A figured mahogany small eight-day longcase clock Geoffrey Bell, Arlesford, dated 1974 The four knopped pillar rack and bell striking movement with anchor escapement regulated by cylindrical bob seconds pendulum, the 9 inch brass break-arch dial with subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the narrow outer track, with pierced steel hands and festoon cast foliate spandrels to angles, beneath arch with silvered Signature boss Geoffrey Bell, Arlesford Fecit, 1974 flanked by conforming mounts, the break-arch case with small concave sided upstand over generous cavetto cornice and hinged caddy-moulded glazed dial aperture flanked by canted angles to hood, the sides with rectangular windows, over concave throat mouldings and slender break-arch line edged caddy-moulded flame figured trunk door on conforming raised panel fronted plinth base with double skirt, 196cm (6ft 5ins) high. Provenance: The family of Alf Godsell, former Managing Director of Geoffrey Bell Ltd. An identical clock to the current lot was sold in these rooms on 17th February 2010 (lot 49) for £1,500 hammer.
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A quantity of longcase clock case elements For use in the restoration of late 17th century and later clock cases Including a walnut and floral panel marquetry door with panel measuring 41.5 by 8.25 inches, a conforming marquetry plinth panel, throat moulding, a pine and oak trunk carcass, a hood carcass with fixed 10.5inch dial aperture, a part-restored grotesque figure inhabited floral marquetry veneered trunk door panel measuring 42.5 by 9 inches, a hood carcass with similar marquetry to the 11 inch dial aperture and a selection of hood side and front panels etc., (qty).
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 substantial quantity of English walnut crossgrain clock case mouldings For use in the restoration of 17th and early 18th century longcase clocks Including around twenty feet of trunk door half-round mouldings, break-arch over door hood mouldings, a length of ogee plinth top moulding, various lengths assorted crisply drawn lintel and cornice mouldings, concave throat moulding and some straight-grain lintel and door mouldings, (qty).
Ï’ A George III tortoiseshell japanned eight-day longcase clock with rocking ship automaton Thomas Hackney, London, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with recessed starburst engraved silvered subsidiary seconds disc, calendar aperture and shaped nameplate engraved Tho:s Hackney., London to matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and rococo cast spandrels to angles beneath arch cut with a shaped aperture revealing polychrome painted representation of a square-rigged warship rocking back and forth with the motion of the pendulum, the scroll engraved surround incorporating a terrestrial sphere to front margin, in a mottled iron red and dark brown/black japanned case with leafy band decorated break-arch cavetto cornice and scroll bordered glazed hood door applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with scallop shell centred acanthus leaf painted throat over break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with gilt trellis painted upper quadrants and scroll banded borders, the sides with large leafy sprays, the plinth base with further naturalistic landscape over moulded skirt, 219cm (86.25ins) high. Provenance: Brocket Hall, Hertfordshire. Thomas Hackney is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1764. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
A rare rose-gilt brass 'Atmos' timepiece Jaeger-LeCoultre for Türler, model 519, late 1940’s The single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended at the base of the movement and numbered 23719 to suspension platform, the circular rose-gilt on cream baton numeral chapter ring with Arabic quarters and inscribed TURLER to the bezel at six o’clock, the rectangular glazed case with canted angles to the lift-off ‘bell jar’ cover over conforming plinth base incorporating bubble level within inscribed border ATMOS, JAEGER LECOULTRE, FAB. SUISSE, SWISS MADE to the engine-turned interior, with balance locking lever to front and adjustable feet to underside, 23.5cm (9.25ins) high. According to John Hubby of the NAWCC Jaeger-LeCoultre sold Atmos clocks with the Türler name inscribed on the bezel or imprinted on the dial from circa 1935 to 1955. There however appears to be no other evidence of a commercial arrangement Jaeger LeCoultre and the watchmaking firm Türler.
