There are 116003 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeJoseph Biggs (attributed), London 1820, a George III silver mustard pot, ovoid shouldered form with everted rim, half reeded and embossed, with cast floral rim and shell finial, on four conch shell feet, gilt interior, glass liner, 8.5cm high, 6.15ozt Note: several silver workers used an almost identical mark I.B in this period
A Royal China Works, Worcester blush ivory ground with green highlights, twin handled urn and cover of baluster form, decorated with pastoral scene overlaid with stylised tree branches highlighted in gilt, and raised on circular pedestal mounted on square plinth base, the domed cover with green and gilt edged finial, brown printed mark to base, 33.5cm high
A Pair of Ridgway Porcelain Fruit Coolers or Ice Pails and Covers, circa 1820-30, of circular form raised on three gilt dolphin feet and trefoil base, and painted with baskets of flowers in coloured enamels on gilt and cobalt blue ground and with gilt ring handles, the stepped, domed cover with floral finial, and decorated with floral panels, the whole with gilt lattice decoration, pattern no 1079 to base, 33cm high
A Royal Worcester blush ivory ground ovoid pot pourri jar and cover, complete with inner cover and domed and pierced out cover with gilt decoration and finial, the body florally decorated in coloured enamels and gilt highlights, date code for 1903, printed puce marks and pattern no, 22cm high
Rebecca Emes and Edward Barnard, London 1816, a George III silver and gilt lined mustard pot of compressed moulded circular form, the body with fluted decoration and with Rococo floral and scroll patterned everted rim, the hinged lid with decorated shallow dome with decorative finial and leaf motif thumb plate and with leaf scroll handle, 9.5cm high, 9.42ozt
John Gold, London 1801, a George III silver mustard pot of navette form, the body with moulded and chased with leaf and flowers and foliate scrolls , the domed hinged lid with leaf and foliate decoration, finial and plain thumbplate and spoon aperture, reeded angular handle central to one side, blue glass liner with chip, 9cm high, 3.31ozt
Unknown, possibly makers mark Charles Kandler, London 1806, a George III silver mustard pot of compressed cylinder form on spreading base, the lobed body embossed with scroll, leaf and floral motifs, the shallow domed hinged lid with finial and spoon aperture and with angular handle, glass liner 9cm high, 6.70ozt
Harry Powell for James Powell and Sons, Whitefriars, an Arts and Crafts glass and silver mounted ewer, William Hutton and Sons, London 1899, inverse teardrop form, optic ribbed, with straight neck, blade knop and loop handle, the stopper planished and embossed with teardrops and ball finial, 20cm high
A harlequin garniture of three Chinese blue and white lidded jars to include a pair of ginger jars of waisted form hand painted in the prunus pattern with a larger lidded jar of baluster form with a fu dog finial to the lid. All painted with two concentric circles to the bases. Tallest measures 26cm tall.
An early 20th Century Walker and Hall silver plated coffee pot having a turned wooden finial to the tops with wrapped wicker handles together with a twin handled sugar bowl and a two early 20th Century James Dixon Art Deco chocolate pots of tapering form having scrolled ebony handles and turned finials to the top.
An English brass lantern clock Bearing a signature for Thomas Knifton, third quarter of the 17th century and later With countwheel striking movement incorporating Huygens’s endless winding and now with anchor escapement for regulation by pendulum swinging behind the frame at the rear, the dial with a central rose decorated vestigial alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flower head positioned just above six o'clock, with sculpted iron hand within applied silvered Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the standard London third period frame with column turned corner posts beneath dolphin inhabited foliate pierced frets incorporating engraved text Thomas Knifton at the (crossed keys symbol) in Lothbury to the front, vase turned finials and domed bell bearer, the sides and rear with hinged brass doors (no pendulum or weights, lacking top finial), 34cm (13.25ins) high.
