with bent metal coat hooks to top.180 x 40 x 40

BENTWOOD HAT & COAT STAND

A SPUTNIK HAT / COAT STAND, with six branches, twin umbrella / stick sections, on a circular cast iron base, height 162cm (condition report: all branches have a slight wobble, general signs of usage)

A Dinette painted beech bentwood coat stand

Historisch bedeutender Barock-Abendmahlskelchgestiftet für das Bremer Armenhaus vom Vorsteher Libert Edzard, einem Mitglied der führenden Bremer Kaufmannsfamilie EdzardSilber, teilw. vergoldet. Blütenförmiger Stand mit ausgestelltem Standring, übergehend in sechsfach facettierten Schaft. Zentraler, von Profilringen gefasster, gedrückter Nodus, ober- und unterhalb von je sechs Buckeln umzogen. Sanft aufsteigende, glatte Kuppa. Auf der Wandung zwei Rundmedaillons mit gravierter Widmung "Diesen kelch Hat Älterman Libert Edzardt Als Der Armen Vor Steher Dieses Hauses Zum Glücklichen Anfang Vorehren Wollen Ju Bremen Anno 1699" sowie einem Allianzwappen u. a. mit dem Wappen der Bremer Familie Edzard. Innen vergoldet. Gest., Beschauzeichen, Meister Ahrendt Meyer (wird Meister 1681). Gew. ca. 350 g. H. 20,3 cm.Das Bremer Armenhaus wurde in den Jahren 1697-1698 errichtet und 1699 eingeweiht. Das Gebäude umfasste u. a. auch eine Kapelle, in der für die Bewohner Gottesdienste abgehalten wurden. Vgl. Herbert Schwarzwälder, Geschichte der Freien Hansestadt Bremen, Bd. 1., S. 408; Scheffler, Niedersachsen, Bd. 1, S 170, Nr. 80.A historically significant German Baroque parcel-gilt silver communion cup by Ahrendt Meyer (master since 1681) as a gift for the Bremen poorhouse with engraved coat of arms and dedication inscription. Assay and master´s mark.Deutsch. Bremen. Um 1699.

A 16 inch ballistic cap (RN), later applied a Royal Coat of Arms and mounted on a stand, 44 cm high  Note: found in Caen, FranceIncredibly heavy, not suitable for postage

A mid-century atomic hat and coat stand in the manner of Roger Feraud, with wooden ball ends on wrought metal frame. Height 176cm.

A Victorian Arts & Crafts mahogany hall stand, with rotating coat hooks, fluted decoration and tripod base. Height 205cm.

A vintage mahogany hat and coat stand. 39x183cm

A 19th century mahogany hall stand, of large proportions having finial and scroll top over chamfered frame and rails with shaped stick supports, drip tray and additional coat hooks. Height 220 cm, width 115 cm, depth 36 cm.

A bentwood hat and coat stand, in the manner of Thonet; a George III style wine table (2)

A late Victorian stained oak mirror back hall stand with central bevelled glass mirror pane flanked by four turned coat pegs either side over single drawer carved with green man motif flanked by stick/umbrella stands, 193cm high x 99cm wide x 34cm deep Condition Report:Available upon request

An oak cruciform hat and coat stand, height 179 cm.

Bentwood flat back hat and coat stand, turned column standard lamp and shade, mirror-wall shelf and two framed wall mirrors (5).