An interesting gilt brass electromagnetic master clock Unsigned but conforms to Gents’s 1907 patent design, early 20th century The rectangular gilt brass backplate decorated with engraved alternating triangular hatched decoration and concave cut corners except to the bottom left, applied with pivot post for the crutch assembly incorporating release lever and detent for the gravity arm and pivoted armature for the electromagnetic coils positioned to the left of the mechanism, the right hand side with shunt countwheel pivoted between shaped brass plates and locking detent for the gravity arm, the top of the plate with electrical connection posts and the whole assembly hung from a rectangular mahogany board via screws into four posts with the upper two doubling-up as twin supports for the wide jaw pendulum suspension to allow the steel-rod seconds pendulum with cylindrical gilt brass bob to swing behind the backplate, the whole in a mahogany glazed standing case with moulded cornice over glazed front door and conforming twin panels to sides, on plinth base with shallow moulded skirt, the movement backplate 24cm (9.5ins) high; the case 170cm (67ins) high overall. Gents of Leicester were founded by John Thomas Gent in 1872 and specialised in producing electric timepieces principally for semi-public and industrial use alongside fire alarm systems, telephones, transformers and related products. The firm initially operated from Faraday Road, Leicester, later (after WWII) moving to nearby Kibworth. They were bought-out by the multi-national organisation, Chloride, in 1981. In 1907 Gents patented a design of electric pendulum time transmitter or master clock, this design went on to be used in the series of ‘Pulsynetic’ timepieces which were made well into the 20th century.Although unsigned the current lot conforms to Gents’s 1907 patent design as illustrated in Miles, Robert H.A. SYNCHRONOME, Masters of Electrical Timekeeping Fig. 3/16. The overall high level of finish (including fine hatched engraved decoration to all the major components) would suggest that it was made to be an exhibit to demonstrate the operation of Gents’s design. Whether it was executed by Gents as a prototype or perhaps for promotional demonstration is unknown, however, as it is to their patented design, it would appear reasonable to suggest that it may have originated from their workshops.
A fine French Empire patinated bronze, ormolu and Siena marble figural mantel clock Louis Mallet, Paris, circa 1820 The two train eight-day bell striking movement with anchor escapement regulated by disc bob pendulum with Brocot type regulation to suspension, the circular white enamel Roman numeral dial signed L’s. Mallet, h’s de S. A. R. M. J’r le duc d’orleans to centre with blued steel moon hands and outer minute track within crisp egg-and-dart cast surround fitted with convex glazed hinged bezel, the case with movement inset into a gilt plinth surmounted by a globe standing on a stack of books and oil lamp over fine cast anthemion inset mounts to quadrant areas around dial flanked by a pair of figures modelled as seated putto conversing, the base hewn from a solid block of Siena marble applied with a central bronze panel relief cast with putti performing academic pursuits flanked by crisply cast trophy mounts emblematic of the Arts and Sciences, on integral skirt base applied with lappet leaf cast ogee moulding to top edge and on block feet, 49cm (19.25ins) high. Louis Mallet is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS was working from 1810-30 in the Rue J.-J. Rousseau and later at the Rue Neuve des Petits-Champs.
A large laboratory electric induction coil Unsigned, early 20th century Enclosed within a 4.25 inch diameter black celluloid cylinder between Bakelite end panel supports fitted with central Bakelite spark bridging insulator ring, substantial contact breaker to one end and applied with brass ball connectors with wires to a pair of insulated posts fitted with adjustable discharge rods, standing on the moulded mahogany plinth base applied with pivoted switch and power supply connection posts, 50cm (21ins) wide; in original stained box with cast iron carrying handles, 57cm (22.5ins) wide.
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 William III style part-finished walnut longcase clock case for a movement with eleven inch dial Unsigned, recent Executed with well selected figured veneers and fine cross-grain mouldings, the hood configured to rise with ogee cornice and scroll-pierced frieze fret to entablature over Solomonic twist turned three-quarter columns flanking the fixed dial aperture and the sides incorporating rectangular openings with bargeboards at the rear, the trunk with convex throat mouldings, vacant door aperture measuring 42.25 by 9 inches and triple-line strung book-matched panels within crossbanded borders to sides, on conforming book-matched panel veneered plinth base with crossbanded borders and ogee top moulding, (hood rear quarter columns detached but present), 203cm (80ins) high. Please note: The trunk door made with the case has now turned up and will be available for the buyer to purchase for a fixed (all inclusive) price of £60.
A George III / Regency mahogany eight-day longcase clock Unsigned, late 18th / early 19th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch white painted break-arch Roman numeral dial with subsidiary seconds and calendar dials to centre beneath STRIKE/SILENT selection to arch, in a break-arch case with concave-sided upstand over cavetto cornice and brass stop-fluted canted angles flanking the break-arch glazed hood door, the sides with rectangular windows, the trunk with flame figured break-arch door over raised panel fronted plinth base with moulded double skirt, 221cm (87ins) high.
