We found 10270 price guide item(s) matching your search

An Asprey travel clock in leather case, rectangular dial with arabic numerals, eight day movement, and a chrome table barometer, signed to the dial, 6 x 5.5cm. (2)

A group of mixed items of metalwork, comprising: a pewter tankard, a pewter chalice, a skeleton clock, a longcase clock dial, a brass table lamp, a watch stand, money boxes, an oil lamp burner, a brazier and a pewter lid (lot)Provenance: the Estate of the late designer Anthony Powell (1935 – 2021)Please refer to department for condition report

A 19th century double sided mahogany library/table clock by Simeon Shole Deptford, the balloon shaped clock case with carved wreath effect detail around each dial, the 17cm brass dial applied with Roman numerals and the makers name below the slow /fast indicator, enclosing the single train fusee movement, 33.5cm high (at fault)Condition reportThe clock glass to the reverse side is detached, the glass to the front side is also loose at the hinge.Multiple splits to the veneer on the case along with various stains.The movement appears 'tight' when wound although it does run however this is no guarantee of working condition.Please see further images of movement

A Brass Carriage Clock with Battery Movement together with a Dressing Table Jewellery Box Containing Pair of White Metal Mount Studs with Spring Relief

A Victorian rosewood-grained trunk dial wall clock, 'London Regulator', British United Clock Co Ltd, with painted dial in octagonal surround, pendulum, 80cm h, a japanned deed box, black painted, a carved oak dressing stool in George II style, a George III oak tripod table-pillar, a 19th c mahogany table in pieces and an oak gateleg table, incomplete (6)

Gilt patinated spelter figural clock mount, together with two Japanese pedestal stainless steel table lighters and a boxed religious plaque

A late 19th century Winterhalder & Hofmeier oak bracket or table clock, the break arch brass dial with silvered Roman chapter ring, Arabic five minute track, matted centre, slow/fast and chime/silent subsidiary dials to the arch with foliate spandrels, the twin train movement chiming on two coiled gongs. The break arch top case surmounted with a gilt brass figure of Mercury flanked by a pair of finials, the canted corners with caryatid floral mounts, heavy cast brass and bevelled glass door, silk lined Rococo brass side panels, pierced grill rear door and plinth base with presentation plaque upon inward scrolling feet, 55cm highDial good. Chapter ring and subsidiary dials with some rubbing/tarnishing, the same to the matted centre. Movement fairly clean but not tested or guaranteed, with pendulum. Case generally good, would benefit from a clean and polish. Brass mounts tarnished. One side fret loose

A Jaeger LeCoultre Atmos 'Vendome' table timepiece or clock, with faux marble columns to each corner, 21cm wide x 16cm deep x 24cm highQty: 1The clock is complete and in overall good condition. Some minor marks to the case and very minor and slight oxidization / or ware to the lacquer. Not guaranteed working.

A Winterhalder & Hofmeier oak bracket or table clock, the rectangular brass dial with silvered Roman chapter ring, Arabic five minute track with slow/fast and chime on eight bells/chime on four gongs, subsidiary dials to the top corners, matted centre and Rococo spandrels, the triple train chain fusee movement striking on a separate gong with pull repeat. The architectural case with applied foliate carved mounts, silk lined fretwork side doors and brass grill rear door upon an inverted break front plinth base, 43.5cm highDial good with some light staining to the matted centre and tarnishing. Movement fairly dirty, would benefit from a good clean and overhaul. Case veneer lifting slightly on the top. Central finial moulding potentially missing. Could do with a good clean and polish.

A George III mahogany bracket or table clock, the break arch silvered Roman dial with strike silent ring to the arch, signed Viner & Co, Royal Exchange, London, Breguet style hands, the twin fusee movement with bell strike, knopped pillars, pull repeat and pendulum hold fast. The break arch single pad top case with twin brass side handles over arched panels, fluted inset quarter columns flanking an arched door with fish scale brass fret to the arch raised upon gilt brass ogee bracket feet, 49.5cm highDial rubbed and tarnished. Movement reasonably clean but not tested or guaranteed. Pull repeat cord missing. Case appears with its original finish with age related marks and patina. Glass to rear door cracked. Silk lining to front door grill tatty. The arched side panels later. The dial 19cm diameter. No signs of a marriage. 