BENTWOOD HAT & COAT STAND

Johannes de Gaddesden Rosa anglica practica medicinae a capite ad pedes. Pavia, (F. Girardengus &) J. A. Birreta, 24. Jan. 1492. • Erstes gedrucktes medizinisches Buch eines englischen Schriftstellers • Mit einem Antidotarium, das Einblicke in die englische Volksmedizin bietet • Seltene erste und einzige Ausgabe des 15. Jahrhunderts 'First printed medical book of an Englishman. John of Gaddesden was a prebendary of St. Paul's Cathedral and physician to Edward II' (Fielding Garrison und Leslie Morton) Der englische Mediziner John of Gaddesden (um 1280-1361), war der erste Leibarzt, der am englischen Hof angestellt war. Er verfaßte die Rosa Anglica zwischen 1305 und 1307. Das Kompendium der praktischen Medizin ist nach Krankheiten geordnet und behandelt Fieber, Krankheiten und Verletzungen und speziell Krankheiten des Kopfes (darunter Augen, Ohren, Mund - mit interessanten Kapiteln zur Zahnmedizin). Bedeutend ist das Antidotarium (Abhandlung über Heilmittel) am Ende der Schrift. Es enthält einige Anmerkungen zum Kochen und unzählige Rezepte, von denen viele auf Aberglauben beruhen, während andere handfeste Heilmittel sind. Die Rosa Anglica bietet daher einen Einblick in die englische Volksmedizin und auch in den Aberglauben zu Beginn des 14. Jahrhunderts. Zudem enthält sie viele Zitate aus Galen, Pedanius Dioskurides, Rufus von Ephesus, Haliabbas, Serapion, Al Rhazis, Avicenna, Averroes, Johannes von Damaskus, Isaak, Masawaiyh, Gilbertus Anglicus und aus dem Regimen sanitatis Salernitanum. 'Übrigens stand die Rosa anglica zu jener Zeit in so hohem Ansehen, daß Chaucer ihren Verfasser unter den ausgezeichnetsten medizinischen Gelehrten gepriesen hat. Das Buch .. voll von Aberglauben; doch findet sich in ihm eine interessante Stelle über 'Rotlicht-Behandlung' der Pocken' (Hirsch/Hüb.). Teils wird vermutet, daß Gaddesden das Vorbild für Chaucers Doktor der Physik gewesen sei, und sowohl er als auch Bernardus de Gordonio gehören zu den medizinischen Autoritäten, die im Prolog der Canterbury Tales zitiert werden. EINBAND: Halbpergamentband des 19. Jahrhunderts. Folio. 29 : 20 cm. - ILLUSTRATION: Mit Holzschnitt-Druckermarke am Ende und eingemalten roten Initialen. - KOLLATION: 4 nn., 173 num. Bll. (o. d. l. w.). 2 Spalten. Gotische Type. - PROVENIENZ: Bl. y4 verso im Fußsteg mit kl. blau kolor. Besitzer-Wappen. - Titel mit Besitzeintrag des US-amerikanischen Chemikers und Mediziners John Redman Coxe (1773-1864), dat. 1826. - Hint. flieg. Vorsatz mit Blindprägestempel Peter Doyle, Bookseller, Philadelphia. -Seit 1997 in süddeutschem Privatbesitz. LITERATUR: GW M13622. - Hain/Cop. 1108. - Goff J 326. - BSB I-394. - Garrison/M. 2191. - Waller 83. - Wellcome I, 2485. - Hirsch/Hüb. II, 651. - First edition of the first printed medical book by an English writer. John of Gaddesden (c. 1280-1361) was court physician to Edward II and was supposedly the inspiration for Chaucer's 'Doctour of Phisik' in The Canterbury Tales. With woodcut printer’s device at end and red painted initials. 19th cent. half vellum. 29 : 20 cm. - Occasionally slightly browned and stained (mostly in the margins), some minor worming at the beginning, title recto and verso with extensive contemp. entries and in the lower margin with a pale illegible old stamp, short and clean marginalia by an old hand (a few trimmed), including 2 larger drawings of funnel-shaped medical instruments by early hand. - Leaf y4 verso with small blue colored owner's coat of arms at lower margin. - Title with ownership entry of the American chemist and physician John Redman Coxe (1773-1864), dated 1826. - White endpaper with blind embossed stamp Peter Doyle, Bookseller, Philadelphia (later 19th cent.). Paper cover rubbed. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000523 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000523 This lot can be purchased subject to differential or regular taxation.

Modern metal coat stand

A hat and coat stand and a gateleg table

A 20TH CENTURY WHITE SPUTNIK COAT / HAT STAND, height 179cm (condition report: two missing balls, general signs of usage)

A 19thC bentwood hat and coat stand.

A 19thC bentwood hat and coat stand.

Mid-20th century bentwood coat and hat stand, looped top structure with rounded finials, fitted with circular hooks and lower ring, raised on four splayed supports (H174cm); and a 20th century walnut centre table (2)Dimensions: Height: 174cm 