A brass mounted ebonised miniature bracket timepiece Bearing a signature plate for B. Sidey, London, late 18th century and later The early 19th century circular five columnar pillar single chain fusee movement with five wheel train, verge escapement regulated by short bob pendulum and plates measuring 2.75ins diameter, now with a later 3 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and mask and scroll cast spandrels to angles, with pierced steel hands and arch bearing a circular silvered boss engraved B. Sidey, London flanked by conforming mounts, now in a an ebonised break-arch case with brass acorn finial over cavetto cornice and gilt brass fillet inset glazed front door, the rear with plain rectangular door, on cavetto moulded skirt base with brass bound lower section standing on ogee bracket feet, 21.5cm (8.5ins) high.
A fine Louis XVI style Sevres porcelain inset ormolu cartel clock and matching aneroid barometer en suite Bearing signatures for Martinout, Paris and Passemant, au Louvre, circa 1870 The clock with circular eight-day two train bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with S. Marti et Cie, MEDAILLE DE BRONZE roundel over number 7 2, to the lower edge and A.C roundel over further number 2671 to left hand margin, the 6.5 inch convex white enamel Roman numeral dial inscribed Martinout, AParis to centre and with Arabic five minutes to outer track, with scroll pierced and engraved brass hands set behind bayonet fitted convex glazed repeating acanthus cast bezel, the case with finely painted oval porcelain panel of a cherub in flight holding a barometer within decorative gilt and blue ground border, and cast surround modelled as ribbon tied vine stems issuing fruiting sprays draped around the guilloche scroll bordered dial, the base with inverted break-arch panel incorporating curved gadroon cast upper border and inset with a panel with a another cherub with a globe and surveyor’s instruments within conforming blue ground border and fine repeating lappet leaf cast surround terminating with inverted acanthus leaf crest and pineapple pendant finial; the barometer with concealed aneroid mechanism and circular convex white enamel register inscribed PASSEMANT, AU LOUVRE to centre within concentric scale calibrated in barometric inches and with weather observations in French to outer track, with blued steel pointer set behind convex glass fitted with a central brass recording hand, the case matching that of the clock with the upper porcelain panel similarly painted with a cherub in flight holding a telescope and the lower with another observing a globe, each 67.5cm, (26.5ins) high. A cartel clock and matching aneroid barometer of the same pattern as the current lot (but this time with the clock inscribed for Louis Montjoye, Paris) were sold at Christies New York sale of The Alexander Collection:French Furniture, Boxes & Porcelain 30th April 1999 (lot 178) for a premium inclusive $51,750.
An impressive George III mahogany eight-day quarter chiming Longcase clock with automata and moonphase Edward Mann, London, circa 1775 The substantial seven pillar triple train rack and bell striking movement with T-shaped plates measuring 9.25 by 11.875 inches, the going train with anchor escapement regulated by seconds pendulum and the quarter train sounding a melodious peel on a graduated nest of eight bells with eight hammers before unlocking the hour strike on a larger separate bell at the hour, the 12 inch silvered brass Roman numeral break-arch dial with subsidiary seconds dial, curved pierced sector aperture for the calendar and signed Edward Mann London to centre, with pierced blued steel hands and spandrels polychrome painted with individual automata scenes of 18th century musicians incorporating actions motioned whilst the quarter chiming train is running, the arch with rolling moonphase incorporating engraved terrestrial globe lunettes to lower margin and age of the moon to the outer track of the disc beneath margin now applied with arched plate engraved with HIGH WATER AT LONDON BRIDGE, in a brass mounted mahogany case with pagoda shaped superstructure fronted by shaped grille fret over cavetto break-arch cornice incorporating foliate scroll pierced frieze fret and glazed arched dial aperture flanked by brass stop-fluted columns, the sides with rectangular grilles and quarter columns applied against bargeboards at the rear, the trunk with concave throat moulding over break-arch door flanked by brass stop-fluted quarter columns to angles, on shaped raised panel fronted plinth base with moulded skirt, the whole now with polychrome painted decoration in the Sheraton taste with musical trophy to trunk door, grisaille oval panel of a Classical female to plinth and floral trail borders throughout, (movement originally with tune selection), 245cm (86.5ins) high excluding top finial. An Edward Mann is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working before 1722. However, as the current lot can be dated to around 1775 on stylistic grounds it must have been made by maker of the same name but of the next generation. The most likely candidate is a maker who Baillie records as working in Coventry circa 1787 who could have previously worked in London.