Four boxes of miscellaneous. Including ceramic figures, wall clock, rotary dial telephone, toilet mirror, flagon, table lamps, etc

A LATE 19TH CENTURY CONTINENTAL PORCELAIN FLORAL ENCRUSTED MANTEL CLOCK, A FIGURAL TABLE LAMP AND TWO OTHER PORCELAIN ITEMS, the mantel clock with break to the join of the figural section, keyless wind mechanism, (losses to the floral encrusting), the other items comprise a figure of a girl playing pipes, height 10cm (restored), a modern group of musicians (missing violin bow), the Naples table lamp with porcelain encrusted lace to the dress (extensive losses to the dress and broken fingers) (5) (Condition report: damage mentioned within the description)

THREE BOXES OF TREEN AND HOUSEHOLD SUNDRIES, to include hand carved wooden pig bookends, a group of hand carved wooden figures, two marquetry boxes, a mahogany cased mantel clock, a set of brass on wood Post Office scales (with weights), two Lundtofte -Denmark stainless steel coffee pots, a large wooden pig figure, two cribbage boards, a wooden travelling chess set, a box of linen and lace table cloths and doilies, a Gense - Sweden stainless steel dish, a collection of BBC Homes & Antiques magazine prints, four small vintage Bibles, etc (s.d) (3 boxes)

A hunting scene, oil on board, unsigned, a brass cherub table lamp and a 1930's oak wall clock

A Victorian Boardroom or Table Clock signed Williamson & Sons, Guildford. Contained in an ebonised case with round top, 2 carrying handles, reeded corinthian columns to front, 4 finials on top and cast metal feet. All gilded 8-inch brass dial with chime silent in the arch and Westminster chimes on eight bells. Shell spandrels. Three-train chain-driven fusée movement. Striking on eight bells and chiming on a gong. Back plate of movement signed by Williamson & Sons, Guildford. All engraved with leaves. Pendulum bob engraved with similar design. Rear door has mesh, backed with silk, as does the side brass frets. Dimensions 18" high, 16" wide, 91/2" deep. 2 winding keys, 1 door key.Condition report: All appears present, will need servicing. Some small bits of veneer lifting on one side of case. Bottom left side of front door slight old damage to corner. Movement not tested.NoteNo record found of a Clockmaker Williamson and Sons in Guildford. However the famous cabinet makers Williamson and Sons made fine furniture in Guildford from 1790 to 1889. They are well documented and this maybe a commission piece by them.  

Panerai. Pendulette de bureau en acier remontoir au pendantPanerai. A stainless steel keyless wind desk clock Model: Table ClockReference: PAM00581Date: Purchased 15th August 2014Movement: 21-jewel Cal.P.5000 manual wind, No.007385Dial: Black, luminous baton hour markers, Arabic numeral quarters, gilt polished pointed baton hands with luminous insertsCase: Brushed and polished round bubble, screw down front and back with spherical magnified exhibition glasses, No.OP6993/AN0002563Signed: Case, dial & movementSize: 65mm Accompaniments: Panerai fitted box, Table Stand, International Guarantee Certificate, Instructions brochure, Guarantee brochureFor further information on this lot please visit Bonhams.com

A Zenith chinoiserie lacquered table clock, 1920s, the signed, Roman enamel dial fronting an engine turned single train movement with outside platform escapement, in an ivory, rectangular lacquered case with pagoda top and chinoiserie decoration, gilt brass top handle and cup feet, 8 ¾in. (22.25cm.) high.

A French white marble and gilt metal table clock, late 19th / early 20th century, the white Roman enamel dial fronting a single train movement with platform escapement, in a square marble case with pagoda top, with foliate gilt metal mounts, top handle and toupie feet, 8 ½in. (21.5cm.) high plus handle, overwound.

A dressing table set including clock.

