A Fabulous Quality Louis XIV Carved Painted & Gilded Marble Top Console Table. The rectangular Brocatelle marble-veneered top measuring 55 ins x 26½ ins (140 cms x 67.5 cms) above a pierced apron of scrolling lattice work centred by a sun-burst face mask roundel below a crested fan of plumes enriched with leafy flourishes, voluted scrolls and chains of bell-flowers. The square section legs composed of C-scrolls above gilded caryatids adorned with bell-flower garlands and united by a shaped X-form stretcher with a seeding finial rising from a radial display of acanthus contained in a reeded roundel to the centre. The fine gilded embellishments defined against a dark painted terracotta ground. 36 ins (92 cms) in height.
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A Pair of Fine Mahogany Chairs Circa 1820 Stamped Thomas Wilson of 68 Great Queen Street London. The profusely carved backs with eagle heads to the top rails issuing trailing foliage leading down the swept uprights flanking broad pierced splats centred by paterae and embellished with Rococo scrolls and pendant chains of bell flowers. The upholstered seats re-covered in yellow damask and raised on bold eagle carved cabriole legs terminating with hairy paw feet. The name Wilson first appears in the Trade Directories in 1821 however a recently discovered Trade Label giving the date established as 1818 and stating that Wilson's were Cabinet makers as well as retailers indicates that their stock was made up of not only second hand furniture but also items made in their own workshops. Between 1830-37 Thomas's wife continued the Business. by 1838 their son Matthew had taken over and continued until 1854. These chairs are earlier and would have been retailed by the Company.
A Russian Miniature Bronze Bell, cast with floral strapwork, cartouche and figures in low relief, surmounted by an orb and cross on four scroll brackets, with an iron clapper, the inner rim inscribed with commemorative detail, 15 cms high. * n.b. This bell is a facsimile of the Tsar Bell situated in the grounds of the Kremlin, founded by Ivan Motorin and his son Mikhail in 1733-1735. The bell was never rung - during a fire in 1737 a huge piece cracked off while still in the casting pit. After the fire the bell remained in the pit until 1936 when it was placed on a stone pedestal in its present position. Together with A XVII Century Bronze Mortar, of bell shape, cast with three portrait medallions, acanthus over a band of leafy tendrils, 12 cms high (cracked).
A XIX Century Oak Crossbanded Longcase Clock, of weight day movement striking on a bell, the brass dial (30cms) with a silver chapter ring with Arabic numerals, subsidiary seconds and calendar aperture, signed A.E.Frith, Halifax, sun/moon arch and brass mask spandrels, the hood with a swan neck pediment, brass roundels fluted pilasters, the trunk with an ogee top door, centred by shell patera, flanked by fluted 1/4 round columns, shell patera to deep plinth, 225cms high.
A XIX Century Oak and Mahogany Longcase Clock, of eight day movement striking on a bell, the painted dial with Arabic numerals, two subsidiary dials and signed Stonehouse, Leeds, flower painted spandrels with a religious scene, the hood with swan neck pediment and plain pilasters, the crossbanded trunk door of Gothic form, flanked by canted corners, on a deep plinth with shaped bracket feet, 235 cms high.
A XIX Century Mahogany and Rosewood Longcase Clock, of eight day movement striking on a bell, the painted dial with Roman numerals, subsidiary dial and calendar aperture, signed Beal & Son, Sheffield, painted to the arch with a shipping scene, the hood with a swan neck pediment, baluster turned pilasters, the trunk door flanked by canted corners, on a deep plinth with bracket feet, 227 cms high.
A Late XIX Century French Gilt Metal Mantel Clock, the drum shape movement by Japy Fils, of eight day movement striking on a bell, with a white enamel dial and Roman numerals, the case cast as a young girl holding a basket of flowers, the clock surmounted by a small dwelling, on a deep scrolled and pierced plinth, 33.5 cms high, on an ebonized base, under a glass dome, (damages).
A XIX Century French Gilt Metal Mantel Clock, of eight day movement striking on a bell, the enamel porcelain dial with cartouche chapter, against a duck egg blue ground, painted to the centre with motifs and an owl perched on a leafy branch, the drum shape case surmounted by a figure of a Greek scholar, seated amongst clouds, flanked by two conforming urn shaped finials, the shaped base mounted with two lovebirds over a narrow porcelain panel painted with a landscape, on toupie feet, 31cms high.
A Regency Mahogany Table Clock, with a double fusee movement striking on a gong, (coverted from bell strike), with shoulded plates with edgeline engraving, the circular convex cream dial with Roman chapter, measuring 20 cms diameter, with replacement blued steel hands, the shouldered oblong case with a caddy top, inlaid with brass banding, floral and drapery swags and foliate medallion, the sides with ring handles over silk lined metal grills, raised on ball feet, 56 cms high. * Note: Accompanied by a detailed description of the restoration work carried out in 1996, with the original hands and 1989 Insurance Valuation.
