A Regency mahogany and marquetry inlaid longcase clockThe movement by Davies, North ShieldsThe hood with a swan neck pediment, surmounted by three brass finials, above an arched glazed panel door, flanked by cluster columns, the trunk with a ribbon-tied foliate inlaid apron above a trefoil arched door, flanked by cluster columns, on plinth base with canted angles; the 14in. arched white and polychrome painted dial, with 'rocking ship' automaton in the arch, inscribed 'DAVIES Nth SHIELDS', with gilt engraved latten hands, seconds and calendar subsidiary, the twin train movement with anchor escapement and striking on a bell, (2 weights, 1 pendulum, 1 key).227cm high. Illustrated
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A rare and unusual pyramidical brass skeleton timepiece of eighteen-day durationBy John Pace, Bury St. Edmunds, No. 253, circa 1855The cast frame of good gauge, with chamfered edges on scrolled feet, the movement with going barrel and three wheels to the escape wheel, each of five or six crossings, with Graham's deadbeat escapement, inset jewelled pallets, surmounted by an arched bridge with fine knurled screw adjustment for regulating to the spring suspension, steel and brass halberd-shaped pendulum, the pierced and engine-turned gilt dial with Arabic numerals, blued steel spade hands, linked by a fine thread at the back to drive the hands, on an oval tapering base, signed 'John Pace BURY St. EDMUNDS No. 253', raised on a velvet plinth and rosewood stand, under a glass dome, (1 pendulum, 1 key).The timepiece 33cm high; 43cm high overall. IllustratedJohn Pace (d. 1867) lived and worked in Bury St. Edmunds. His workshop was at 19 Abbeygate Street. He exhibited a virtually identical skeleton timepiece, of three-month duration, at the 1851 Great Exhibition.See Antiquarian Horology, No. 1, Vol. 34, March 2013, for an article on the Pace family of Quaker clockmakers, by David Edmund Pace.This clock is illustrated in Derek Roberts' Skeleton Clocks, Britain 1800-1914, Antique Collectors Club, 1996, fig. 3/15a, p. 97, and other Pace clocks are discussed p. 89-97.
A French gilt brass four-glass mantel clockIn the Empire Revival style, circa 1900, Maple & Co., ParisThe rectangular case with a stepped pediment above arched bevelled glass panels with chimera to the front above fluted three-quarter uprights with baluster stems, on chimera relief-moulded plinth and four bracket feet, the 3½in. circular white enamel dial, with Roman chapters and Arabic 15-minute markers, pierced blued steel Breguet moon hands, the twin train movement by S. Marti, Paris No. 137 44, and stamped 'MAPLE & Co. LTD., PARIS', striking on a bell, (1 key, 1 pendulum).29cm high. Illustrated
A French gilt bronze and giallo marble mantel clockIn the Empire Revival style, second half 19th centuryModelled with a seated cuirassed figure, a child standing at his side, enclosing the circular enamel dial decorated with floral garlands, the twin train movement with outside countwheel on a bell, on a stepped plinth base, on bracket feet55cm high. Illustrated
A French ormolu-mounted mahogany Second Empire mantel clockIn the Neo-Classical style, by Laine, Paris, circa 1855The case in the form of a portico, the rectangular pediment with a stepped edge, raised on four columns, each with a gilt engine-turned capital and base, on a stepped conforming plinth, on bun feet, the convex gilt dial signed 'LAINE A PARIS' above the VI, centred with two raised winged lions, within a beaded surround, the twin train movement with outside countwheel strike on a bell, and bi-metallic grid-iron pendulum, cast with a bird-mounted lyre support, above a foliate cast bob, (1 pendulum, 1 key).54.5cm high. Illustrated
A French ormolu mantel clockIn the Louis XVI style, circa 1885The drum-shaped case surmounted by a swagged urn, with ribbon-tied surmount, on a stepped base with laurel festoons and scrolled acanthus, on shaped breakfront plinth, the white enamel dial with black Roman chapters and gilt fleur-de-lys, Arabic five-minute divisions, and pierced gilt latten hands, the twin train movement by S. Marti, No. 138, striking on a bell, (1 pendulum).62cm high. Illustrated
A French ormolu and white marble mantel clockIn the Louis XVI style, circa 1900The fluted arched case surmounted by a pair of doves on a flaming torch and cloud, on a shaped breakfront marble plinth with musical and military trophies to each side, on toupie feet, the circular 3¼in. white enamel dial with Arabic numerals, the twin train movement, No 1125 4.1, by Vincenti, striking on a bell (missing), (1 pendulum).25cm high. Illustrated
An Empire ormolu mantel clockBy L. Moinet, ParisThe case modelled with figures of Venus and Cupid, she holding a laurel wreath above his head; the arched case with a panel to the front raised with a Grecian urn, on a rectangular plinth inset with a panel cast in relief with the two lovers, on an anthemion cast edge and spreading foliate feet; the twin train movement with enamel dial and external countwheel strike on a bell (lost), the backplate stamped 'L. MOINET A PARIS', with silk suspension, (no bell).68cm high. IllustratedLouis Moinet (d. 1853) was the secrétaire of Abraham-Louis Breguet.