A COLLECTION OF SILVER MOUNTED ITEMS To include: a matched silver mounted four piece dressing table set by Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, Chester 1926 (2), Birmingham 1919 and 1926, with engine turned decoration and engraved SM within a circular reserve, the hand mirror 27.5cm (10 3/4in) long; another silver mounted hand mirror; a silver mounted desk clock by Carr's of Sheffield Ltd., Sheffield 1995, with a reed and stitch border, 7cm (2 3/4in) high; another desk clock by Carr's of Sheffield, Sheffield 2000, 7.5cm (3in) high; and a pair of white metal and paste buckles   Condition Report: One buckle missing two stones and one with a chip. There is no further condition report available for this lot and is sold as found   Condition Report Disclaimer

A Metamee quartz Sunburst clock, a gilt framed wall mirror, bevelled glass and fabric tassels, and a modern table lamp with domed glass shade, and a mixed selection of stoneware jars and pottery kitchen dishes Location:

Tiffany style table lamp, vintage Grundig radio, mantel clock and binoculars etc

A tray containing a Masons Applique mantel clock together with Masons table lamp, tureen with cover, Aynsely trio etc.

A suite of Art Deco onyx mantel clock, shaped case, trapezoid face, replaced quartz movement, 19cm; barometer with square gilt dial, 20cm, garnitures, table lighter, and thermometer; and a small Swiza lacquered brass desk clock.Qty: 7

20th century mahogany cased table clock with a spring driven Elliott movement, with a brass dial and timepiece movement wound and set from the rear. Dial inscribed � J.W. Benson, London�Dimensions: Height: 25cm  Length/Width: 15cm  Depth/Diameter: 8cm

An Aynsley Orchard Gold table lamp, a clock, and a boxed cake plate, lamp 28 cm,

MIXED LOT OF COLLECTORS ITEMSincluding a teak elephant table lamp with a floral shade, 46cm high, four teak Impala, pair of brass candlesticks, 25cm high, pair of brass and mahogany candlesticks, 21cm high, pair of brass and ceramic candlesticks, 19cm high, pair of brass thistle candlesticks, 14cm high, and a mahogany and inlaid mantle clock

A French Brass and Tortoiseshell Striking Eight Day Table Clock, 19th century, movement stamped Maple & Co, Paris, 29cm high; together with a 19th century mahogany single fusee table clock, 6" painted dial signed Boult, Reading, 34cm high (2)

A German Chiming Table Clock, circa 1900, retailed by Gowland, Sunderland, triple spring barrel movement chiming on gong rods, 47cm high

Two sets of Edwardian postal scales, an early Victorian copper tea caddy, clock mounted Rococco type easel toilet mirror, a 20th century drum form table casket set with printed portrait of a young Queen Victoria and other items

A WALNUT AND OLIVEWOOD OYSTER VENEERED AND PARQUETRY LONGCASE CLOCK PROBABLY BY SAMUEL WATSON, LONDON, LATE 17TH CENTURY AND LATER the brass eight day movement with four turned pillars, the anchor escapement striking the hours on a bell, the brass ten and a quarter inch dial with a silvered chapter ring with black Roman hour numerals interspersed with fleur-de-lis markers with a matted centre, with a subsidiary seconds dial, a date aperture and pierced hands, the shuttered wind holes inside cherub head spandrels, the hood with silk backed fretwork frieze, with ebonised spiral twist columns, the trunk decorated with fan and star paterae on an oyster ground, with a glazed lenticle, on a plinth foot, with a pair of weights, pendulum and key 197cm high Provenance The family collection formed at Well Head House, Halifax, Yorkshire. Catalogue Note Samuel Watson (d.1740) was elected as Sherriff of Coventry in 1686 before going to London in 1690. Watson made two astronomical clocks for King Charles II. He had been made 'Mathematician in Ordinary' to the King in 1682 when he delivered the first clock. Watson was the leading astronomical clockmaker at the end of 17th century. He seemed to specialise in table (spring) clocks but he also made some longcase clocks and a number of watches.

Antique French gilt brass table clock with enamel dial, eight-day movement, half-hourly strike on bell and string pendulum. Dorsan Brevete Paris. Dimensions: 22 cm. In good condition.

Antique German walnut Gründerzeit table clock with alarm function + music box. Circa 1900. Dimensions: H 45 cm. In good condition.