A Chamberlain Worcester two handled, floral encrusted cabinet cup, cover and stand, the cup of bell shape, painted with birds in a tree and insects bordered by flowers and gilt, stand 14cm diam, painted Chamberlain & Co Worcester in puce script, c1830. ++Very slight chipping of the flowers. One or two of those on the cover with some old restoration
MORRIS (F O) - A NATURAL HISTORY OF THE NESTS AND EGGS OF BRITISH BIRDS, second edition, three vols, plates, lithographed in colour, uniform dark green cloth gilt, London: George Bell & Sons, 1875; W F Kirby - European Butterflies and Moths, coloured plates, 1889; Gertrude Jekyll - Home and Garden Notes and Thoughts Practical and Critical of a Worker in Both, two editions, illustrated, 1899 and 1900; and eight others, natural history (14). ++++
Duncan Grant (1885-1978) SPRING FLOWERS CHARLESTON signed and dated '49, 50 x 40cm Provenance: A private collection; from which acquired by the present vendor. Duncan Grant often used other artist's pictures as a background for his still lifes. In this case he has chosen the lower right corner of a large painting by Vanessa Bell, The Other Room which also appears in another still life of about 1955 that was exhibited at The Art of Bloomsbury, Tate, 1999, Catalogue no 148. For a number of years Bell's painting was in the studio that she shared with Grant at their Sussex home, Charleston, propped against the wall on top of a chest of drawers. We are grateful for the assistance of Richard Shone and Wendy Hitchmough in the cataloguing of this lot. ++In fine condition. No relined, restored or damaged and not previously offered for sale at auction
A Restauration gilt bronze clock, of pillar shape with enamel dial and Breguet hands, the arched pediment with tympanum of Putto, the front with a frieze of putti, tethered butterflies and vase of flowers, on plinth and milled feet, the movement with circular plates, silk suspension, outside countwheel and bell, 39cm h . ++The enamel dial chipped and cracked but in otherwise good original and complete condition, no regilt, the movement in apparently going order
A French gilt bronze clock, in Louis XVI style, with enamel dial and Breguet hands, the case surmounted by an urn and festoons and inset with a blue enamel plaque painted en grisaille with Putto, on bow centred plinth and turned feet, the movement striking on a bell, glass dome, clock 32cm h, c1880. ++In good original condition
A Victorian brass skeleton clock, of gothic design with blued steel hands, roman chapters, the movement with twin fusees and adjustable pendulum surmounted by a bell with halberd strikers, on bell shaped feet and marble plinth beneath a glass dome, clock 44cm h. ++Apparently complete and in good original condition, the glass dome damaged
Dreyfus, John. A History of the Nonesuch Press, with...A Descriptive Catalogue, The Nonesuch Pres, London 1981. Cloth, dustjacket, illustrations, tall quarto; Woolnough, C.W. The Whole Art of Marbling as Applied to Paper Book-Edges, inscribed and signed by author, Bell, London 1881. Dark grey-green buckram, with sample papers bound in, octavo; and six other works of bibliographical interest.
A George III mahogany eight-day longcase clock, James Smith, Edinburgh, circa 1789, the four-pillar movement with anchor escapement, striking on a bell, the thirteen inch arched painted dial with subsidiary seconds and date dials, signed to the arch 'Jas. Smith, Edinburgh', the hood with three turned finials and broken swan-neck pediment, above later veneered spandrels and turned columns, the inside of the arched trunk door with original clockmaker's printed paper label; 'DIRECTIONS SHEWING HOW TO SET UP AND REGULATE AN EIGHT- DAY CLOCK........EDINBURGH 1789, Per JAs. SMITH Watch-maker', the trunk and panelled base with chamfered corners, 226.5cm high (faded decoration to dial, replacement plinth). See Britten's Old Clocks and Watches and Their Makers, reprinted 1990, where James Smith is noted by Cecil Clutton to have worked as a clockmaker in Edinburgh from 1790-1806. The label to this clock shows that he was definitely active there in 1789.
Redshaw, Newcastle, a mahogany crossbanded oak eight-day longcase clock, mid 18th century, the four finned pillar inside countwheel bell-striking movement with 11 inch square brass dial with calendar aperture to the foliate engraved matted centre within an applied Roman numeral chapter ring with foliate half hour markers and signed Redshaw, Newcastle to lower edge, the angles with mask and scroll cast spandrels, the case with ogee moulded cornice above reeded pilasters to hood, rectangular trunk door and on plinth base with ogee bracket feet, 196cm high.
