We found 20413 price guide item(s) matching your search
There are 20413 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
20413 item(s)/page
Lot 811
A 19th Century Hepplewhite design mahogany framed child's highchair with pierced back splat and shaped open arms over a tapestry upholstered seat raised on square moulded and chamfered supports united by stretchers and with adjustable foot rest 42 cm wide x 41 cm deep x 92.5 cm high together with a Chippendale style child's mahogany framed pierced ladder back elbow chair, a mahogany wine table on cluster column tripod base, a mahogany framed dressing stool on moulded cabriole legs, a tapestry upholstered foot stool on splayed and carved scrollwork rosewood feet, a mahogany torchere stand on carved tripod base and a mahogany and inlaid drop leaf Sutherland table on twin end pillar supports (cut down)
Lot 67
A Chippendale Revival carved walnut desk with leather insert top and gadrooned borders over one long and two pairs of three short graduated drawers, on carved cabriole legs with claw and ball feet, 78 x 153 x 83cm. CONDITION REPORT Red leather top is scratched, torn and very badly worn. Scratches and general signs of wear to the desk. Large split to left hand side close to the corner, otherwise a solid desk
Lot 304
A pair of George III carved wood and gilt gesso armchairs, in the manner of Thomas Chippendale, c1770. The cartouch shaped backs with applied honeysuckle cresting and a pair of shaped arms with crisp acanthus terminals above a serpentine seat with arcaded seat rail Supported on turned and fluted rear and fore supports. 96 cm high x 56 cm deep x 62 cm wideLot 264, Sotheby’s 2 November 2011, LondonFootnote: The design of the present pair of chairs closely relates to two sets of chairs supplied by the St. Martin`s Lane cabinet-maker and upholder, Thomas Chippendale, (d.1779) for the Adam designed drawing rooms of Saltram, Devon and Harewood House, Yorkshire, illus. Christopher Gilbert, The Life and Work of Thomas Chippendale, London. 2 vols, Vol.II, p.110 and p.167. For further comparison, see Christie`s London, Dealing in Excellence, A Celebration of Hotspur & Jeremy, 20th November 2008, lot 62.Condition report: Some flaking of the gildingSigns of extensive restoration to the seat frame due to historical woodwormThe chairs are re-giltThe seat frames are capped see imagesthe seat rails show some unexplained auger bit holes on their inner faces see the images for clarification.
Lot 252
A quantity of late Victorian and later pressed and cut table glass to include Chippendale glass, an engraved celery vase, and cake stands, along with a Victorian 'Bisto' Bishop and Stonier wash jug decorated with fleur de lys pattern, and another Victorian floral decorated pottery wash jug Location: RWB
Lot 144
A RARE GEORGE III MAHOGANY TRAY TOPPED SIDE TABLECIRCA 177078.5cm high, 116cm wide, 38.5cm deepThe design and style of this table shares similarities with the restrained furnishings at Dumfries House, Ayrshire. Dumfries contains documented furnishings by Chippendale as well as undocumented pieces that may have come from the same workshops or from the workshops of Alexander Peter or William Mathie. (see Dumfries House: A Chippendale Commission, vol. I, Christie's London, 12 July 2007 and R.Bird, 'Who was the Dumfries House Cabinet Maker?, vol II introduction). For a near identical table, see Christie's, London, 13th November 2014, The English Collector, lot 222 (£35,000). The Christie's table had provenance to Thomas Osborne, 4th Duke of Leeds (d.1789) and was supplied for Kiveton Park, and subsequently moved to Hornsby Castle, Yorkshire.
