We found 42009 price guide item(s) matching your search

19th century mahogany longcase clock with painted arch dial and 8 day movement (weights & pendulum)

A Victorian Gothic style silver inkstandJoseph Angell I & Joseph Angell II, London 1843Rectangular form with Gothic style arch pelmet and gallery, on four pillared supports, the top engraved with strap work and centred with a removable taperstick with conical snuffer, flanked by two recessed glass inkpots, with later unmarked replaced covers, length 28cm, weight 22oz.For further information on this lot please visit Bonhams.com

A late 18th century mahogany longcase clock with moonphasesigned to the dial Lassel, Parkthe squared top with three turned urn finials over reverse-painted glass panels on freestanding reeded columns, the long door flanked by matching quarter columns on a panelled base and ogee bracket feet, the 12' arched brass dial with painted rolling moon in the arch over a silvered Roman and Arabic chapter ring (hour hand lacking) with concentric date and engraved centre, the weight driven movement with anchor escapement striking on a bell, with pendulum, two weights, crank winder, and door key, 249cm high overall approximately This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A late 19th century Middle Eastern silk embroidered and couched metal panel,probably West Anatolian or Persianworked in cream silk and gold and silver coloured thread on a brown velvet ground, with a central flowering potted tree with peacocks and cranes below a cusped arch within a formalised flowering border, mounted within an ebonised glazed frame 154cm x 76cm For further information on this lot please visit Bonhams.com

A late 19th century brass mounted mahogany and inlaid mantel timepiecethe arched rectangular case with swept top and ball finials, the sides with pierced arch sound grills, the front with quarter columns and central butterfly patera, on plinth base and ball feet, the 6'' silvered dial with Roman numerals, the twin fusee brass movement, striking on a gong with pendulum, winder and case key, 48.5cm highThis lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A 19th century mahogany table regulator with deadbeat escapementthe dial signed J P Jones, Aberystwyththe arch top case carved with entwined ivy to the front, flanked by silk-backed sound frets over a canted plinth base on bun feet, the signed 7.75' silvered Roman dial with outer minute markers, with blued-steel moon hands surrounded by a gilt bezel, the twin chain fusee movement with deadbeat escapement and substantial regulator style pendulum with imitation mercury jar bob, striking the hours on a large bell, with crank winder and two case keys, 50cms highThis lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A galvanised steel rose arch/arbour with decorative lattice and scroll detail, 265 high x 120cm wide

A Regency mahogany longcase clock, the case with well figured flamed veneered door, within reeded and canted corners, with boxwood and other string inlaid detail, the hood with swan neck cornice enclosing painted broken arch dial with floral spandrels, to the arch a conversation between a king and a counsellor, with subsidiary secondary and calendar dials and eight day striking movement - indistinctly signed

Medieval Strap-End. Circa, 14th century AD. Copper-alloy, 4.18 grams. 40.03 mm. A nice example of a medieval composite strap-end with open-work detailing and engraved decoration. The face of the piece piece is engraved with a large Lis that forms part of the border of an open-work window. In the centre is a rising stem supporting an acorn that terminates just below the trefoil arch of the window. Ref: Egan & Pritchard, fig. 705. Property of an Essex collector.  

Roman Rosette Brooch. Circa, AD 1st century. Copper-alloy, 9.03 grams. 40.56 mm. A typical example of this early type with a short arch detailed with a series of grooves from the cylindrical head to the circular disk-shaped mid section. Detailed on the face of the disk with a crescent shape enclosing a toothed border and three elongated triangular motifs. Ref: Richard Hattatt's Ancient Brooches, fig. 167. Ex Essex Coins.

Medieval Figural Bronze.Circa 12th - 14th century AD. Bronze, 1.7 kg. 165mm x 80mm x 40mm. A large piece of medieval sculpture depicting a naked female figure reclining on an arch with acanthus leaf and front scroll. The figure is very similar to many images of mermaids seen in wood and stone carvings of the same period although the piece we have here shows no obvious sign of a tail. The surviving piece was once part of a much larger sculpture or furnishing of a church such as a large candle stick. If the latter, then its likely to be a casualty of the reformation under Henry VIII. This lead to churches and cathedrals being stripped of their wealth and most of the Catholic works of art destroyed. A Derbyshire metal detecting find. Ref: for similar styles see: Molesworth, 1951. Sculpture In England (Medieval). Property of a detectorist.