A polychrome wood model of a butcher's shop, hung with carcasses and joints of meat above the figures of two butchers and the butcher's boy, the butchers each holding meat knives and steels hung from their aprons, the gallery above centred by the Royal Arms in gilt metal, and flanked by potted plants with the living quarters to the back, the four glass windows reverse painted with drapes, in a mahogany veneered glazed case, English, c.1850, 50.2 x 698cm. Literature: James Ayres, 'British Folk Art', Barrie and Jenkins, London 1976. Overlook Press, Woodstock, N.Y. 1977, plate 30 Comparative Literature: Edward H Pinto, 'Treen and other Wooden Bygones', Bell and Human, London 1969, page 208, A comparative example illustrated plate 219 and The Judkyn/Pratt Collection, Christies 8 November 1995, lot 52
An eight day longcase clock, oak, 18th century, the 10I inch square brass dial signed E Bullock, Ellesmere, the brass face probably originally from a 30 hour movement, now eight day striking on a bell, centred date aperture but no date wheel, cherub moulded spandrels with ring of Arabic and Roman numerals, the hood with three quarter turned front corner hood pilasters over a short trunk door on a box base, lacking feet, 185 cm high
A Regency three pad bracket clock, mahogany, the engraved back plate signed Recordon, London, the 7" white dial indistinctly signed with damage to the enamelled finish and deterioration of the numerals, the arched three pad case with extensive sun bleaching and shrinkage to the veneers, the twin fusee movement striking on a single bell (at fault), 33cm high. Louis Recordon is listed as working 1778 Ð 1824 having succeeded Emery at his premises in Cockspur Street.Ê He retired in 1795, but the firm continued to make high quality wares
A George III eight day longcase clock, the 13 inch arch brass dial signed Samual Hartley Salop with associated eight day movement striking on a single bell, the hood with arched glazed door flanked by tapering fluted front corner hood pilasters over a shaped crossbanded long trunk door between quarter fluted front corner pilasters on a box base (lacking short bracket feet) (at fault), 218cm high
A William and Mary style eight day walnut veneered longcase clock, the 10 inch square brass and silver dial with chapter ring of Roman and Arabic numerals, centred subsidiary seconds dial and date aperture, the brass back plate engraved 'Henry Jones in the temple', the eight day movement striking on a single bell, the hood with blind fret frieze over three quarter spiral turned front corner hood pilasters above a quarter veneered rectangular long trunk door on a box base and four compressed bun feet, 192cm high
Catlin (Geo.). Letters and Notes on the Manners, Customs, and Condition of the North American Indians, 1892, 2 volumes, reprinted from original plates, folding map, decorative cloth gilt; Bell (John Hyslop) British Folks & British India: Joseph Pease and his Contemporaries, nd., cloth; Grosvenor, (J. du V.) Model Yachts and Boats, nd. [1888], cloth (spine worn); with two other volumes (6)
A George III mahogany longcase clock. the arched 11.5 inch dial with steel chapter ring, pierced hands, subsidiary seconds dial, arabesque gilt spandrels and upper disc marked, "Geo. Goodall, Tadcaster", with three winding holes, the three train eight day movement striking on a bell and father bells for the quarters, the hood with a dentilled swan neck pediment inlaid with paterae and ovals, the glazed door flanked by fluted and brass strung Corinthian columns, the flame mahogany case with fluted corners, chequer stringing and foliate ovals, on a later plinth base. 225cm high
A late George III mahogany bracket clock. the 5in white enamel dial with twin winding arbors and marked 'William Evel, Bath', the twin train eight day fusee movement striking on a bell, the backplate etched with foliate arabesques, the cavetto moulded flame mahogany top with pine-cone finials, the glazed sides with brass loop handles, the mahogany door with chased foliate pierced corner spandrels, the whole raised on ogee bracket brass feet. 38cm high
A Regency mahogany longcase clock. the 11 inch arched painted dial marked for 'Thomas Stewart Auchterarder', with subsidiary second and calendar dials and pierced gilt hands, the arch painted with a scene involving Nelson and the spandrels with portraits of literary figures, the twin train eight day movement striking on a bell, the hood with a broken arch pediment, giltwood finials and faceted string columns, the case inlaid with stringing and with concave corners to the trunk. 220cm high
An unusual George III oak mahogany banded longcase clock. the oval white painted face with a 12 inch dial and marked "Bickerton, Ellesmere", with a subsidiary second dial and oval painted maiden to the arch, with eight day twin train movement striking on a bell, the broken arch hood with satinwood banding and fan corners enclosed by fluted columns, the case with satinwood canted corners, chevron banding and a shell and fleur de lys inlaid oval medallions. 222cm high
