A Regency oak and mahogany eight day longcase clock, the 14 inch painted arched dial with centred date aperture and subsidiary seconds dial within a ring of Roman numerals, the spandrels and arch painted with hunting scenes, the hood with swan-neck pediment over an arched hood door with slender baluster ring turned and block front corner hood pilasters, over a wavy arch crossbanded short trunk door, under a brass line inlaid latise frieze, over turned front corner trunk pilasters, on a box base with proud front corner reeded rectangular pilasters (lacking feet), 224cm high
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An early Victorian oak and mahogany eight day longcase clock, the 13½ inch arched painted dial indistinctly signed `R Green, ****`, with centred date aperture and subsidiary seconds dial within a ring of Roman numerals, the spandrels depicting lion, tiger, cheetah and panther under a lion to the arch, with rolling eyes, the hood with swan-neck pediment over an arched hood door with baluster front corner hood pilasters, over a lozenge inlaid short trunk door and box base on splay bracket feet, 228cm high
A George III oak crossbanded mahogany thirty hour longcase clock, the 12 inch square dial signed `Matthew Bushell` to the centre with date aperture below, within a chapter ring of Roman and Arabic numerals, the movement striking on a single bell, the hood with a scroll pediment over a square hood door with turned front corner hood pilasters, above an ogee moulded long trunk door, on a box base with canted front corner and later plinth support, 209cm high Note: Brian Loomes notes a Matthew Bushell active in Bold circa 1761, in `Watchmakers and Clockmakers of the World, Volume 2`.
A brass lantern clock, 17th century, the 6 inch brass dial signed `Robert Cosbey Neeve, Rattclife Cross`, with single iron hand to the centre and engraved tulips within a 1 inch wide chapter ring, the movement now with anchor escapement but still with going train to the fore and strike train behind, now with 37 inch long pendulum and twin weights, the case with slender corner columns, urn finials, dolphin engraved frets and brass side doors (lacking bell and the front left foot), 38.5cm high, 15.5cm wide, 14.5cm deep, the angled loop and spikes to the rear standing 5cm proud
A George III oak dresser base, Mid Wales the rectangular top with moulded edge over three crossbanded cockbeaded drawers fitted with later brass handles over a wavy apron on four ring turned and tapering front supports united by a two plank pot board on short turned front feet, 170cm wide, 80cm high, 45cm deep
A William IV mahogany crossbanded serpentine sideboard, the top with deep crossbanded border over a central short frieze drawer, flanked by a deep cellaret drawer to each side, all fitted with brass lion ring handles, raised on four square tapering front legs, the deep sideboard also with a short pot drawer to the back corner of each side, 175cm wide, 89cm high, 77cm deep
A mahogany writing desk, 19th century, the rectangular top with tooled leather skiver, over three short frieze drawers above an arched kneehole, flanked by two short drawers, the drawers fitted with replacement brass ring handles, raised on four square tapering legs (with repairs and renewals), 106cm wide, 77cm high, 50.5cm deep
A George III mahogany bureau bookcase, the dentil moulded cornice over two glazed doors, revealing two fixed shelves over two short drawers to the bookcase top, above a crossbanded fall with urn and leaf key escutcheon, opening to reveal a simple arrangement of four central pigeonholes flanked by three short drawers over a single long drawer, above four graduated cockbeaded drawers to the base, fitted with brass ring handles, raised on shaped bracket feet, 112cm wide, 208cm high, 56cm deep
In the manner of E W Godwin a walnut coffee or occasional table circa 1880, the square top with moulded edge on four ring turned supports united by a shelf stretcher with lattice bracing on short baluster turned legs terminating in a turned foot, 43cm square, 66.5cm high Note: For the origin of this table`s design see Susan Weber Soros `The Secular furniture of E W Godwin` page 143 fig 207.1. Two citations in Godwin`s ledger books, one from 1869 (V&A AAD 4/10 - 1980, vol 8) and another from 14th December 1876 (V&A AAD 4/12 - 1980, vol 13) confirmed that Godwin continued to design these coffee tables for William Watt throughout the late 1860s and 1870s
A George Jones earthenware vase of finely potted flattened oviform with ring handles decorated front and verso with white pate sur pate ‘classical’ scenes of a pair of soldiers and a horse beneath a band of stiff leaves on a black ground and gilt rim, 10 cm high, impressed crescent mark and gilt pattern no. 5635, circa. 1875.
Frodsham Ad. FMSZ. A lady’s 18ct gold keyless lever half-hunter fob watch, the circular white enamel dial with Roman numerals and subsidiary seconds dial, signed ‘Chas Frodsham 06862 AD FMSZ, the movement with backplate inscribed no 06862, Chas Frodsham By appointment to the Queen 84 Strand London, in an 18ct gold case with monogram and blue enamel chapter ring.
A late 19th century diamond five stone ring Of half-hoop design, set with five graduated old brilliant-cut diamonds with old brilliant-cut diamond accents, to carved scroll gallery and shoulders circa 1890, one accent stone missing, two later replaced single-cut diamonds and two rose-cut diamonds View on Christie's.com
A group of jewellery Comprising: an early Victorian, gold diamond and enamel brooch designed as a coiled serpent the pale blue enamel body with rose-cut diamond bands, the head with old-brilliant-cut diamond crest and cabochon ruby eyes, the reverse engraved I confirm it, 2nd Oct 1846; an early 20th century nephrite jade card case of rounded rectangular form with applied gold fittings; a 19th century gold and bog oak bracelet composed of bog oak three leaf clovers with gold fleur-de-lys spacers and central gold harp motif; a late 19th century gold mounted hardstone cameo ring depicting the profile of a man; and a pink paste, ruby and colourless paste bar brooch (6) View on Christie's.com
Three diamond and gem rings Comprising: a sapphire, diamond and peridot crossover, the two central circular cabochon sapphires to shaped cabochon peridot and graduated brilliant-cut diamond line shoulders; an 18ct, gold, emerald and diamond ring, the central pavé brilliant-cut diamond curved panel with oval cabochon emerald single stone side accents, London import mark 1994, hoop signed Dianoor; and a garnet and diamond crossover composed of shaped buff top garnets with diamond line detail (3) View on Christie's.com
A small group of diamond and onyx jewellery Comprising: a rounded rectangular onyx loop pendant with applied diamond detail and suspension loop; a pair of matching hoop earrings, post fittings; and a ring of swept design, the single shaped onyx with brilliant-cut diamond edge detail (3) View on Christie's.com
An 18ct. white gold amethyst, tourmaline and iolite "Coco" ring and earrings, by Chanel The ring of bombé design, the cushion shaped amethyst within a buff-top pink tourmaline and iolite surround, to a broad tapering hoop, London import mark 1997; the earrings of matching design with central line of three cushion shaped amethsyts, clip and post fittings, London import mark 1998 See front cover illustration Earrings signed © Chanel and No. IF666, ring with indistinct No., all stamped CL (3) View on Christie's.com
A diamond set quartz wristwatch, by Chris Claire The floral patterned engine turned turned grey dial with polished chapter ring and eight-cut diamond hour markers, to an eight-cut diamond rectangular bezel 25.5mm. Dial and case signed Chris Claire, case No. 23584 A 100161 View on Christie's.com

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