AN EARLY TO MID 20TH CENTURY OAK LONGCASE CLOCK, arched glass door enclosing a brass and silvered dial, the arch with a dial reading St Michael, Westminster and Whittington chines selections, above a 9' dial with Roman numerals beside a chime/silent, glass door to trunk above a panelled base, height 189cm (three weights, pendulum and case key)

Early 19th century oak and walnut automaton longcase clock, sarcophagus top hood above stepped arch glazed door with three quarter column pilasters, the hood door, trunk door and base banded in walnut, brass dial with Arabic and Roman silvered chapter ring, mask and dolphin cast spandrels, the concave pediment painted with sun motif and inscribed 'Tempus Fugit', automaton painted Cronus figure with scythe sways with seconds, subsidiary seconds dial and date aperture, silver plate inscribed 'Joseph Heely From London', eight day movement striking on bell, H223cm (two weights and pendulum) - Condition Report

Gilt framed arch top overmantel bevel edge mirror, W81cm, H125cm - Condition Report

1930s oak display cabinet, with raised back and a pair of arch glazed doors on barley twist supports joined by stretchers (117cm x 149cm x 37cm)

Victorian mahogany hall chair, arch back, solid seat and ring turned front supports

Early 20th century double arch back green upholstered two-seater sofa, 149cm wide

Pair of Victorian mahogany hall chairs with C-scroll moulded arch backs solid seats and cabriole front supports

Cranleigh Borton "Wellington Arch, New Zealand" watercolour, signed.

An 18th century style figured walnut and mahogany eight day longcase clock, by Lowe & Sons Chester, 20th century, the figured walnut hood with four urn shaped finials and a broken pediment over a pair of reeded pilasters, flanking a 26cm wide break arch brass dial, applied with a silvered bezel, Roman and Arabic numerals, centred with the makers name and a date aperture, enclosing an associated earlier eight day movement striking on a saucer bell, above the slender case with arcaded and dentil detail over a flame mahogany door, flanked by quarter reeded pilasters upon a lower board applied with moulded detail, 220cm high, two weights and pendulum For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com

A Chippendale style mahogany grandmother clock, mid 20th century, with a blind fretwork frieze above a pair of freestanding reeded pilasters flanking the 18cm wide gilt metal break arch dial, enclosing the three train movement striking on graduated rods, quarter (Westminster) chime, above an arcaded dentil frieze and slender case with shaped flame mahogany door flanked by quarter reeded pilasters, on columns with moulded brick detail, upon a conforming lower board with ogee bracket feet, 150cm high, with brass bob pendulum For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com

An early 20th century mahogany cased chiming longcase clock, by the Hawina Clock Co, the arched pediment above a pair of freestanding pilasters flanking the 29cm break arch moon phase gilt dial, applied with a silvered bezel and Arabic numerals, centred with a subsidiary second dial and signed with the initials 'HWN', enclosing the three train movement striking on eight graduated tubular bells, behind an arched glazed door with integrated pilasters, above a lower board applied with beaded detail, raised upon a plinth base, 232cm high, with three brass weights and pendulumNB The Hawina Clock Co was founded by Hans Winterhalder to export clocks to Britain, America and Russia in the early part of the 20th century

A Queen Anne style walnut bureau bookcase, mid 20th century, with a broken arch moulded pediment punctuated with three brass spherical finials, above a pair of mirrored doors enclosing two shelves, the bureaus interior with an arrangement of pilasters, drawers and pigeon holes flanked by waterfall drawers, above two short and three long cock beaded drawers applied with pierced back plates and swing handles, raised upon ogee bracket feet, 214cm H x 89cm W x 49cm D

GEORGE III CADDY TOP BRACKET CLOCK AND LATER BRACKET the brass dial with a 6 3/4" silvered chapter ring with bob pendulum and date aperture beneath a strike silent dial to the arch, on a brass, eight day, hourly striking twin fusee, verge escapement, the back plate and pendulum with floral engraving, the case probably originally ebonised but with later red lacquer and gilt chinoiserie decoration, height of clock excluding handle and bracket 43cm, bracket height 20cm, width 32cm depth 21cm (2)

