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An 18 Carat White Gold Yellow Sapphire and Diamond Cluster Ring, the oval mixed cut yellow sapphire within a border of round brilliant cut diamonds, in claw settings to a plain polished tapered shoulder shank, total diamond weight 0.80 carat approximately, finger size N. See illustrationn
An 18 Carat White Gold Peridot and Diamond Ring, the rose cut peridot within a border of round brilliant cut diamonds with a pair of tapered baguette cut diamonds on each shoulder, in claw settings, to a polished shank, total diamond weight 1.10 carat approximately, finger size M. See illustration
A Gentleman`s Diamond and Ruby Ring, a central round brilliant cut diamond is bordered by a row of calibré cut rubies above an outer row of round brilliant cut diamonds, the rubies in a yellow rubover setting, the diamonds in white claw settings, to a plain polished yellow shank, total diamond weight 0.30 carat approximately, finger size S. See illustration. n
An 18 Carat White Gold Emerald and Diamond Cluster Ring, the emerald-cut emerald in a four yellow claw setting sits within a border of round brilliant cut diamonds with a tapered baguette cut diamond at each corner, to fancy diamond set shoulders on a polished shank, total diamond weight 1.20 carat approximately, finger size M. See illustration
An 18 Carat Gold Emerald and Diamond Cluster Ring, the emerald-cut emerald within a border of round brilliant cut diamonds, in white claw settings, to a yellow plain polished tapered shoulder shank, total diamond weight 1.00 carat approximately, finger size K. See illustration
A Diamond Solitaire Ring, the round brilliant cut diamond certificated as 1.95 carat, in a white six claw setting to a plain polished shank, finger size O. See illustration. The diamond is accompanied by a certificate from the British Gemmological Institute, dated 15th January 2009, number 18281/09, which states the diamond as colour D, with clarity VVS1.
An 18 Carat White Gold Diamond Ring, the central round brilliant cut diamond in a four claw setting sits on a shank with channel set princess cut diamonds in the shoulders, and round brilliant cut diamonds in the sides of the shoulders, total diamond weight 2.25 carat approximately, finger size N. See illustration
A Pair of French Parcel Gilt Bronze and White Marble Figural Candelabra, early 19th century, each as a putto upholding a bifurcating branch with rosehead nozzles and divided by upswept buds, upon ring turned cylinder socles on flat plinths, 35cm high (the pans drilled for flex) See illustration
A Continental Cuir Bouilli Skippet, perhaps 13th/14th century or earlier, of semi-ovoid shape, the slightly domed cover embossed and worked with tight scrolling seaweed-like foliage, within a chevron repeat border, the main body with four roundels enclosing mythical beasts in the Romanesque manner, against a nail-head punched textured background, lugs at the side for a strap (the existing strap may be a later addition), 11cm high, 15cm diameter; and A Turned Ash Skippet, probably 17th century or earlier, shallow circular, with lathe turned ring decoration, the flat lid pierced with two pairs of apertures connecting to the rim of the bowl for leather straps, 6cm high, 15.5cm diameter, the lid has an old ink written inscription (old woodworm damage) (2)
A R Burt: Portrait Miniature of Thomas Allen, Oxford, May 1817, half length in profile, with grey powdered hair and broad lapelled black jacket, oval, 6.5cm, in a period frame with original Mr Burt label on the reverse, the period black lacquered papier mache frame with AR Burt Palette suspension ring mount. With original receipt dated 25 February, Limner Antiques, 124 New Bond Street, London
A Single Fusee Scissor Mantel Clock, John Wilding, England, modern, the scissor shaped movement plates with single fusee, two steel pendulum rods shaped as scissors to the front, white enamel Roman chapter ring, two subsidiary dials for day/date, movement raised upon an ebonised base and beneath a glass dome, 66cm high, together with a brass scissor shaped winding key
A 17th Century Brass Striking Lantern Clock, 6-inch Roman chapter ring, dial plate engraved with floral decoration and bearing inscription Peter Closon Neer Holburn Bridge, Londini, (dial plate with vacant holes to the corners), later pierced frets, side opening doors, two train movement with verge escapement and large oscillating balance wheel beneath top mounted bell, (base with two vacant holes), countwheel striking on a bell, (chapter ring and dial plate with bearing inscription later associated to movement), 39cm high (both weights missing) see illustration
An Oak Quarter Chiming Table Clock, circa 1890, the arched case with side opening doors, Corinthian capped columns to the front, 6-1/2-inch dial with a silvered Roman chapter ring, blued steel hands, two subsidiary dials for fast/slow and chime/silent, twin barrel movement with striking the quarters and hours with two hammers on to two gongs, movement backplate stamped W&H Sch, 43cm high see illustration
An Oak Thirty Hour Longcase Clock, signed Wm Lawson, Keighley, circa 1800, case with swan neck pediment, turned columns, trunk door flanked by plain inset pilasters, rectangular plinth with raised quatre form panel and upon later bracket feet, 12-inch square white painted dial with Arabic and Roman chapter ring, dial centre with date aperture and signed, floral decorated spandrels, four pillar movement with anchor escapement and outside countwheel striking on a bell, 220cm high see illustration