A very rare French Louis XIII small brass lantern or chamber clock G. Estienne, Caen, first half of the 17th century The posted two train bell striking movement with fine Roman Doric turned corner posts and separately wound trains with the going now with verge escapement for regulation by short small bob pendulum, the dial with fine foliate scroll decorated hour disc applied with sculpted steel trefoil hand tip and engraved with Arabic hour numerals for the alarm to outer track, within applied silvered narrow Roman numeral chapter ring with cruciform half hour markers, set onto a dial plate finely engraved with tulip, poppy, narcissi and other floral blooms and trails to the upper and lower margins, beneath conforming engraved shaped front fret centred with a vacant cartouche, small acorn finials and iron-strap bell bearer surmounted with a bulbous brass finial, the base with frame securing nuts and engraved G. Estienne ACaen to underside, (unrestored, formerly verge with balance regulation, lacking countwheel, pendulum rod, alarm and alarm hand; the bell and bearer replaced), 18cm (7ins) high excluding bell and bearer. G. Estienne of Caen does not appear to be recorded in the usual sources. The engraving to the dial plate of the current is very finely executed and composed of scrolling floral trails with different blooms arranged in a symmetrical manner. This engraving can be compared to that on the dial of a chamber clock dated 1588 by Francis Nawe illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 18 (Plate 5), which although incorporates grotesques and a small amount of strapwork is very similar in feel and quality. Francis Nawe was a Huguenot immigrant who is believed to have come to London from Antwerp in around 1575 and died of the plague in 1593. Other timepieces with related engraving are two very similar small table clocks by Bartholomew Newsam illustrated in Early English Clocks on pages 26 (Plate 19) and 29 (Plate 26) and another drum clock by the same maker illustrated on page 28 (Plate 22). George White in English Lantern Clocks also illustrates the side panel of Francis Nawe’s 1588 clock (on page 58, Figures II/23 & 24) and notes that the designs were after Etienne de Laune and Abraham de Bruyn. When the engraving on these late 16th century clocks are compared to those a little later in date it becomes clear that the size of the flowerheads increased and the designs became more abstracted although the symmetrical balance remained. This is well illustrated on the dial of wall alarm timepiece dating to before 1615 by Robert Harvey, London, illustrated in White, George English Lantern Clocks on page 61 (Figure II/30). Interestingly on the same page White also illustrates a possibly English unsigned steel and brass chamber clock with related dial engraving and similar arrangement of hour hand tip applied to revolving disc (this time indicating the lunar calendar) within the chapter ring. One final clock with floral engraved dial worth considering is a silver example by David Bouquet dating to around 1650 illustrated in Early English Clocks on page 61 (Plate 69). The engraved blooms on this example are much larger than the present clock although some semblance of symmetry is retained whilst the quality of execution is good but not as fine as that on the current lot. From the above observations it would seem appropriate to suggest a date of around 1625 for the current lot. The movement was originally made with verge escapement with balance wheel regulation and has separately wound trains which also suggests an early date of manufacture.
A fine and very rare lantern clock minute hand Possibly from the workshops of Thomas Knifton or Peter Closon, London, mid 17th century Made from forged sculpted steel with circular boss and faceted filed tapered shaft decorated with a banded collar at the, the tail of conforming shorter profile terminating with a spade-shaped finial, from centre to tip 8.9cm (3.5ins), 13.3cm (5.25ins) long overall. Lantern clocks made to read the minutes as well as the hours are very rare with most being larger quarter chiming examples. Of the few makers who made such clocks Peter Closon and Thomas Knifton appear to be the most prolific. An example by each maker are illustrated in White, George English Lantern Clocks on page 136 (Figure III/20) and 136 (Figure III/22).