MAHOGANY PAGODA BRACKET CLOCK probably by Barraud, the painted dial with 7" chapter ring inscribed Barraud/London beneath a Strike Silent dial to the arch, on a brass, eight day, twin fusee movement with quarterly, musical chime playing to a nest of eight bells and striking to a ninth bell, the back plate and pendulum with floral engraving, the case with brass orb finials and feet, scrolling fretwork to the top, fish scale side panels and quarter columns, height 66cm, width 36cm, depth 21cm

17TH CENTURY BRONZE SUNDIAL of octagonal form, dated 1677 beneath an inscription and motto, with pierced gnomon, later iron legs and supporting arch, height 16cm, width 25cm

Dutch 14" brass arched dial signed Racobus Alkmaert, Amsterdam 1748 to the engraved centre, with subsidiary dials to the arch; also various other clock dials and plates

An oak eight-day long case clock, the arched brass dial signed Lawrie, Carlisle, circa 1780, the dial arch with rolling moon phase aperture, case door with a later added presentation plaque

An oak thirty hour long case clock, the arched brass dial signed Taylor, Kirby, with another inscription Thos & Jane Raickstraw 1778, the dial arch with a rolling moon appeture

Elizabeth Adela Stanhope Forbes, ARWS (Canadian, 1859-1912)The Gipsy signed and indistinctly dated 'EAFORBES.' (lower left); signed and inscribed ''The Gipsy'/Mrs Elizabeth Stanhope Forbes/Trewarveneth/Newlyn/Penzance' (on a label attached to the frame) oil on canvas96.5 x 122.5cm (38 x 48 1/4in).Footnotes:Provenance(possibly) CD Morton Esq., by 1906.(possibly) Sotheby's 22 February 1972.1Property of a deceased's estate.ExhibitedLondon, Royal Academy, 1901, no. 315.Literature'Women's Studios', The Gentlewoman, 6 April 1901, p. 40.Royal Academy Illustrated, 1901, p. 22.Pall Mall Magazine 'Extra', Pictures of 1901, 1901, p. 64 (illustrated).'The Royal Academy – Second Notice', The Times, 24 May 1901, p. 13.The Royal Academy – Supplement to the Illustrated London News, 18 May 1901, p. IV (illustrated). 'The Royal Academy – Final Notice', Pall Mall Gazette, 16 May 1901, p. 2.Gladys B Crozier, 'Elizabeth Stanhope Forbes', The Art Journal, 1904, p. 383.Mrs Lionel Birch, Stanhope A Forbes ARA and Elizabeth Stanhope Forbes ARWS, 1906, Cassell & Co, p. 80 (illustrated).Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628. Judith Cook, Melissa Hardie and Christiana Payne, Singing from the Walls, The Life and Art of Elizabeth Forbes, 2000, Sansom & Co, no 4.97, p. 181.By 1900 the radical first phase of Newlyn School painting had passed, and many original 1880s founders of the colony had left west Cornwall. The recent news that Stanhope and Elizabeth Forbes had opened an art school however, initiated a new phase for the artists' colony that would, in the early years of the century, see the emergence of a distinguished cast of young artists that included Harold Harvey, Dod and Ernest Procter, and Laura and Harold Knight. The continuing success of the colony however, depended upon the Forbes's ability to diversify – to expand its focus on the heroic fisherman and encompass, in Elizabeth Forbes's case, child-lore, chivalric romance, and tales of fairies and woodland sprites. For these, the woods behind Trewarveneth, her home on the hilltop above the town, provided, as Austin Chester noted, 'the inspiration'.2 Depicted with the dedication of a devotee of Bastien-Lepage, according to E Bonney Steyne in The Studio, works such as At the Edge of the Wood (1894, Wolverhampton Art Gallery), demonstrate the use of 'square brush' technique that persists in the treatment of trees in the present lot.3 Painted over the winter of 1900-1, the canvas was not the first modern representation of gypsies. Forbes's husband, Stanhope Alexander Forbes, had addressed the subject in Their ever-shifting home, the progress of which he reported to Elizabeth, then his fiancé, in 1887.4 This stern piece of social realism casts the Romany family as penniless vagrants, viewed with suspicion by local cottagers. In the ensuing decade, the factual reporter in Stanhope left poetic fancy