Late 19th Century/ Early 20th Century Silk and White Cotton Underskirts comprising a cream silk skirt with gathered trim to the hem, a white cotton underskirt with multi-pleated and tiered hem including lace insertion and train to the reverse, another with a lace trimmed hem, an a-line skirt with stripes of embroidered flower heads and lace insertions with a lace edged hem and slight train, and a white cotton underskirt with broderie anglaise cut work details to the hem, a three tier embroidered underskirt embroidered overall with floral motifs, Other Costume includes a white cotton dressing robe with two tier collar, long sleeves and cotton tie to the neck, an Edwardian shirt with long sleeves and lace insertions,Late 19th Century Grey Printed Cotton Dress possibly maternity, comprising button fastening to the front, long sleeves, a short stand up collar. with grey printed appliqué mounts to the front, hem and cuffs, trimmed with crochet lace, inverted pleats to the reverse and patch pocketstwo Red Cross Nurses Aprons and head scarves, and a White Cotton Coat with buttons to the front labelled 'Hercules',(on rail)Property of the Late Robert Bogdan, Aberdeenshire

A 20th Century Smokers Bow Chair, two oak stools, a coat stand, a Victorian inlaid walnut lamp table and a Georgian oak oval tilt top table (6)

An Asian metalwares ornament in the form of a horse, indecipherable mark to the hind sole, no further apparent marks, tests as 18ct gold, the hollow cast and engraved model with spotted and textured coat, flowing mane and stone set eyes, mounted on a brown resin type stand, 9cm nose-to-tail, 8cm high, 112g gross including the stand

A black ranch mink coat, long length, made by Saga Mink, fully lined in black sateen-type fabric with embroidery and braid edging, hook fastening and stand-up collar. In excellent condition. (1)

A traditional Burberry ladies raincoat; also a stone-coloured three-quarter length coat, fully lined in faux fur with faux fur collar and cuffs, size 14; a three-quarter length Basler quilted rainproof coat with stand-up collar and fur-edged detachable collar and hood and decorative frog fastenings, size 14. (3)

A retro style 'sputnik' coat stand. H176cm

A circa 1900 carved oak hall stand. Carved with floral motifs with brass coat hooks. Bevelled edge mirror to centre, single drawer, with space for umbrellas either side with tin trays to base. H 244cm W 118cm.

Early 20th century green painted hall stand with central bevel edged mirror, four brass cloak hooks and with a bergere panel coat shelf above and a bergere panelled stickstand below, 200cm high x 69cm wide x 28cm deep  Property of Dunkirk Manor, Theescombe, Stroud

MID CENTURY HAT & COAT STAND

Vintage and retro, mid century 1960s tubular steel sectional coat and hat stand, white finish wit black acorn knobs approximately 170cm high

FIAM ITALIA ELIX COAT STAND, by Fabio Di Bartolomei, 188cm H.

ZANOTTA SCIANGAI COAT STAND, by De Pas D'urbino Comazzi, 146cm H.

Original vintage travel poster - Isle of Man for Health and Pleasure - featuring a scenic view by Samuel John Milton Brown (1873-1965) of ferries and sailing boats at sea with the green hills on the Isle of Man visible in the distance and seagulls flying over the waves in the foreground, the title text above the clouds in the blue sky and the Manx Coat of Arms with the crown and Latin phrase - Quocunque Jeceris Stabit / Whichever way you shall have thrown it shall stand - around the image of the three armoured legs next to a blank text box in the bottom margin. Printed by J. Weiner Ltd. Large size. Fair condition, creasing, staining, repaired tears, paper skimming, folds, backed on old linen. Country of issue: UK, designer: Samuel John Milton Brown, size (cm): 101x127, year of printing: 1920s.

Victorian flat back pine bentwood coat stand

A honey oak coat, hat and stick stand in the Arts & Crafts style - late 20th century, the hexagonal column with a spoked wheel coat-rack over six hat-pegs and a conforming hexagonal, spoked stick-rail, on a dished circular base with three trestle feet, 172 cm high.

A nice selection of Great Western Railway Hotel silverplate tableware consisting of; a pair of salt and pepper pots face marked with the GWR Twin Shield Coat of arms stand 3.5in tall, a nibbles bowl face marked with the GWR roundel measures 4.5in diameter x 2.5in tall, a Matchbox holder face marked with the GWR Twin Shield Coat of arms stands 3.5in tall and a salt pot complete with blue glass liner and spoon both marked with GWR HOTELS in roundel. All in very good condition. (6 items)

A Vintage bentwood hat and coat stand, probably by Thonet

Two metal bird baths, glazed planter, a coat stand and a three tier plastic shelf.