Lot 147
A GEORGE III MAHOGANY SERPENTINE COMMODE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 The top drawer fitted with a tooled leather inset slide84cm high, 113cm wide, 56cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old chips and splits. Various old veneer repairs - see images Two old patch repairs to rear corners of the top. The top also with some additional splits - see images. Old glued cracks to mouldings at sides of top. Spurious Gillow stamp to top drawer. Tooled leather inset surface to the slide of the top drawer is a replacement. Handles and locks appear original. Escutcheons are old replacements. No keys are present but all locks are open. Evidence of old worm to backboards and underside. Three of the feet with later blocks to the backs. One front foot with later screws to the laminated supporting blocks. Sections of replacement timber to one front foot. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 157
A GEORGE II MAHOGANY SIDE TABLEIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 174572.5cm high, 96cm wide, 59.5cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips (see images). Some later blocks to the interior of the carcass. Some blocks applied to the underside of the top to help secure splits. Evidence of old worm to the interior of the carcass and rear frieze. Handles and escutcheons appear original. Locks are later 18th century replacements. A key is present and operates all locks. Remnants of blue paper lining to the central drawer. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 158
AN EARLY GEORGE III MAHOGANY SERPENTINE COMMODEIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 176085cm high, 93cm wide, 58cm deepCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Some fading to topAll metalware appears original. No key present but all locks are open. Section of moulding to one front corner of the top is detached but present. Some tacks/small nails used to secure mouldings at sides of top. Three sections of replacement veneer to the front adjacent to drawers. Some small old repairs to beading of drawer fronts. Very minor evidence of old worm to underside. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 177
A MAHOGANY 'COCKPEN' ARMCHAIRIN THE MANNER OF THOMAS CHIPPENDALE, 19TH CENTURY100cm high, 69cm wide, 65cm deepFor a comparable pair of chairs with the same pattern of pierced panels see, Christie's, New York, 1-2nd April 2015, Lot 678 ($4,000).For Chippendale chairs of related form see Gilbert, Christopher; The Life and Work of Thomas Chippendale, volume two, plates 167 and 168.Condition Report: There are some marks, scratches, chips, splits, abrasions consistent with age and use, some to the extremities and edges.Lacking the pierced corner brackets to either side of the front legs with the seat rail - there are notches and some shadow marks to the legs and seat rails where they would have been.There is calico under-upholstery to the front of the back and the seat. Hessian and webbing visible to the back of the chair back and the underside.Please note we have not inspected the frame beneath the upholstery and can't comment on the condition and originality of this area.The seat frames have holes from previous upholstery tacks.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
Lot 185
A GEORGE III CARVED GILTWOOD SIDE CHAIR IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1775 Upholstered in pink damask, with v-shaped notched and slots to the seat rails92cm high, 57cm wide, 47cm deep overallFor examples of Chippendale giltwood chairs with closely related features see Christopher Gilbert, The Life & Work of Thomas Chippendale, p.109, pl.187 for related front legs; pp. 112, 113, pl. 192-196 for related back strut, front legs and underside of chair. Note the distinctive V-shaped notches to take glue cramps when the members were being assembled, and the slots in the seat rail between the back legs; this was an alternative method favoured by Chippendale of securing a purchase for cramps.Condition Report: There are some marks, scratches, chips, splits, abrasions consistent with age and use, some to the extremities and edges.Later gilt with a dull, matt and slightly granulated finish.Some sections of replacement including to some sections of gesso moulding, some gesso cracked and chipped other areas with indistinct detail due to later paint/gesso. The end section of one back leg is a later replacement.There is evidence of old worm including to the legs and seat rails.The underside with some later white paint and gilt paint around the leg/seat rail joints. Some joints with traces of glue.The later upholstery is aged, stained and marked, with some circular rust marks.Please note we have not inspected the frame beneath the upholstery and can't comment on the condition and originality of this area.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
Lot 197