1980s Memphis-style metal polychorme table clock with battery function. Dimensions: 15.5 x 18 x 3.5 cm. In good condition.

English burr walnut table clock with moon phase and half hour striking. Weekly runner + brass decorations. 20th century. One spring wound too tight. Dimensions: H 38 cm. In good condition.

Large antique German Junghans table clock with quarter striking. Circa 1900. Size: 57 cm. In good condition.

German walnut table clock with brass. Second half of the 20th century. Mechanical movement with Westminster quarter strike on five gong bars. With enchancement. Dimensions: H 47 cm. In good condition.

Antique Schwarzwalder table clock with series kit and hunting dog. Later fitted with a French mantel clock. Eight-day movement, half-hourly strike on bell. Dimensions: H 49 cm. In good condition.

Dutch walnut Warmink table clock with bronze decorations. Second half of the 20th century. Weekly runner with half hour strike on two bells. Dimensions: H 25 cm. In good condition.

'THE ROTHSCHILD RAFFAELLI MOSAIC TABLE' AN IMPORTANT ITALIAN MICROMOSAIC AND SIENA MARBLE CENTRE TABLE ATTRIBUTED TO GIACOMO RAFFAELLI AND HIS WORKSHOP, ROME OR MILAN, C.1800-10 the circular top finely inlaid with an outer laurel wreath and a band of rinceaux decoration of scrolling leaves and stylised flowers on a white ground, with an inner border of a ribbon spiralling around a vine with leaves and morning glory flowers, the centre with quarter veneered Egyptian alabaster and a lapis lazuli rondel, the revolving top with a gilt bronze band with engine turned decoration, on a Siena marble base, the stem carved with acanthus leaves, the triform plinth carved with further leaves and fluting with a band of ribbon tied laurel leaves 93.3cm high, 95.8cm diameter Provenance Alfred de Rothschild (1842-1918) the Winter Garden at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3,, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian circular table, with mosaic top on giallo marble tripod carved with acanthus foliage, £80.0.0.' Catalogue Note Giacomo Raffaelli (1753-1836) was born in Rome and his family were involved in the mosaic industry providing smalti to the Vatican Mosaic Workshop, the material which mosaics are made of. Giacomo studied painting and sculpture at an early age. He became one of the most celebrated artists in hardstones and mosaics and is credited with the invention of micromosaics in about 1775. He was patronised by Pope Pius XV and worked in both the Vatican workshops as well as from his own studio in Piazza di Spagna. Raffaelli executed a wide variety of objects and furnishings and attained international fame that culminated in 1787 when he was awarded the title 'Councillor of Liberal Arts' by Stanislaus II Augustus, King of Poland. In Rome, he had workshops on the Salita di San Sebastianello and later in Vita del Balbuino. Following the French occupation of Rome in 1797 and the collapse of the local mosaic market he moved to Milan to direct a mosaic workshop and school. This had been founded at Napoleon's orders by Eugene de Beauharnais (Napoleon's stepson) who became Viceroy of Italy in 1805. During the Milan period he executed the monumental Last Supper based on a copy by Giuseppe Bossi. He also produced a fireplace and clock that were said to have been presented to Napoleon as gifts from Pius VII and later housed at Malmaison. He returned to Rome around 1817-20 to his home at 92 Via Babuino (which was designed by the Neo-classical architect Giuseppe Valadier) where he passed away in 1936. Raffaelli's output