to Elizabeth. When, in 1900, a gypsy girl entered her woodland it signified a moment when serious interest in the origins and lifestyle of the Romany was growing. Within a year of the showing of Their ever-shifting home, the Gypsy Lore Society had been formed and although in its first incarnation it lasted only a few years, the interest was maintained by enthusiasts such as John Sampson, the librarian at University College, London, who took Augustus John, then a Slade student and arch-bohemian, under his wing. As the society, and its journal revived in the early years of the century, many bourgeois travellers inspired by Matthew Arnold's Scholar Gypsy took to the open road. Although lampooned by Jerome K Jerome in the character of 'Mr Toad', these renegades from the suburbs would form the membership of the Caravan Club. In this social and cultural phenomenon, Forbes's The Gipsy, and her husband's Nomads, (Royal Academy 1903, no. 258, unlocated) have been neglected. The work's re-appearance at this moment is therefore significant. The characterisation of Forbes's young woman is also of great interest. Clearly not one of the downtrodden of the earth, she sports a striped skirt and red bandana and by her side is her fiddle. Dance and song, as musicologists and composers were currently discovering, defined the Romany. Her life, unlike that portrayed by Forbes's husband, was to be envied, not pitied, and as the artist indicates, her music comes directly from the natural world, from the birds that surround her. One enthusiastic onlooker, who ironically credited Elizabeth Forbes's work to her husband, read the picture's clues: 'Here The Gypsy[sic] touches actuality as Sinfi Lovell, or the dauntless women of Borrow's wanderings touched a more commonplace present. But this gypsy, alone, with fiddle mute beside her, listening in a pause of her own music to the lyrical pipe of a robin in the leafless woods has a more plaintive charm.5 This unidentified reviewer touched upon the possible sources of the work. While George Borrow's classics, Lavengro (1851) and The Romany Rye (1857) remained in print, Theodore Watts-Dunton's Aylwin published in December 1898, was very much current when Forbes began her painting. A lengthy novel which draws on gypsy lore it tells the tale of the young Hal Aylwin who enlists the assistance of Sinfi Lovell – a 'sublime creation' according to critics – while in search of his true love, Winifred. Sinfi's 'dukkeripen' (fortune-telling in Romany) was the fount of ancient wisdom. Forbes does not of course identify a specific literary source for her work, and gypsies in Cornwall were not an unusual sight, but this young woman asserts more solidity and as much spiritual power as Will-o-the-wisp (1900), in the triptych she had recently shown at the Women's Exhibition at Earl's Court. In the following years, Forbes would return to the celebration of child lore in her Leicester Galleries exhibition of 1904, but it was the emblematic Gipsy that would resonate in the wanderings of Augustus John, the joyful gypsy parades of Alfred Munnings, and the dark-eyed Romany girls of Laura Knight. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry. 1 Cook and Hardie 2000 indicate that two pictures, and possibly three, bear the title, Gypsy, or The Gypsy. They cite a work sold at Newlyn Art Gallery in 1906 for £10, in addition to that owned by CD Morton. At such a low price, the former may be no more than a drawing for the present work which, as contemporary illustrations confirm, is that which appeared at the Royal Academy. 2 Austin Chester, 'The Art of Mrs Stanhope Forbes', Windsor Magazine, vol XXVIII, November 1908, p. 628.3 EBS, 'The Paintings and Etchings of Mrs Stanhope Forbes', The Studio, vol IV, 1894, p. 188. 4 See Caroline Fox and Francis Greenacre, Artists of the Newlyn School, 1880-1900, 1979, exhibition catalogue, Newlyn, Plymouth and Bristol Art Galleries, pp. 83-4.5 EWR, 'The Royal Academy – Local Exhibits', The Western Daily Press, 20 May 1901, p. 3.For further information on this lot please visit Bonhams.com