An Oak Eight Day Longcase Clock, signed Jno Stokes & Son, Bewdley, circa 1770, the nicely coloured case with flat top pediment, turned columns, plain rectangular trunk door, rectangular base upon bracket shaped feet, 12-inch square brass dial with Arabic and Roman chapter ring signed, matted dial centre with subsidiary dials for seconds and date aperture, later hands, four pillar movement with anchor escapement and rack striking on a bell, 210cm high see illustration
An Oak and Mahogany Eight Day Longcase Clock, signed Geo.Goodall, Abberford, circa 1780, case with swan neck pediment, later inlaid door, turned columns, mahogany crossbanded trunk door flanked by fluted inset pilasters, rectangular plinth with raised panel and upon later bracket feet, 13-1/4-inch arched brass dial with silvered chapter ring and inner date ring with corresponding central date hand, centre seconds, dial centre signed and with engraved scroll work, centre seconds, the arch with rolling moonphase, four pillar movement with deadbeat escapement, rack striking on a bell, 230cm high see illustration
An Oak Thirty Hour Longcase Clock, signed Tho Lister, circa 1760, flat top pediment with turned columns, wavy trunk door with inset pilasters, rectangular plinth with raised front panel and upon later feet, 12-inch square brass dial with silvered Arabic and Roman chapter ring, dial centre with so called "Halifax" moonphase aperture, date aperture and signed, four pillar movement with anchor escapement and outside countwheel striking on a bell, 200cm high see illustration
An Oak Eight Day Longcase Clock, signed Natl Plimer, Wellington, circa 1790, case with swan neck pediment, fluted columns, later inlay throughout, rectangular trunk door flanked by canted corners and upon bracket feet, 12-inch arch brass dial with silvered Arabic and Roman chapter ring, dial centre with seconds and date aperture, the arch with silvered disc signed, four pillar movement with anchor escapement and rack striking on a bell, 236cm high see illustration
An Oak Eight Day Longcase Clock, signed Barber, Winster, No.391, circa 1760, case with flat top pediment, turned columns with gilt painted capitals, trunk door with mahogany crossbanding, rectangular plinth with crossbanding and raised upon later bracket feet, 12-inch square brass dial with silvered Arabic and Roman chapter ring signed, dial centre finely engraved with scroll work, date aperture and seconds dial, four pillar movement with anchor escapement and rack striking on a bell, movement frontplate with latched pillars and frontplate numbered 391, later seatboard, 206cm high see illustration. Jonas Barber Jnr (b.c.1718-20) was one of the finest clockmakers in the North West. Circa 1748 he began numbering his clocks, engraving the serial number on the movement frontplate (and sometimes with the date of manufacture alongside). His clocks can therefore be dated using these numbers. Barber numbered to the mid 1400s until 1800 when his successor (and former journeyman) Henry Philipson continued the system. See Loomes (Brian) Clockmakers of Northern England, pg 83-84.
A Walnut Eight Day Longcase Clock, signed Rich Martyn, Northampton, circa 1700, case with flat top pediment, barley twist columns, side viewing windows, convex throat moulding above the rectangular moulded trunk door with lenticle, reduced plinth upon a later wooden skirting, 11-inch square brass dial with silvered chapter ring signed, matted dial centre with subsidiary seconds, date aperture, ringed winding holes, (minute hand broken), five pillar movement with anchor escapement and outside countwheel striking on a bell, 194cm high see illustration
A Walnut Eight Day Longcase Clock, signed Saml Harris, London, circa 1730, the nicely figured case with flat top pediment, hood with blind fretted front, brass capped columns, arched moulded trunk door, re-built rectangular plinth, 12-inch arched brass dial with silvered Arabic and Roman chapter ring, matted dial centre with seconds dial, date aperture and signed on a arched silvered plaque, engraved arch with rolling moonphase, later hands, five pillar movement with anchor escapement and inside countwheel striking on a bell, later seatboard, 223cm high see illustration
A Mahogany Chiming Longcase Clock, signed William Page, West End, chime & turret clock manufacturer, Gt Portland St, London, No.559, circa 1860, the case with pagoda pediment and eagle finials, brass capped fluted columns, shaped trunk door inset with reeded pilasters, moulded quatre form rectangular plinth raised on bracket feet, 12-inch arched brass dial with silvered chapter ring signed, matted dial centre, silent/chime selection lever positioned above 12 o`clock, pierced ornate cast filigree work in the arch, the massive triple weight driven movement with anchor escapement and chiming eight hammers on eight bells and a further hammer striking a bell for the hours, 268cm high see illustration
An Early Victorian Rosewood Canterbury, Circa 1840, the five concave shaped dividers with ring turned supports and profile cut uprights, the single drawer above a plain frieze, raised on turned baluster legs with brass caps and castors, 50cm by 39cm by 55cm See illustration
A George IV Mahogany Chiffonier, the superstructure with a three-quarter pierced brass baluster gallery, the lower section of two frieze drawers above two brass grille doors flanked by moulded columns, raised on ring turned compressed feet, 17m by 39cm by 120cm See illustration
A Regency Mahogany Extending Dining Table, the rectangular top with two hinged drop leaves, raised on a centre platform support with four ring turned columns, the platform base with four hipped reeded legs terminating in hairy paw feet and castors, the pull-out section supported on plain tapering legs with toupie feet, with two additional leaves, 224cm by 113cm by 74cm See illustration

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1087811 item(s)/page