An important Queen Anne ebonised eight-day longcase clock Michael Knight, London, circa 1705 The substantial five fully latched and crisply turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with long crutch, the backplate with apertures cut for the pallets and for viewing the countwheel locking detent, with finely detailed steelwork incorporating Tompionesque scroll terminals to bell stand and hammer spring feet, the 12 inch square brass dial with subsidiary seconds dial, ringed calendar aperture and winding holes to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed MICH KNIGHT, LONDINI FECIT to lower edge, with pierced steel hands and double-screwed gilt twin cherub and crown cast spandrels to angles with foliate scroll engraved infill to margins between, the ebonised case with gilt brass ball finials to the ogee shaped caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular sound frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 41.5 inch rectangular door, on ogee moulded plinth base applied with two-tier moulded skirt, 245cm (96.5ins) high excluding finials, 252cm (99.25ins) high overall. Michael Knight is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1659; he was apprenticed to Thomas Tompion (bound 1673/4 through Lionel Wythe) and took up his freedom of the Clockmaker’s Company after a warning to do so in 1681. Michael Knight took apprentices Thomas Day in 1682 (Freed 1691), Robert Youell (through Tompion - Freed 1697) and John Barnardiston in 1697 (Freed 1714). In 1697 Knight signed the Oath of Allegiance but little is known of him after 1699 when he stopped paying quarterage to the Clockmaker’s Company. The location of Michael Knight's workshop is indicated in an article by Evans, Jeremy MAINSPRING MAKERS OF LONDON AND LIVERPOOL - SOME OBSERVATIONS AND LISTS published in ANTIQUARIAN HOROLOGY Vol. XXVII, No. 1, Page 81 where reference under the entry for Micklewright indicates that the latter was believed to have been working in St. Sepulchres - 'in Red Cross Court next-door but one to Tompion's ex-apprentice Michael Knight'. Of Michael Knight only around ten surviving clocks are known listed in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS. Most of these examples demonstrate a very close working relationship with Tompion with at least two reflecting an aptitude for producing work equal to Tompion's finest products. The first of these is a fine half quarter-repeating ebony table clock of typical 'Tompion phase II' design illustrated in ANTIQUARIAN HOROLOGY Vol X, No. 7, on Pages 782-83. The second is an important eight-day longcase clock (in a private collection) complete with Tompion pull-quarter repeat mechanism and housed in a fine walnut case closely resembling that of the 'Drayton Tompion' (which now resides at the Fitzwilliam Museum, Cambridge and is illustrated by Evans, Carter and Wright on page 510). When considering the strong similarity of Knight's work alongside that of his former Master coupled with the fact that there are very few clocks signed by him (despite his long career) it most likely that he was primarily employed by Tompion. Indeed the complexity and accomplished nature of the two examples noted above would suggest that he assisted Tompion with his more complex commissions. The movement of the current lot is almost indistinguishable from Tompion's work exhibiting an abundance of features diagnostic of his workshop. These include the back cock casting (with distinctive chamfered feet), pallet and countwheel locking detent viewing apertures to backplate and distinctive scroll-shaped tails to the hammer spring and bell stand. As with Tompion's work the movement is fully latched with fine knopped and finned pillars and the wheelwork precisely executed with shallow domed collets. The escapement of the present clock is also particularly noteworthy as it appears to be a rare original survivor. The dial departs a little from 'standard' Tompion design having ringed winding holes and calendar aperture to the matted centre. The bold signature engraved in block capitals appears to be typical of Knight and can be compared to that of the ebony 'phase II' type table clock described above. The case again is essentially indistinguishable of those housing movements and dials by Tompion made at this time exhibiting the fine proportions and detailing for which his workshop was known. The current lot affords the prospective purchaser the opportunity to essentially acquire a clock that is essentially a 'Tompion' in all but name. Indeed from a documentary point of view it would be reasonable to suggest that this clock perhaps has more to offer than a comparable signed by Tompion.