was considerable. Some of his most important commissions were for the Polish court, including a portrait of the King's brother Prince Michael Poniatowski, Bishop of Poland. He also supplied a pair of specimen marble centre tables to Sir Clifford Constable, for Burton Constable (now in Temple Newsam) and the impressive 'Centrepiece of the Viceroy', probably made for Eugene de Beuharnais (displayed in the Villa Carlotta, Cadenabbia). The Attribution Giacomo Raffaelli is considered the only master of both hardstones and micromosaics. The use of both media in our table point to his manufacture. We can observe various techniques in the making of the mosaic table which also points to Raffaelli. For instance, the inner ribbon band uses both oval and rectilinear tesserae in a naturalistic floral pattern which is evident in his other tables. Other trademark techniques are also evident, including horizontal rows of background tesserae, the outlining of leaves with a single row of tesserae and meticulous execution. The use of rinceaux was a popular motif in tables made at the end of the 18th century by Raffaelli and his contemporaries, for example the pair of tables supplied by Pompeo Savini to the Polish Court at Castello Reale, Warsaw and the pair of tables by Andrea and Michelangelo Volpini at Syon House. Two circular table tops using a band of rinceaux on a white ground are attributed to the studio of Raffaelli di San Sebastianello and they are illustrated in 'Giacomo Raffaelli (1753-1836) Maestro di Stile e di Mosaico' by Anna Maria Massinelli pp.262-263, fig.302 and 303. One in a private collection, the other in the Museo Civici in Bologna. Napoleon and Roman Micromosaics Napoleon and his wife Josephine were avid collectors of micromosaic works of art evidenced by the gift of a pair of vases and a clock by Pope Pius VII on his coronation in Paris in 1804. Following the Napoleonic occupation in Rome between 1808-1814 the Vatican workshops became directly responsible to the Imperial Crown and were commissioned to furnish Napoleon's apartments at the Palazzo Quirinale in Rome. The symbolism employed on our table points to the Napoleonic style, in particular the use of a laurel wreath on the top, also the laurel and acanthus on the wonderful marble base and finally the impressive gilt bronze edge. It is interesting to speculate whether this table was made during Raffaelli's period in Milan possibly as a commission by the Napoleonic Court. We would like to thank Dr Jeanette Gabriel for her help in cataloguing this present lot. For recent auction sales of micromosaic tables attributed to Giacomo Raffaelli, see Christie's, Julians Park, Hertfordshire, 8th June 2021, lot 30 which was inlaid with birds, butterflies and grapes and sold for £100,000. Also Sotheby's, New York, 19th century Furniture and Decorative Arts, 15th October 2015, lot 25 for a rectangular table inlaid with rinceaux and a central oval panel of the Doves of Pliny, $181,250, Christie's, Amsterdam, The Decorative Arts Sale, 22nd September 2010, lot 441 EUR 217,000 for an oval table decorated with goldfinch and Brunk Auctions, Asheville, 6th September 2003, lot 260, the micromosaic top on a painted wood base by Thomas Hope, $400,000. Comparative Literature Jeanette Hanisee Gabriel, Micromosaics in Private Collections. Jeanette Hanisee Gabriel, The Gilbert Collection, Micromosaics. Anna Maria Massinelli, Giacomo Raffaelli (1753-1836) Maestro di stile e di mosaico. E. M. Efimova, West European Mosaics of the 13th-19th centuries in the Collection of the Hermitage.