A GEORGE III FIGURED MAHOGANY SERPENTINE DRESSING COMMODEIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770The top drawer fitted with a baize inset slide above a fitted drawer containing a central ratchet adjustable mirror flanked on each side by lidded divisions and compartments89cm high, 116cm wide, 58.3cm deepCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Some old veneer and moulding repairs - see images. The baize surfaces to the interior of the fitter drawer are later replacements. They bear the expected wear, marks and some fading. All of the handles to the compartments of the fitted drawer are lacking their hoops.Handles and locks appear original. No key is present but all locks are open. Escutcheons are old replacements. They vary from one another and there are small amounts of filler used around them. Old repairs to feet - see images. Some evidence of old worm to backs of feet and underside. The three regular drawers with stuck down marbled paper (probably 19th century). This has the expected discolourations and some tears. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 231
A PAIR OF GEORGE II MAHOGANY SIDE CHAIRS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1750each 99cm high, 57cm wide, 61cm deep overall Condition Report: Both chairs with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. As illustrated the chairs are not upholstered. Various old glued repairs to splats and tops rails - see images. The bases of the splats do no not fit snugly into shoe pieces, this appear to be from shrinkage. Old worm to seat rails - see images. Later supporting corner blocks to undersides. Both chairs with plaques to undersides of rear rails for 'S & H. JEWELL, 132, HIGH HOLBORN, LONDON,. W. C.'. One chair with two later pegs securing join between one rear leg and seat rails. Some old glued splits to 'shoe' elements at bases of splats. Both chairs structurally solid. Various old tack holes to rails from previous upholstery. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 251
A GEORGE II MAHOGANY WRITING OR ARTIST'S CHESTIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1760The top with an edge moulding to all four sides, the top drawer and inverted breakfront legs pulling out as a writing surface with green covered cloth, hinged and sliding to enclose compartments with hidden drawers and a distinctive quadrant hinged side drawer88cm high, 91.5cm wide, 52.5cm deepSee Thomas Chippendale, The Gentleman and Cabinet-Maker's Director, 1762, Plate No LXXIII for a Writing Table drawer with related drawer interior divisions and quadrant drawer.See also Christopher Gilbert, The Life & Work of Thomas Chippendale, 1978, Plate 397 for a related design in pen, ink and grey wash, circa 1760 of an Artist's table by Thomas Chippendale.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has flame figuring, there are some deep scratches, some filler including to some pits and possible fixings. The back edge moulded as the three other sides.There are losses and restorations including to the banding beside the hinged interior writing slope; the oak hinged slat to hold the writing slope needs re-fixing; there is a crack across the interior base; lacking a section to the side of the left hand pilaster base.The drawer out section is retained by a section of wood which is slightly loose. The baize is of the woven wool style. There is a possibility that the handles might be later as there is some shadowing the the interior and some splitting suggesting that slightly larger screws, however, there are no alternative holes from the handles and the indentations from the front of the handles looks to be only in one place.The locks are later, there is no key, and the locks are open.There is no key, the locks are open.The oak drawer linings are thicker than usual, and have some splits, some with fillets.The backboards of panelled unveneered form, with some horizontal splits along the grain of the timber.The feet have concealed casters.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 254
A GEORGE III MAHOGANY 'BREAKFASTE' TABLEIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 178074cm high, 71cm deep, the top 56cm wide, 105cm wide when extendedThe design of this table closely related to Thomas Chippendale's design for a "Breakfaste Table" . The Gentleman and Cabinet Maker's Director (1762) plate LX For similar examples see the Christie's catalogue prepared for the contents of Dumfries House (Thursday 12th July 2007) p.169, and an example by Samuel Smith p.191 Provenance: Private Collection of the Bagshawe family, formerly of Ford Hall and Snitterton Hall, Derbyshire, see page 97.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has two central cracks; a later fixing to three of the four corners of the central section all filled or covered.There are losses and restorations including to the hinge area of the concave doors; there is some movement and shrinkage to the concave doors so that the doors have a gap between them and do not sit quite flush; some replacement and refixed sections of beading; later metal braces to the underside of the stretcher; the door frames slightly lighter in colour than the top and the legs; the base of the caged area with splits and one section of tape to the underside.The handles are later. The lock is later and a little loose. There are two keys one which does not turn the lock to the top drawer (the lock is open), the other which locks the concave door.The drawer linings are oak and have some splits; the drawer divisions have been re-glued.There is evidence of worm including to the loper sections to the sides under the drop leaves.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 256