A George III oak delft rack, circa 1780Having three open-shelves, each with a retaining bar, below a flattened-arch and scroll-profiled frieze, and flanked by ornate fretwork 'pilasters', 105.5cm wide x 15cm deep x 99cm high, (41 1/2in wide x 5 1/2in deep x 38 1/2in high)Footnotes:Provenance:Purchased from Danny Robinson, Key Antiques, Chipping Norton, Oxfordshire, October 1992.For further information on this lot please visit Bonhams.com

An early 16th century carved oak panel, circa 1500-20Mounted on a later oak backing, and topped by an ogee arch above delicate tracery lights, foliate quatrefoils and a large central shield carved with a four-petalled flower, arcaded bottom edge, 24cm wide x 1cm deep x 48.5cm high, (9in wide x 0in deep x 19in high)Footnotes:Provenance:Purchased Keith Hockin Antiques, Stow-on-the-Wold, Gloucestershire, October 2000.For further information on this lot please visit Bonhams.com

A rare and interesting Elizabeth I joined oak 'caqueteuse' open armchair, circa 1580The broad back-panel with a nulled-carved arch enclosed within a shallow crenelated and crescent-carved arcade, with leaf-and-berry spandrels, the top rail's scrolling upper edge carved with slender serpents, the back uprights with carved stop-fluting, over flat-arms crooked in the middle and carved with lozenge-shaped motifs, on well-carved fluted-baluster supports, the seats rails with a scroll profiled lower edge, and to the front centred by a cross, the front legs matching the arm supports but with an additional finely carved lower reel, historically lacking stretchers and reduced in height, 66.5cm wide x 52cm deep x 96.5cm high, (26in wide x 20in deep x 37 1/2in high)Footnotes:An old swing-tag nailed to the underside of the rear seat rail with handwritten name, possibly 'S. BUCKLER', together with a metallic inventory label 'G1987-18' to one back upright.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An impressive pair of Gothic-Revival oak doorsOf pointed-arch form, the frame of chamfered rails applied with boards held in place by square-head iron 'studs', over-sized decorative scroll-work iron hinges, 155cm wide x 6cm deep x 267cm high, (61in wide x 2in deep x 105in high)For further information on this lot please visit Bonhams.com

A rare set of four mid-16th century carved oak portrait panels, English, circa 1550Of two men and two women, all elaborately dressed and each carved with an emblematic flower, including a rose, a marigold, a thistle etc., all beneath a cusped or ogee arch with crenellated top, carved pilasters, and a spray of leaves below, 25cm wide x 2.5cm deep x 37cm high, (9 1/2in wide x 0 1/2in deep x 14 1/2in high) (4)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A small Charles I boarded oak chest, West Country, circa 1640The single-piece top and front with chip-carved ends, the extended sides with pointed-arch shaped cut-away ends, 64cm wide x 33cm deep x 42.5cm high, (25in wide x 12 1/2in deep x 16 1/2in high)For further information on this lot please visit Bonhams.com

An 18th century oak and glazed mural cupboard, DutchOf canted form, having a broken-arch moulded cornice, above an astragal-glazed cupboard door, and slender glazed sides, enclosing a pair of serpentine-shaped shelves, 83cm wide x 18.5cm deep x 73cm high, (32 1/2in wide x 7in deep x 28 1/2in high)Footnotes:Provenance:Purchased from Paul Hopwell Antiques, West Haddon, Northamptonshire, November 1997.For further information on this lot please visit Bonhams.com

A George III style gilt and grey distressed painted wall shelf with broken arch surmount, three shelves and column uprights 56cm

Page, Market Rasen. A mid 19thC oak mahogany and rosewood longcase clock, the painted arch dial decorated with hunting dogs, a gentleman shooting, etc., with an eight day four pillar movement in a broad case with swan neck pediment and bracket feet, 219cm high.