Robin DayTwo rare cocktail units, model no. 652, designed for the 'Furniture Trades Exhibition', Earl's Court, London, 1951 Sycamore, sycamore-veneered plywood, glass. Each: 183 x 71 x 44 cm Manufactured by Hille & Co., London, United Kingdom. One drawer impressed HILLE OF LONDON.Footnotes:LiteratureArchitects' Journal, 22 Feb 1951, p. 234The Cabinet Maker, 28 April 1951, p. 365Architects' Journal, 2 August 1951, p. 136Mavis Watney, 'Three Robin Day Cabinets', Antique Collecting, The Journal of the Antique Collectors Club, vol. 36, no. 7, December 2001-January 2002, illustrated p. 44Lesley Jackson, Robin & Lucienne Day: Pioneers of Contemporary Design, London, 2011, p. 174Tradition versus Modernity – The Ambiguity of British DesignLesley JacksonWriter, Curator and Design HistorianIt is impossible to understand the evolution of modern British design without addressing the thorny issue of tradition. It keeps bubbling up during the post-war period long after British designers had embraced the concept of 'Contemporary' design. Even in the 1960s, a decade we think of as unashamedly progressive, there was still a vestigial hankering for tradition, manifested through Art Nouveau and Art Deco revivalism. Since the 1980s, historical allusions have resurfaced again in a new guise, often ironic, emboldened by Post Modernism. Without recognising and reconciling these two apparently conflicting impulses – tradition versus modernity – it is difficult to appreciate the distinctive character of British design.It was the Finnish architect Alvar Aalto who helped to sow the seeds of Modernism in the UK. His appealingly tactile bent laminated wood furniture for Finmar [lot 14] found a receptive audience in the otherwise rather stick-in-the-mud market in Britain during the 1930s. Interestingly, as well as being sold through modern design emporia such as Bowman Brothers in Camden Town, Aalto's furniture was exhibited at Fortnum and Mason, a bastion of tradition. Gerald Summers' short-lived company, Makers of Simple Furniture, was clearly inspired by Aalto during its all-too-brief but glorious existence. The few surviving pieces from this remarkable workshop, such as the laminated birch plywood Mirror [lot 4], reflect the British propensity for organic modernism.Like many manufacturers, Makers of Simple Furniture was forced to close in 1940 following the outbreak of the Second World War. The ensuing period of make-do-and-mend austerity meant that ambitious young furniture designers, such as Robin Day, had to put their careers on hold for over a decade. The Festival of Britain in 1951 was a seminal event in British post-war design. As well as kick-starting the country's economic and cultural recovery, it provided a launch pad for a host of up-and-coming designers, including less well known figures such as the architect Ray Leigh, who went on to become Design Director at Gordon Russell, as well as acknowledged names such as Ernest Race and Robin Day. Day had already achieved international renown in 1948 when he and Clive Latimer won first prize in the storage section of the International Low-Cost Furniture Competition organised by the Museum of Modern Art in New York. It was this competition that brought Day to the attention of Hille, the firm with whom he would collaborate so productively for the next three decades. Day was determined to make the most of the unique opportunities provided by the Festival of Britain to showcase his ideas and get his furniture into production. As well as winning the contract to design the seating for the Royal Festival Hall, he created several room settings for the Homes and Gardens Pavilion. His stylish steel-framed room divider featuring an etching by the sculptor Geoffrey Clarke took pride of place in an open-plan living room / dining room, along with the aerodynamic moulded plywood chairs he had created for the Royal Festival Hall. While these designs are justifiably famous, some of Day's other contributions to the Festival are less well documented. Amongst these was a Cocktail Cabinet [lot 1] originally created for Hille's stand at the Furniture Trades Exhibition at Earl's Court in January 1951, which was later incorporated into a Country Parlour at the Festival designed by Eden Minns on behalf of the Council of Industrial Design. These cabinets, with their attractive sycamore and cherry veneers and their beaded tambour-effect bottom cupboards, are a curious hybrid, harnessing the traditional cabinetmaking skills of Hille's workforce, but embodying new ideas about functionalism and the clean-lined aesthetics of modern design. Although Robin Day's success at the Festival convinced Hille to pin their flag to the mast of modern design, other firms, such as Gordon Russell, who were based in Broadway in the heart of the Cotswolds, took a more measured path. Their post-war output continued to reflect the dichotomy between tradition and modernity, as evidenced by the finely crafted executive Desk [lot 22] designed by Ray Leigh and Trevor Chinn.The artist craftsman John Makepeace, who rose to prominence in the 1970s, is another designer whose work fuses tradition and modernity. On a purely technical level, his Fireside Desk [lot 10] represents the pinnacle of centuries-old hand craftsmanship, reflecting his conscious decision to pursue craft as an alternative to functionalist mass-production. Unexpectedly perhaps, the design incorporates some unmistakably modern materials, such as melamine and stainless steel. Makepeace's mastery of lamination and his fascination with organic forms also hark back to Alvar Aalto. The technical ingenuity displayed by John Makepeace, along with his entrepreneurialism, are both recurrent features of British design. Not surprisingly, these two characteristics frequently go hand-in-hand, with designers such as Ernest Race establishing their own companies specifically to produce their own technically unconventional designs [lot 8]. Artists Eduardo Paolozzi and Nigel Henderson, who teamed up in 1954 to found Hammer Prints to produce their own textiles, lamps and furniture, also demonstrate these qualities [lot 7]. They, too, were mavericks who chose to operate independently outside the establishment framework. Significantly, their radical pick-and-mix eclecticism drew on 'borrowed' imagery from historical sources, including 17th century woodcuts and 18th and 19th engravings, another typically quirky example of the fruitful alliance between tradition and modernity in British design.Paolozzi and Henderson's mischievous iconoclasm and do-it-yourself mentality have parallels with the ethos of New Wave designers Tom Dixon and Mark Brazier Jones, who pioneered the concept of Creative Salvage during the 1980s. In their case, however, it was the collapse of manufacturing that prompted them to become designer-makers. Dixon's iconic S Chair [lot 27] with its steel base and armature has an overtly contemporary aesthetic, although its rush upholstery derives from traditional crafts. The shock tactics of this deliberate mismatch enhance its visual impact. The incongruous marriage between tradition and modernity also lies at the heart of many of Mark Brazier Jones's pieces, such as his Dressing Table and Mantle Clock [lots 23 and 37] with their playful allusions to extravagant 18th-century rococo idioms. Such objects were already an anachronism by the 1990s but J... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Composite fisherman figure clock table lamp, 76cm high.