A PAIR OF GILTWOOD MIRRORSIN THE MANNER OF CHIPPENDALE, 19TH CENTURY163cm high, 93cm wideSee Thomas Chippendale, The Gentleman and Cabinet-maker's Director, Third Edition (1762), Plate No. CIXXVII for a related design of a 'Gerandole' by Matthias Darly.Condition Report: Please note a condition report is available upon request.Condition Report Disclaimer
Lot 278
A PAIR OF GEORGE III GILTWOOD AND YELLOW DAMASK UPHOLSTERED OPEN ARMCHAIRS IN THE FRENCH TASTE, CIRCA 1780 each 93cm highProvenance: Private collection removed from 9, Royal Crescent, BathProvenance: Purchased from Charles Angell, Bath, 3rd November 1948 (£36). Condition Report: There are some marks, scratches, chips and abrasions consistent with age and use.Overall the chairs have aged and distressed gilding with discolouration,'bronzed' areas, rubbing in particular to the arms revealing the underlying beech, with cracks and flaking to the gilding showing the gesso and underlying wood.There are some cracks to the wood frame including to the joints and along the grain of the timber. The tips of the legs to one chair reduced and re-tipped. One front leg repaired.There are slots in the seat rails between the back legs (this was an alternative method favoured by Chippendale of securing a purchase for cramps).Some sections of replacement including some seat rails and blocks.There is evidence of old worm including to the seat frames and elsewhere.The upholstery has some fading and light wear but is intact.Please note we have not inspected the frame beneath the upholstery and can't comment on the condition and originality of this area.Please refer to the additional images for a visual reference of condition.Condition Report Disclaimer
Lot 76
A GEORGE II MAHOGANY 'CHAMBER' TABLEPOSSIBLY IRISH, CIRCA 1760The dished top with re-entrant corners, a candle slide beneath each side edge, the frieze and top finished on all sides75cm deep, 76cm wide, 45.5cm deepThis table closely relates to several small mahogany chamber tables with moulded tops and re-entrant corners, supplied to Sir Robert Walpole (d.1745) at Houghton Hall, Norfolk, circa 1725. They were probably used as dressing tables in the bedchambers on both the ground and second floors. They seem to correspond in number to the dressing tables listed in 1792, and are what Thomas Chippendale would later describe as a 'Chamber table'. One of the Houghton tables is illustrated in situ, in the Hunting Hall at Houghton in A, Moore (ed.) Houghton Hall, The Prime Minister, The Empress and the Heritage, London, 1996, pp. 90 and 92, no. 8. A very similar table was sold, Christie's London. 15th April 1999, Lot 159 (£16,100). Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top, front and side friezes are slightly darker in colour than the legs. The back of the table is veneered, now faded and with splits to the frieze veneers.There are two candle slides to the sides in a high position (in the gap above the frieze drawer). The right hand candle slide is stiff and does not currently operate.The handles are later. The lock is later and there is a key but it does not engage with the lock. The lock is open.The drawer linings are oak, there are two small rectangular patches to the back of the drawer lining.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 139
A GEORGE II MAHOGANY LIBRARY ARMCHAIR ATTRIBUTED TO PAUL SAUNDERS, C.1755-60 the padded arched back, serpentine seat and armrests covered in damask fabric, with outscrolling arms carved with acanthus leaves, with a cabled edge and with shell terminals, the frieze with a lattice ground carved with Rococo 'C' scrolls, shells and leaves, on shell capped cabriole front legs terminating in scrolled toes, on later brass castors 101.8cm high, 70.5cm wide, 67.2cm deep Provenance Dreweatt Neate, 22nd March 1995, lot 87. From the collection of the late Dr. Gordon Pack. Catalogue Note This chair is conceived in the fashionable French style of the mid-18th century which was popularised by Thomas Chippendale in 'The Gentleman and Cabinet-Maker's Director' published in 1754. The present lot bears similarities to a suite of furniture previously in the collection of Sir John Ward of Dudley House attributed to William Bradshaw or his partner Paul Saunders. Paul Saunders was one of the most important suppliers of upholstered furniture of the 1750s and 1760s. He was based around Carlisle House, Soho Square and 59 Greek Street and established a large workshop. He worked for many high profile clients, including 1st Earl of Leicester and the Earl and Countess of Egremont. See Christie's New York, 11th June 2010, lot 428 for a similar pair of armchairs.