A Regency mahogany and brass-inlaid bracket clockThe case with a chamfered pediment surmounted by a pineapple finial, above the 8in. convex white painted dial, inscribed 'HEWITT LONDON', with blued steel hands, scroll brass inlay below, the sides each with a ring handle and laurel roundel escutcheon, above pierced grille panel, on a stepped plinth with quartered bobbin-turned moulding, raised on brass ball feet, the twin train fusée movement with arched top to the plates, anchor escapement, locking pendulum nut, striking on a bell, (1 pendulum).49cm high. Illustrated
A late Regency mahogany bracket clockIn the manner of Thomas Hope, by James Gorham, Kensington, circa 1820The case with gadrooned pediment, surmounted by a large pineapple finial, above anthemion angled brackets with reeded tapering angles, outlined with a line-inlaid half-beaded border, centred with the silvered 7in. dial, signed 'James Gorham / KENSINGTON / Clock & Watch Maker / to The Royal Family', with pierced blued steel moon hands, on a stepped plinth and gadrooned bracket feet, the twin train chain fusée movement with anchor escapement and brass locking nut to the pendulum, striking the hour on a bell, (1 pendulum, 1 key).47cm high. Illustrated
A late Victorian walnut Gothic Revival three train mantel clockBy Dent, London, No. 41210, circa 1890The arched case with three finials above a glazed door, flanked by turned pillars, on a stepped breakfront plinth, the arched gilt dial plate with foliate engraving and with a painted subsidiary in the arch for 'slow/fast', with 'silent/chime' lever below; the painted circular dial signed 'DENT' in a triangle '4, ROYAL EXCHANGE & 61, STRAND / LONDON / 41210'; the substantial three train chain fusée movement, similarly signed on the backplate and with locking pendulum bracket and nut, striking the hour on a gong and chiming the quarters on a carillon of eight bells, with anchor escapement and heavy brass pendulum, (1 pendulum, 1 key, 2 case keys)63cm high overall. Illustrated
A gilt metal-mounted ebonised quarter repeating table clockBy John Dickings, London, late 17th century and laterThe case now with a caddy top, surmounted by a scroll handle, above glazed front and back door, with glazed sides, on a stepped plinth with brass bun feet; the 7in. square brass dial with cherub head spandrels, silvered chapter ring with Roman numerals and Arabic five-minute markers, enclosing a matted centre with false pendulum aperture and signed behind on a panel, harboured winding holes and calendar aperture above the VI with strike/silent lever at the XII; the twin train fusée movement, with foliate engraved backplate, five ring-turned and shouldered pillars, re-converted verge escapement with bob pendulum, striking the hour on a bell and repeating the quarters on five bells, (1 key, 4 finials).42cm high. IllustratedProbably John Dickens, who was apprenticed to William Cattell in 1680 and obtained his Freedom of the Worshipful Company of Clockmakers in 1688 and is recorded as working until 1695.