Extremely rare Gustav Becker moon phase Vienna regulator eight day wall clock movement (circa 1890s), the 8.5" brass arched dial plate with moon phase to the arch over a silvered dial with subsidiary seconds and calendar aperture (original weights, pulleys, pendulum bob and wooden rod (3" missing))

Good English parcel-gilt ebonised double fusee bracket clock with five pillar movement, the 7" brass arched dial signed Asselin, London on the silvered chapter ring enclosing a matted centre with false bob pendulum and calendar apertures to the matted centre, also engraved with an eagle on a silvered boss to the arch, the movement back plate profusely engraved with scrolling foliage and a perched bird to the centre over a cartouche signed Asselin, London, within a stepped case surmounted by a caddy top and ormolu carrying handle, 19.5" high (with pendulum and keys) (request condition report) *This clock is also sold with a purchase receipt and catalogue from Bearne's Auctioneers, where it was purchased on 12th September 2006 for £3330 (hammer)

Fine small English walnut verge bracket clock, the 4" brass arched dial signed Devereux, Bowly, London on a silvered disc to the arch, over a silvered chapter ring with outer Arabic numerals and inner Roman numerals running from nine o'clock to three o'clock, enclosing a painted moon phase disc and matted mask, the movement with pull repeat striking the quarters and hours on three small and one large bell, the back plate profusely engraved with scrolling foliage, within a later stepped case surmounted by a caddy top and brass carrying handle, 15" high (pendulum and door key) (the case is later)

Fine French ormolu and tortoiseshell three train bracket clock in need of restoration, the 9.5" gilded arched matted dial plate with applied chapter ring with Roman cartouche enamel numerals, signed Gribelin á Paris on an enamel plate to the centre of an applied embellishment pierced with scrolling foliage and masks beneath the chapter ring, also signed on the movement back plate, with outside countwheel and striking on a bell in the arch, the case with four applied caryatid busts, also applied with cast acanthus feet on a central foliate case apron, surmounted by a detachable top, 24" high overall (this clock is in need of restoring and rebuilding)

Interesting and rare English verge hook and spike lantern clock (incomplete), the 4.25" brass arched dial signed B. Gray, J. Vulliamy, London on a silvered disc to the arch over a silvered chapter ring enclosing a matted centre, the verge movement with alarm bell above, 5.75" high overall (request condition report)

Small English brass hook and spike lantern clock with alarm, the 4.75" brass arched dial signed J. Buxton, Diss on a circular disc to the arch over a brass chapter ring enclosing a foliate engraved centre with iron hand and central alarm dial, with passing strike on a bell behind the arch, 6.75" high

Miniature Black Forest wall alarm clock, the wooden plated movement striking on a bell above and stamped F.108.PFAFF, in Triberg, the 2" white enamel dial with central brass alarm dial, within a 2.5" brass rounded arched surround repousse with birds of paradise and quivers with arrows to the rounded arch; also another miniature Black Forest wooden plated timepiece in need of restoration, the 2" circular enamel dial under a brass plaque repousse with a seated winged cherub (with weights) (2)

Small Black Forest automata shield wall clock with alarm, the 5.25" painted arched dial applied with a puppet theatre to the arch recessed with carved wooden figures depicting Punch and Judy (pendulum and weight)

Good English ebonised musical triple fusee bracket clock, (in need of extensive restoration), the movement playing on a nest of eight graduated bells and striking the hours on another, the 9.5" foliate engraved silvered arched dial signed French, London to the centre with subsidiary seconds dial and chime/silent dial to the arch, within a rounded arched stepped case, 21.5" high (pendulum bob and winding keys) (request condition report)

Fine English burr walnut and ormolu mounted triple fusee musical library clock by Frodsham & Son, signed on the movement back plate and silvered dial, the substantial movement playing tunes on nests of thirteen bells, also striking the quarter hours on eight bells and the hours on a separate bell, with pull repeat, the 8.75" silvered arched dial with seven tune selector subsidiary dial to the arch inscribed; Anthem, Carol, Hymn, Rule Britannia, Hymn, Home Sweet Home and Auld Lang Syne, with foliate engraved spandrels, the pillared case upon a swivelled stepped base fitted with a side drawer, with fine rounded arched pierced foliate side doors and surmounted by a stepped caddy top with four pineapple finials, pierced foliate frieze and classical winged figure playing a horn, 37" high; also upon a modern panelled square burr walnut pedestal supported upon ogee bracket feet, 32" high *collection Michael Bennett-Levy 