Lot 158
A GEORGE III MAHOGANY SILVER TABLE IN THE MANNER OF THOMAS CHIPPENDALE, C.1760-70 the serpentine top with a pierced gallery, above a plain frieze, on leaf and fishscale carved legs united by a pierced stretcher, stamped to one rail 'crown R' 73.7cm high, 74cm wide, 49.5cm deep Provenance Private Collection, Berkshire. Dreweatts, Fine Furniture, 10th December 2020, lot 580.
Lot 449
λ AN ANGLO-CHINESE HUANGHUALI AND PADOUK GAMES TABLE EARLY 19TH CENTURY inlaid with stringing and banding, the drop-leaf top with a reeded edge, with a sliding reversible centre inlaid with an ebony and boxwood chequer board to the underside, revealing a backgammon board inlaid with ebony and bone, with parquetry squares and lozenges, above a camphorwood double sided frieze drawer with divisions, on square tapering legs and later block feet 76.2cm high, 70.3cm wide, 56.2cm deep Catalogue Note See Carl L. Crossman, The Decorative Arts of the China Trade, pp. 236 and 237, pl.88 and 89, for two comparable examples with similar interiors. According to the author the interiors were based on a gaming box by Thomas Chippendale for Paxton House in 1774. See also Dreweatts, Fine Furniture, 30th June 2021, lot 265 for a similar example which sold for £15,000 (hammer),
Lot 3521
A set of twelve reproduction mahogany Chippendale style dining chairs each with carved top rail above pierced vase shaped splat back, padded drop-in seats and knee carved cabriole front legs to ball and claw feet, the two elbow chairs with stylised lion mask carved arms (10+2).Footnote: purchased Marston House in 2001.
Lot 414
A George III mahogany card table,Chippendale period, c.1770, the serpentine foldover top raised on square section supports with concertina action,90cm wide45cm deep71.5cm highCondition report: Supports with minor nibble, expect surface wear throughout, used. Legs loose.Foldover top revealing a good colour
Lot 450
A pair of George III painted open armchairsin the manner of Thomas ChippendaleCirca 1775, each with channelled frames, the oval back surmounted by an acanthus carved toprail centred with a sunflower, above foliate S-scroll carved downswept arms, over a serpentine seat frame, on ring turned and fluted tapering front legs, with splayed rear legs, with a back strut and the rails having cramp-cuts, the painted decoration probably 19th century since the chairs were almost certainly originally gilt, each approximately: 62cm wide x 60cm deep x 98cm high, (24in wide x 23 1/2in deep x 38 1/2in high)Footnotes:The offered chairs have cramp-cuts to their seat rails and back struts visible to the reverse, which are characteristics typically associated with the firm of Thomas Chippendale.This lot is subject to the following lot symbols: TPTP Lot 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
Lot 42
A Chippendale style mahogany hall stool the shaped top with scrolling ends, shaped fluted legs united by ring turned stretchers and square section feet, 60cm wide x 39.5cm deep x 51cm highCondition report: Minor marks, dents and scratches overall due to age and use, the pierced handle to the seat possibly later, the stretchers probably later editions, the feet tipped
Lot 501
Schrankgrammophon Edison Diamond Disc Modell C-18, um 1920 Nr. SM 169774, "Chippendale", für Edison-Tiefenschriftschallplatten, mit folgenden Besonderheiten: Diamantnadel, laminierte Reispapiermembrane, Plattenspieler mit variabler Geschwindigkeit, Lautstärkeregler, Doppelfedermotor, innenliegender 38cm-Trichter und Unterschrank mit Fächern für 72 Platten. Mahagonigehäuse auf 4 Rollen, Maße 56 x 59 x 127 cm, sehr guter spielender Originalzustand, mit 20 Edison-Diamond-Platten. Start Price: EUR 450 Edison Diamond Disc Model C-19 Cabinet Gramophone, c. 1920 No. SM 169774, "Chippendale", for vertically-cut Edison phonograph records, with following features: diamond stylus, laminated rice paper diaphragm, variable speed turntable, volume control, double spring motor, 15 in. internal horn and slotted lower cabinet for 72 records. Mahogany case on castors, dimensions 22 x 23 x 50 in., very good playing original condition, with twenty Edison Diamond discs. Start Price: EUR 450
Lot 395
A 19th century small proportions chest on chest, with dentil cornice over Chinese Chippendale design blind fretwork frieze and sides, two in-line over three graduating full width drawers supported on a base section, having brushing slide over three f urther graduating full withdrawals, the whole supported on plain bracket feet, standing approx 182cm high x 80cm widest pointCondition report – Height to underneath of slide 80cm, height to top of slide 82cm, locks to each drawer (some may not be original) all original escutcheons and handles intact, damage / losses to Chinese frieze on the sides, at back end, scars to side surfaces top & bottom, some unevenness possibly revarnished but ‘gloopy’, various ‘dings’ and evidence of use / wear.