A George III style oak longcase clock. the 18th Century movement and 11 inch arched dial marked 'George Reid Hawick', with chapter ring, subsidiary seconds dial and central brass section etched with scrolling foliage and a sailing boat, the corners with twin cherub and crown spandrels, the eight day twin train movement striking on a bell, the Victorian oak case with a broken arch pediment and fluted columns to the hood. 235cm high
A George III oak longcase clock. the arched brass 11 inch dial with strike/silent dial, second dial and date aperture, the corners with ho-ho bird pierced spandrels, marked, 'John Dalgleish Edinburgh,' the twin train eight day movement striking on a bell, the hood with a swan neck pediment and three urns above columns the fielded panel trunk with quarter column corners (base reconstructed). 200cm high
A George III mahogany longcase clock. By James Miller, Alloa. the twin train movement striking on a bell, the swan neck pediment with brass rosettes above a rococo cast brass and matted dial with silvered chapter ring, subsidiary seconds dial and calendar aperture, signed 'James Miller Alloa', to the arch, the arched trunk door between reeded quadant corners, on panelled plinth and bracket feet. 218cm high
A Regency mahogany longcase clock. the white enamel 12 inch dial marked 'J. Breckenridge, Edinburgh' with subsidiary second and calendar dials and twin winding apertures, the eight day twin train movement striking on a bell, the arched case inlaid with ebonised stringing and the flame veneered trunk door flanked by fluted quarter columns. 200cm high
A important kingwood, padouk, mahogany and rosewood writing cabinet, circa 1880. Attributed to Gabriel Viardot (1830-1906). in the Japanese taste, inlaid and banded with mother of pearl, ebony and strung in brass, the pagoda roof hung with bells and with stylised marlins to the corners, above three recesses with mother of pearl inlaid draweres flanked by crouching winged dragons looking down on younger dragons, above three cupboard doors divided by figures of Oriental men and flanked by larger outer cupboards, the central lower section with a drawer and fall front with entwined banding and central mother of pearl birds and flowering vase above a bell dated '1860', above a pair of cupboard doors enclosing sliding trays, the fall front revealing a central mirror panel of recess with chequer floor and sliding out to reveal twelve drawers, flanked by apertures and six burrwood drawers, the lower side sections comprising a cupboard door modelled as four dummy drawers above three drawers with two outer cupboard cupboard doors with applied carved birds and seated figures, the whole raised on a plinth base with grotesque mask feet. 275cm wide, 297cm high, 48cm deep . Gabriel Viardot is largely remembered for his particular version of Asian style furniture, and was advertised as créateur des meubles dans le genre chinois et japonais. He exhibited widely, including at Crystal Palace in 1851, and was both participant and jury member for the 1867, 1878 and 1889 International Exhibitions in Paris. His major success was at the 1889 Parise Exposition Universelle where the firm was awarded a gold medal. The cabinet is typical of pieces by Gabriel Viardot. Beginning his career as a wood carver, he took over the family firm from his father Charles in 1861. By 1870 he specialized in exotic furniture influenced by Chinese and Vietnamese styles, Vietnam being one of France's most important colonies. In 1860, he was located at 5, rue du Grand-Chantier, later moving to several locations including 36, rue Rambuteau where objects d'art et de fantaisie were sold and finally to 36, rue Amelot where he stayed until the end of the century. Around 1885 he employed about 100 men.
A fine Edwardian breakfront satinwood and marquetry display cabinet. inlaid throughout with trailing bell flowers and foliate scrolls, the moulded dentil cornice above a pair of astragal doors enclosing a lined interior with shaped shelves, the conforming lower section, raised on a moulded plinth base. 178cm wide, 214cm high, 36cm deep
A Regency mahogany bracket clock and bracket en suite. the 6 inch steel dial with twin winding apertures, strike/silent switch and marked 'Ellicott London' the eight day twin train fusee movement striking on a bell, back plate with inscribed maker's cartouche, the stepped top with a brass loop handle, above glazed sides, the case with brass stringing and feet, 40cm high together with a brass string tapered flame mahogany wall bracket. 24cm high
An unusual George III walnut cased travelling alarm clock. By J. Wood, Grantham. the rectangular fully enclosed case with hanging hook and projecting cornice above a panel door enclosing an arched and floral engraved silvered face plate with sliding hook to the arch and alarm dial to the bottom corner operated by a spigot, with arabic and roman chapters, the rear door accessing movement, with pull cord winder and striking on a single bell, on moulded plinth base. 11cm wide, 13cm high, 10cm deep
A 19th century giltwood triptych overmantel mirror. In the Chinese Chippendale manner. the pierced frieze with pagoda and bell flower cresting flanked by ho-ho birds to each corner, with a similarly carved and pierced rocaille apron with a flower-filled urn to each corner. 120cm wide, 72cm high
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123896 item(s)/page