Ï’A fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A fine and rare first period lantern clock hand Anonymous, second quarter of the 17th century Made from forged sculpted steel with oval boss and half-round filed tapered shaft decorated with a banded collar at the root and terminating with twin foliate scrolls issuing reverse arrow shaped tip, the tail of conforming shorter profile terminating with an acorn finial, from centre to tip 6.7cm (2.25ins); 8.9cm (3.5ins) long overall. The current hand is of a design that originated in the early 17th century with versions appearing on examples by William Bowyer amongst others and remained popular until around 1680. Peter Closon seemed to prefer the design as it appears on many clocks by him made during the turbulent middle years of the 17th century. The current lot would appear to be a relatively early example of the type as it has an oval central boss as well as a distinctive acorn finial to the tail, later examples tend to have circular centres and terminate the tail with a spike. Indeed present hand can be compared to that fitted to a first period lantern clock by William Selwood previously in the Iden collection. Dating to around 1635 this clock is illustrated in Loomes, Brian LANTERN CLOCKS and Their Makers on page 74 (Fig. 6.48).
An impressive Queen Anne black japanned longcase clock of one month duration Brounker Watts, London, circa 1710 The five finned pillar bell striking movement with five wheel going train incorporating anchor escapement regulated by seconds pendulum, and the strike train with high-position crossed-out external countwheel positioned on the backplate, the 13 inch brass break-arch dial with star decorated subsidiary seconds dial, calendar aperture and burnished rectangular herringbone-bordered signature panel inscribed Brounker Watts, LONDON to the repeating leaf trail bordered foliate scroll engraved matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles within engraved herringbone border continuing up into the arch to surround the fine applied repousse panel infill decorated with Chronos flanked by floral vases over grotesque masks within intense foliate strapwork, the black japanned case now with elaborate multi-stage concave and convex moulded superstructure above box upstand fronted with painted figural chinoiseries over break-arch cornice incorporating frieze and glazed dial aperture with conforming gilt border decoration and now applied with half columns to front angles, the sides with rectangular windows over trunk with foliate spray decorated concave throat moulding and rectangular door centred with a circular lenticle and decorated in raised polychrome and gilt with Oriental figures within an Arcadian Chinoiserie landscape, the surround gilt painted with scroll-work and leafy sprays, the sides with figures and large scale foliage over base similarly decorated and with elaborate stepped double skirt, (case with additions and partial re-painting), 290cm (114ins) excluding top finial. Provenance: Brocket Hall, Hertfordshire. Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmakers’ Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company’s Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmakers’ Company in 1711 due to being ‘out of town’. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West. The movement of the current lot is well made and finely with fine details such as beautifully sculpted clicks and springs to the great wheel winding ratchets and crossed-out countwheel reminiscent of the work of Brounker Watts’s former master, Joseph Knibb.
A 19thC oak and mahogany longcase clock, the swan neck pedimented hood surmounted by an urn and eagle finial, flanked by two further urn finials, above half carved columns and a shaped long trunk door, with crossbanding and shell patera, above an oval panel, on compressed bracket feet, the painted 34cm W arch dial signed Geo Williams Montgomery, with Roman numeric dial, subsidiary second hand and date aperture, 8-day movement, 234cm H.
A marble, brass and gilt metal clock garniture, comprising clock, with bird and garland finial, raised above a 9cm Dia. face with enamel Arabic dial, on cylindrical pillars terminating in a shaped base on squat feet, and two urn garniture, in neo-classical style, the 8-day movement striking on a bell the hour and half hours, with pendulum and key, 44cm H.
A late 19thC Gustav Becker walnut cased Vienna wall clock, of rectangular form, with urn and sun patera finial, quarter columns and gadrooned under section, with a three part glazed case housing a 19cm Dia. Roman numeric dial marked GB, with subsidiary Arabic second hand, 8-day movement with twin weights, 112cm H.
Loading...