Lot 18
George II Bracket Clock, signed ROBERT HIGGS. London, first half of the 18th century.Blond mahogany veneered case.Gilt bronze dial with gilt bronze spandrel, exposed pendulum, chime override dial.Calendar of the month. Eight-day winding machine, square plates, engraved on the back, hour chiming on a bell.Measurements: 52 x 30 x 30 cm.English table clock, bracket type, signed by the clockmaker Robert Higgs. Its case is veneered in blond mahogany. It has a front with a simple architectural composition, with a façade topped by a rounded arch raised on a moulded base, which in turn is raised on four bronze legs. The whole has a sloping top with curved angles. It has an arched top handle, which makes the piece very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on gilt, with a gilt centre, and a calendar of the month.A well-known London watchmaker, Robert Higgs is documented as working in Sweetings Alley in London in 1743. He was a member of the Clockmakers Company from 1750 to 1769.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.
Lot 19
George III Bracket Clock, signed VALENTIA. England, late 18th century, early 19th century.Mahogany veneered case, bronze applications.Gilt bronze dial with exposed pendulum.Machine with square plates, eight days winding and chime of hours on a bell.Measurements: 56 x 31 x 20 cm.English table clock, bracket type, signed Valentia. Its case is veneered in mahogany with a beautiful natural finish and is enriched with gilded bronze applications. The front has a simple architectural composition with a façade surmounted by a semicircular arch raised on a moulded base, which is in turn raised on four bronze legs. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it is easy to move it. The front of the clock is decorated with garlands and classical vegetal compositions and spandrels, and on the sides there is a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre and a calendar of the month. The second dial functions as an hour chime on a bell and has the option of silencing it.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.
Lot 28
George III Bracket Clock, signed GEORGE CLERK (active ca.1780). London, last third 18th century.Cabinet case with gilt bronze applications.Dial with Spanish strike-cancelling dial (for the Spanish market).Calendar of the month.Eight days winding machine, square plate, engraved on the back, hour chiming on a bell.Measurements: 53 x 28 x 19 cm.English table clock, bracket type, signed by the clockmaker George Clark. Its case is made of wood, decorated with gilded bronze applications with foliate and rocaille motifs worked in relief. It has an architectural structure, the flanks of which are decorated with stipes with anthropomorphic busts. The corners and the panels surrounding the dial are also made of finely worked bronze with vegetal fretwork in the form of tracery. The dial has Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on silver, with a gilded centre. The second dial functions as a chime and has an override dial. The Spanish names indicate that the British watch was intended for the Spanish market. The dome, which is stepped in the form of a talud, is topped with a handle and is decorated with bronze appliqués and fruit elements decorating the corners.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.
Lot 32
George II Bracket Clock, signed WILLIANS WITHERS. London, 1760.Ebonised case with gilt bronze appliques.Gilt dial with gilt bronze epandrels, strike cancel.Month calendar.Machine, eight days winding, square plates, engraved back, hour strike on a bell.Measurements: 49 x 26 x 16,5 cm.English table clock, bracket type, signed Williams Witer. It is made of ebonised wood and is enriched with gilded bronze applications. It has a front with a simple architectural composition, with a façade topped by a round arch raised on a moulded base. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows a view of the inside of the mechanism. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre, and a calendar of the month. The second dial functions as an hour chime on a bell.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.
Loading...-
20413 item(s)/page