Eight day longcase clock movement, the 12.25" brass arched dial signed Peter Hogg, Felton N15 on a flat boss to the arch over a brass chapter ring enclosing a matted centre with calendar aperture (crank handle winding key)

Eight day longcase clock movement, the 16" painted arched dial with moon phase to the arch over subsidiary seconds and calendar dials

Mahogany eight day longcase clock, the 12" brass arched dial signed Jean Gruchy, Jersey on the silvered boss to the arch, over a silvered chapter ring enclosing a matted centre with subsidiary seconds dial and calendar aperture, the case with slim pointed arched door and the hood surmounted by a carved swan neck pediment and two turned cone finials, 91" high (pendulum, two brass cased weights and keys)

Good walnut three train grandmother clock, the movement with eight hammers striking on rods, the 8.75" brass arched foliate engraved dial with silvered chapter ring and circular boss to the arch, the crossbanded case with rounded moulded arched door and the hood surmounted by a moulded stepped pediment, 71.5" high (pendulum and three weights)

8 day longcase clock, with retailers name on dial John Roberts, Taunton, contained within an oak and crossbanded mahogany case. The arch dial has date appature and split seconds dial with pendulum, two weights & key

30hr longcase clock, arch dial within an oak and crossbanded mahogany case, complete with pendulum and weight

8 day longcase clock contained within an oak and crossbanded mahogany case. The partley repainted arch dial has split seconds dial, date dial and moon phase in the arch, with pendulum but no weights

Nürnberger Reliefzinn: Noah-Teller In die Form geschnittene Marke. 17. Jh. ÖHAM D.Ä., Paulus(Meister in Nürnberg 1604 - 1634) Ø 17,6 cm. Zentrale Darstellung Noahs mit seinen Söhnen beim Dankopfer, darunter "Noe gieng aus der Arch getrost, opferdt 16 Gott 19". Auf der Fahne 4 Kartuschen mit Darstellungen aus der Geschichte Adams und Evas; dazwischen Blütenvasen Riss am Fahnenansatz, 1 Bohrloch und 3 kleine Risse am Fahnenrand, Rand teils ergänzt. Zinngießer in Nürnberg, stirbt an der Pest. Literatur: Hintze: Nürnberger Zinngießer. Nr. 191 ff.

AN ENGLISH OAK EIGHT DAY LONGCASE CLOCK, JAMES PARKER CAMBRIDGE, C1770, BREAKARCHED BRASS DIAL WITH ENGRAVED CENTRE, DATE ARC AND SUBSIDIARY SECONDS DIAL, STRIKE SILENT RING TO THE ARCH, MASK AND DOLPHIN SPANDRELS, IN PAGODA TOPPED CASE, FLUTED PILASTERS AND BRASS MOUNTS, THE TRUNK ENCLOSED BY A MOULDED, BREAKARCHED DOOR, 208CM H, PENDULUM AND TWO LEAD WEIGHTSCondition report  Base of case reduced / altered, much encrusted with old dirt and grime, basically complete, case pediment lacking probable upper moulding

AN EBONISED HOODED WALL TIMEPIECE, THE SHAPED AND SILVERED DIAL WITH SUBSIDIARY SECONDS DIAL AND PIERCED HANDS, INSCRIBED TO THE ARCH RICHARD HERRING NEWARK, 64CM H, AND AN EBONISED WOOD ROD PENDULUM WITH BRASS BOBCondition report  No weights

A VICTORIAN LIGHT OAK  PRESS, POSSIBLY WELSH, MID 19TH C, THE UPPER PART FITTED WITH TRAYS, ONE WITH CONCAVE FRONT ENCLOSED BY ARCH PANELLED DOORS FLANKED BY SPIRALLY REEDED MAHOGANY PILLARS, THE LOWER PART FITTED WITH DRAWERS, ALL WITH WHITE POTTERY KNOBS, ON BRACKET FEET, 205CM H; 127 X 57CM Condition report  Overall in good, solid condition. Some shrinkage to side panels. Scuffs and scratches consistent with age and use. One lock plate and one lock missing