An Aesthetic Movement walnut side cabinet, in the manner of Bruce Talbert (1838-1881), break-arch cresting above a shelf and three niches before a mirror, the projecting base with rectangular panel door incise carved with rows of leaves centred by a bevelled mirror, the detail picked out in gilt, ebonised borders, plinth base, 155.5cm high, 63cm wide, c.1875
λ A Flemish ebony cabinet on chest, decorated with ripple mouldings and raised panels, the hinged lid revealing an Italian reverse glass painting of the Nativity above a vacant interior, above a pair of panelled doors, the insides with ivory stringing and formerly inset with paintings, enclosing an arrangement of sixteen ripple moulded rosewood lined drawers inset with hardstone panels, comprising: six 17th century Italian Florentine pietra dura panels, probably from the Opifico delle pietra dure, inlaid with various stones with birds and flowers, with eight pietra paesina 'landscape' panels and six further paesina panels with fossilised plants, two heightened with hardstones and the natural details marquetry inlaid to form leopards, all flanking a central pedimented pull-out section with two drawers and tortoiseshell Solomonic columns, with gilt bronze capitals, and applied with six further pietra paesina panels and faceted lapis lazuli cabochons, the hinged door with five further landscape panels to the back, revealing a mirrored interior with an ebony and ivory parquet floor, with two further drawers, the whole section pulls out to reveal a bank of six rosewood secret drawers above a slide, the bottom right drawer with a printed description of the cabinet, possibly from an early 20th century auction sale or dealer's catalogue, inscribed 'A HANDSOME FLEMISH CABINET, of ebony, with folding doors above, each painted with classical subjects in oils inside and enclosing numerous drawers, inlaid with landscape marble and Florentine mosaic, twisted columns in the centre, and folding doors enclosing drawers below. Formerly in the possession of Napoleon I.', the later conforming base with a pair of doors enclosing twelve panelled drawers, on a plinth base, with substantial gilt bronze side carrying handles to the top, 17th century and later, 180cm high, 122cm wide, 59.7cm deep. Provenance: From the collection of Sir Thomas Jackson, 1st Baronet (1841-1915), Gilford Castle, County Armagh, N. Ireland. Sir Thomas was involved in the creation of HSBC and was appointed third Chief Manager of the bank in 1876. He lived in Shanghai and Yokohama in the late 19th century and his statue still stands today in Statue Square, Hong Kong, in front of HSBC's headquarters. This fine cabinet with its decorative hardstone inlays includes an unusual material called pietra paesina or 'ruin marble' which is a sedimentary rock comprising of mainly compacted limestone and clay. It is almost exclusively found in Tuscany where the Medici Opificio delle Pietre Dure of Florence has used the stone since 1588. In Renaissance Europe it was highly regarded and in much demand from the Royal courts. In 17th century France it was prized by Cardinals Richelieu and Mazarin. It has an almost painterly quality and the designs created by the natural veins of impurities within the rock give the impression of crumbling cities, landscapes, mountains and seascapes.
After the antique. A late 18th century Italian carved marble Grand Tour bust of Lysimachus, on later marble plinth, 62cm high (overall). Lysimachus (c.360 BC -281 BC) was a Macedonian officer and successor to Alexander the Great. He became a King in 306 BC, ruling Thrace, Asia Minor and Macedonia.
South Eastern and Chatham Railway Harry Wainwright D Class static display railway engine 1/16 scale / 90mm Gauge. Locomotive number 737 built Ashford 1901 pulled Edward VII’s Royal Train and the Shah of Iran – the prototype is preserved at the National Railway Museum, York. Mounted on a plinth 120cm long.
A French Art Deco style figural table spill holder / lighter, loosely in the manner of Chiparus, a girl in patinated cast spelter stands in an athletic pose with arms outstretched, united by a butterfly winged cape, beside a faceted tapering spill holder, raised on a polished black marble plinth base, 27.5 cm high, the base measuring 15 x 9 cm.
Great Western Railway 14xx 1/24 scale Newland Halt diorama. Great Western Railway 14xx 1/24 scale Newland Halt mixed media (wood, card & metal) diorama model. GWR 14xx 0-4-2 tank engine (36cm) with sectioned GWR Autocoach carriage (24cm) models mounted on 6cm gauge track and depicted against Newland Halt (Malvern) station with hand-painted backdrop. 88cm long overall, mounted on display plinth and backboard.
A group of porcelain and resin models of horses to include Royal Doulton figures of 'Lammtarra' and 'Mr Frisk', mounted on plinth bases, a Beswick rearing Cancara, two further smaller Beswick models of black horses, Beswick 'Spirit of Affection', large unmarked brown shire horses, three resin models of horses and a resin equestrian mantel timepiece (11)
Early 19th century Biedermeier Karelian birch rosewood crossbanded and brass inlaid escritoire, the superstructure with three central locking drawers with bronze sphinx handles, above pull out rosewood lined cloth inset writing surface with two drawers, the base with a long drawer and a cupboard door flanked by six further drawers on plinth base, 110cm x134cm .
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