Vintage melamine sideboard, yew two drawer drum table, yew hall table, two standard lamps, two magazine stands and wall clock (8).

Nest of three ball and claw leg tables, small pedestal table, mantel clock, small bow front cabinet, two stools and three occasional tables (9).

A box containing contemporary wall clock and barometer, brass and glass table lamps, foot stool etc.

Three decorative table lamps. Includes cast iron fan, pressure gauge lamp/clock and a teak example with glass detailing.

A GROUP OF LAMPS comprising an oak cased mantel clock (with key), three table lamps with shades, a brass oil lamp with a glass shade decorated with game birds, a black Anglepoise - Model 90 lamp, a salt glazed stoneware flagon and large pot, a handmade clay derelict house, etc (s.d) (10)

A dressing table mirror, table magnifier, leather travelling clock and a small book slide (4)

Poole of Allertons Table Pottery, ribbon plates, Worcester Hop 'Mathew' Clock, Imari and collectors plates, etc:- Two Boxes

A rare and early 18th century, quarter repeating German gilt table clock engraved M Rieppolt in Regenspierg (Regensberg Germany) with 50mm silvered chapter ring and gilded centre engraved Rieppo. Hexagonal shaped case standing on turned feet glazed sides and bell to the bottom. The case opens up to reveal a chain driven verge movement striking with two hammers on a bell. Lovely engraving to the top of the movement and signed M Rieppolt in Regenspierg (Regensberg Germany) Untested. Rieppolt (Riebold) is recorded as working in Regensberg Germany in 1727. Reference G.H Baillie Watchmakers and Clockmakers of the World page 269 W:9cm x D:9.5cm x H:8cm https://youtu.be/zTmZJePwoVQ https://youtu.be/xXFqd-t8ZBA

A box of mixed ceramics including Nao figure, Country Artists Labrador, Masons Mandalay table lamp, clock and plate etc

ONYX TABLE LAMP & A CHERUB MANTLE CLOCK

A small Edwardian balloon shaped inlaid Table Clock, 24cms (9 1/2"); together with another larger inlaid oak cased Mantle Clock, 37cms (14 1/2"). (2)

A pair of 19th century brass candlesticks the bases in the form of butterflies; a pair brass ejector candlesticks; a brass picture table easel; an novelty nutcracker in the form of grandfather clock; another commemorating Shakespeare; wick trimmer etc.

Flatware - three Sheffield Hall Mark company basting spoons housed in velvet slip; James Lodge Ltd fine quality silver plated table ware; H.Housley & Sons, Sheffield butter knives; cased set of Electro Plate apostle spoons; etc; a pair of miniature brass candlesticks, Toby jug, clock and boots

A brass novelty automaton table clock, as fish in a bowl, central posted globular dial with Arabic numerals, the fish oscillating with the escapement 15cms high

Rothemel Ltd hot water bottle, Smiths English Clocks Ltd table lamp clock, Viceroy razor (boxed), circular glass plates, a Moldacot patent sewing machine (1 box) 

Tiffany-style table lamp, anniversary clock, assorted glass ornaments, Delft house ornament, figures, Wedgwood Jasper ware pin dish etc (two shelves).

The Regent petit point dressing table set with clock and candlesticks.

Table clock in walnut case with metal and brass dial, 38 cm high