JOHN LENNON - John Lennon's First Ever Vox Amp - Fawn JMI Vox AC15 Twin - A 1962 Fawn JMI Vox AC15 Twin amplifier used and owned by John Lennon during his time in The Beatles. Lennon purchased this amp in 1962 and it was the first-ever Vox amp he used as part of The Fab Four. It is arguably one of the most significant Beatles and Lennon artefacts to come to market. It was the catalyst in forming the early tone and sound of one of The Beatles, considered one of the most influential bands of all time. The amp was used in many early live performances as well as the recording of The Beatles first album Please, Please Me recorded at Abbey Road studios. The history of this item was recently covered in a comprehensive article by Guitar World.When Brian Epstein became The Beatles' manager, he decided to completely overhaul their public image, including upgrading the equipment they used to perform. Lennon and Epstein visited Hessy's Music in Liverpool and hire-purchased a Fawn Vox AC15 Twin amp in July 1962 for £123, making four payments over the next few months. A scan of the original hire-purchase agreement can be seen on page 572 of the book Vox Amplifiers: The JMI Years by Jim Elyea. On the agreement, the amp's serial number was incorrectly noted as "1583" when, at that time, the serial numbers would have been in the 4000 range, so it was actually "4583". George Harrison also acquired a Vox Fawn AC30 Twin amp around the same time. Lennon can be seen using the amplifier extensively during the early days of The Beatles' rise to fame, including the only known film footage of them performing at the world famous Cavern Club, Liverpool on August 22 1962, four days after their newly appointed drummer, Ringo Starr had joined the band. This was the birth of what we now know as the legendary Fab Four. As well as many early live performances, the amp can be seen at the Abbey Road studios during the recording of the album Please Please Me in which Lennon's distinct Vox guitar tone can be heard on such tracks as "Love Me Do", "Please, Please Me", "How Do You Do It?" and P.S. I Love You". Photographs taken by Bill Connell and Les Chadwick on 22 August 1962 document The Beatles rehearsing at the Cavern Club and show the Vox amp being used by Lennon. As Starr officially joined the group four days earlier on 18 August, these may be some of the first images to feature him as part of the band. The amp can also be seen in photos taken during the Please Please Me recording sessions at Abbey Road Studios in Studio 2 which took place in September 1962. In these images, Lennon's Vox AC15 is equipped with chrome stand, as opposed to George Harrison's Vox AC30, which has no stand. As the band's popularity grew and their touring schedule increased, in early 1963 Brian Epstein secured an endorsement deal with Vox for their exclusive use of the brand and in return Vox would supply the band with amplifiers. Recent research shows the original Beatles Fawn amplifiers can be seen being used as late as November 1963 and possibly beyond and were used in conjunction with the new Black amplifiers due to the band's extensive schedules. Notable later performances where these amps can be seen in 1963 include January 31st at Birkenhead, March 7th at Harrogate and November 1963 in Ireland.The amp comprises a pine cabinet with a fawn Rexine exterior. A previous owner of the amp, unaware of its link to Lennon and The Beatles, decided to paint its exterior matt black. This coat of paint has been meticulously removed to expose the amplifiers original Fawn covering, this along with period correct brown diamond-patterned grille-cloth and Goodman Alnico Speakers has restored the amplifier to its original 1962 Lennon, Beatles format. The top side features three leather handles and various controls, including six black pointer knobs and a voltage selector switch. A Vox Amplifier plaque on the back displays the model number "AC15" and the serial number "4358", as mentioned in Vox Amplifiers: The JMI Years. It is powered by an attached UK plug and cable and comes with a single-button Vox foot switch. The lot also includes a contemporary wheeled flight case and a metal tubular stand. The amp's exterior exhibits signs of age, including general scuffing. Some of the Rexine has peeled away, revealing the pine underneath, and there are small holes in the grille-cloth cover. However, the lot remains in remarkable overall condition, considering its age and history. This is an exceptionally rare opportunity to own a key piece of vintage equipment that established the sound of the Beatles. This lot is accompanied by a printed still.Dimensions (amp): 26.5 cm x 69.5 cm x 51 cm (10.5" x 27.25" x 20"); (displayed on stand): 35 cm x 91 cm x 94 cm (13.75" x 35.75" x 37")Special shipping required: see special shipping notice in the Buyer's Guide.Contains electronics; see electronics notice in the Buyer's Guide.Estimate: £100,000 - 200,000 M Bidding for this lot will end on Friday, November 15th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 14th, Saturday, November 16th or Sunday, November 17th.

A framed watercolour, depicting clothes on a freestanding bentwood hat and coat stand - signed - sold with a book plate, fantasy print, another and a card frame

MODERN WOODEN COAT STAND

MODERN COAT STAND