A quantity of small collectables including; a Victorian brass paper clip modelled as a lady's hand on an ebonised plinth, a Regency ivory and pique inlaid toothpick box with mirror to the interior (8.5cm), a Victorian ivory visiting card case, three basalt oval plaques relief moulded with classical figures, a French Art Nouveau patinated bronze figural seal (7.5cm), a George III Wedgwood jasperware oval portrait plaque and sundry. (qty)
A FINE RARE FRENCH SOUFLETO DECORATED AND PARCEL GILT UPRIGHT PIANO, number 6873, decorated in the Neocassical style, the moulded hinged top, above a panel depicting musical cherubs, flanked to either side with a gilt panel decorated with scrolling foliage and flanked with two fluted Doric type pilasters, the 46" (117cm) wide keyboard with two candle panels, and a further decorated rectangular panel below, with scrolling foliage and floral swags, flanked to either side with two parcel gilt spiral fluted vase shaped columns, and conforming rear pilasters on a inverted breakfront plinth, each side with two parcel gilt panels, and ornate wreath cast brass carrying handles, probably an exhibition piece, 49" (125cm) high, 58" (147cm) wide. (1)
A VICTORIAN EBONISED AND BRASS MOUNTED CREDENZA, of breakfront outline, applied with porcelain panels, each within a gilt brass frame, the centre door with an oval portrait plaque and crested with a ribbon bow in brass, inside a moulded brass frame and cross banding, and two bowed glazed doors to either side, raised on a breakfront plinth, 39.5" (100cm) high, 5ft (152cm) wide. (1)
A VICTORIAN DICKENS-TYPE WALNUT PEDESTAL WRITING DESK, the superstructure with shelf and gallery flanked to either side with four drawers, the slope front opening to reveal pigeonhole compartments and a drawer, inset with tooled leather surface and two conforming leather inset panels to either side, above three frieze drawers, raised on two pedestals each with three drawers, on a plinth base with castors, 49" (124cm) wide. (1)
A FINE UNUSUAL ROSEWOOD, WALNUT AND SATINWOOD-BANDED CABINET-ON-STAND, the moulded top with a cartouche crest issuing scrolling foliage, above a glazed door with tapestry panel, depicting a parrot, two terriers and a cockatoo among flowering shrubs, on a conforming marquetry inlaid base, with floral panels, the canted corners with conforming floral marquetry, raised on a plinth base, 5ft (190cm) high, 41" (104cm) wide. (1)
A LARGE CHIPPENDALE STYLE CARVED MAHOGANY BREAKFRONT SIDE CHEST OR SERVING TABLE, the guilloche-moulded frieze and centre section with two long and two short drawers, flanked to either side with a cupboard, the cupboard panels with ornate carvings in the form of hanging swags, ribbon bows, and roundels, raised on an elaborate triple breakfront plinth, the doors and drawers flanked to either side with fluted pilasters headed with oval partriae, 34" (86cm) high, 83" (211cm) wide. (1)
A LATE VICTORIAN STAINED PINE BEDROOM SUITE, comprising wardrobe with moulded cornice and a central mirror door, flanked to either side with two panels, each cross banded with specimen timbers, the base with one long drawer and raised on a plinth, 49” (125cm)w; together with a matching chest, with three long and two short drawers, 48” (122cm); a swing frame dressing table mirror, 48” (122cm); and a marble topped wash stand with tile back, 46” (117cm). (4)
A GOOD GEORGIAN STYLE MAHOGANY PARTNERS PEDESTAL DESK, the rectangular moulded top with cross-banded edge and inset with tooled leather inset, above six frieze drawers, three to either side, raised on two pedestals each with three drawers and a cupboard, applied with heavy brass carrying handles, on tow plinth bases, 63" (160cm) high, 41" (104cm) deep. (1)
A LARGE GOOD QUALITY VICTORIAN MAHOGANY PEDESTAL SIDEBOARD, the shaped back with central shell crest, issuing scrolling foliage, above a serpentine front, with central frieze drawer, raised on two pedestals, each with a cupboard door, each enclosing bottle racks and shelf, raised on double moulded plinth, 94" (239cm) wide. (1)
A VERY LARGE PAIR OF VERY HEAVY CAST IRON GARDEN URNS, in the Neoclassical style, each with an egg-and-dart folded rim, over relief panels, depicting classical figures and two handles terminating in grotesque masks, on a leaf-cast stem with stepped base, raised on a tall conforming plinth, with further masks and cherubs, and leaf cast square base with canted corners, 7ft5 (191cm) high. (1)
A PAIR OF ATTRACTIVE LOW SIZE CAST IRON CAMPANA-SHAPED GARDEN URNS, each with a folded egg-and-dart moulded rim, the body with floral scrolls in relief and a half-reeded centre, with two mask handles, on a stem base, raised on a conforming upward tapering square plinth, with relief moulded panels and moulded foot, 41" (104cm) high. (1)
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173444 item(s)/page