We found 1181390 price guide item(s) matching your search

Refine your search

Year

Filter by Price Range
  • List
  • Grid
  • 1181390 item(s)
    /page

Lot 290

A WWII BRASS MODEL AEROPLANE, A BRASS SHELL CASE CANISTER AND A TALLENT CHROMIUM PLATED TABLE LIGHTER

Lot 630

A VICTORIAN MAHOGANY PEMBROKE TABLE ON SQUARE TAPERING LEGS, 75CM H

Lot 596

A VICTORIAN INLAID MAHOGANY SIDE TABLE ON TURNED LEGS AND BRASS CASTORS, 78CM H; 67 X 40CM

Lot 450

A LLOYD LOOM LINEN BASKET, 54CM H, A GLASS BOTTLE VASE, MISCELLANEOUS TABLE LAMPS AND TEA TRAYS, ETC

Lot 559

A CONTINENTAL INLAID WALNUT WRITING TABLE WITH GREEN LEATHER TOP ON SQUARE TAPERING LEGS, 79CM H; 119 X 63CM

Lot 614

A WILLIAM IV ROSEWOOD BREAKFAST TABLE, C1830-40, the round tip-up top on triangular pillar, platform and castors, 73cm h, 137cm diam++Action original and in working order, good colour, old water stains and black marks on platform and around feet

Lot 283A

A 1930'S BLACK AND GILT JAPANNED CANDLESTICK - TABLE LAMP ON DOMED FOOT, 44CM H EXCLUDING FITMENT

Lot 206

A MOULDED BLUE GLASS DRESSING TABLE SET, EARLY 20TH C

Lot 263

A JAPANNED METAL TABLE LAMP AND SHADE AND MISCELLANEOUS OTHER TABLE LAMPS (7)

Lot 636

A CARVED WALNUT SIDE TABLE ON SCROLLING LEGS AND STRETCHER BASE WITH QUARTER VENEERED TOP, 85CM H; 115 X 61CM

Lot 560

A CARVED OAK DINING TABLE ON SCROLLING LEGS WITH PARQUETRY DRAW LEAF TOP, 75CM H X 100CM W

Lot 432

A HMV TABLE TOP GRAMOPHONE IN FITTED CASE, 42CM H; 28 X 16CM

Lot 420

VARIOUS TABLE LAMPS, PLATED FLAT WARE, GREEN ENAMEL DRESSING TABLE SET, ETC

Lot 399

AN ARTS AND CRAFTS EMBROIDERED HANGING OF COARSE LINEN, INSCRIBED T.H.A.W 10 AUG 1905, 156 X 228CM AND A LACE TABLE CLOTH OR COVERLET, BACKED ON CRIMSON WOOL

Lot 419

A THOMAS AND WILLIAMS BRASS AND IRON DAVY LAMP, 24CM H AND VARIOUS OTHER TABLE LAMPS, ETC

Lot 633

A VICTORIAN MAHOGANY SIDE TABLE, 70CM H; 76 X 45CM AND MAHOGANY FOLDING TEA TABLE ON SQUARE TAPERING LEGS

Lot 90

AN ELIZABETH II SILVER WITCH BALL TABLE LIGHTER, LONDON 1959, AN EDWARD VII SILVER CAPPED GREEN GLASS SALTS JAR, 7 CM H, BIRMINGHAM 1904, TWO SILVER AND TORTOISESHELL BRUSHES AND A PIERCED SILVER OVAL SALT CELLAR, BLUE GLASS LINED (5)++WITCHES BALL DENTED. BRASS LIGHTER INSERT NOT WORKING AND WORN. SALT CELLAR DAMAGED.

Lot 611

A VICTORIAN MAHOGANY TILT TOP TRIPOD TABLE ON CLAW AND BALL FEET, 89CM D, INCOMPLETE

Lot 603

A VICTORIAN MAHOGANY FOLDING OCCASIONAL TABLE, 71CM H; 74 X 39CM

Lot 265

TWO BLACK PAINTED WOOD AND BAKELITE TABLE TELEPHONES

Lot 626

A VICTORIAN MAHOGANY PEMBROKE TABLE, 70CM H

Lot 427

MISCELLANEOUS TABLE LINEN AND VINTAGE CLOTHING, ETC

Lot 594

A MAHOGANY SUTHERLAND TABLE, 66CM H

Lot 414

MISCELLANEOUS DECORATIVE BRASS WARE, INCLUDING TABLE LAMP, FIRE SCREEN, FIRE IRONS, WARMING PAN, ETC

Lot 534

A GILTWOOD AND COMPOSITION CONSUL TABLE AND MIRROR, 68CM W

Lot 572

A 1960'S TEAK DINING SUITE, COMPRISING TABLE, SIX CHAIRS AND SIDEBOARD, 86CM H; 137 X 48CM

Lot 635

A MAHOGANY DRESSING TABLE ON TURNED LEGS AND POTTERY CASTORS, EARLY 20TH C, 74CM H; 101 X 45CM

Lot 435

AN OAK TABLE TOP GRAMOPHONE WITH BRASS, HORN AND VARIOUS ACCESSORIES, C1930'S

Lot 574

A GLASS TOPPED DINING TABLE ON CHROMIUM TUBULAR BASE, 71CM H; 152 X 92CM AND A SET OF FOUR CESCA STYLE DINING CHAIRS

Lot 82

AN EDWARD VII SILVER DRESSING TABLE SET, CHESTER 1908, CASED++COMB DAMAGED. TARNISHED

Lot 283

A 1930'S BLACK AND GILT JAPANNED WOOD CANDLESTICK - TABLE LAMP, 41CM H EXCLUDING FITMENT

Lot 586

A VICTORIAN STYLE MAHOGANY EXTENDING DINING TABLE ON BRASS CASTORS WITH ONE LEAF, 78CM H; 215 X 110CM

Lot 552

A VICTORIAN PAINTED PINE PEMBROKE TABLE, 75CM H, A VICTORIAN STAINED PINE CORNER CUPBOARD, 192CM H, ETC (5)

Lot 593

A PAIR OF VICTORIAN MAHOGANY KIDNEY SHAPED BACK DINING CHAIRS AND MAHOGANY TEA TABLE, 74CM W

Lot 117

A late 19th century ebonized and boulle, serpentine card table with metal mounts and a rotating fold-over top, enclosing a green baize surface within a boulle border, on cabriole legs, 30" h, 33"w, 17"d

Lot 352

An early Victorian mahogany snap top table, the circular top with moulded edge on turned column and pedestal base, 28 1/2"h, 22"dia

Lot 208

A late Victorian mahogany cased, table top folding baguette stamped H H Ayers with a green baize interior, 108"l, open 30" w and nine ivory balls

Lot 256

A retro G-Plan extending dining table with rising extra leaf and four matching G-Plan dining chairs with upholstered seats, the table 29" h x 49" x 38 1/2"

Lot 229

A painted coffee table, the square marble effect top with moulded edge, on cream painted cabriole legs with shell and acanthus leaf decoration, 18 1/2" x 45" x 45"

Lot 354

A silver rimmed dressing table pot and mixed items to include a Wedgwood blue Jasperware vase

Lot 238

A 1930s oak gate leg table on barley twist legs, 29" h x 35 1/2"w

Lot 211

A William IV rosewood breakfast table with a tip top, over a turned, carved column and trefoil base with carved paw feet, 28 1/2"h, 53 1/2"dia

Lot 157

Attributed to Emile Galle, Nancy a marquetry low table with the top inlaid with various woods, with a floral design, on carved feet 16" h, 36"w, 24"d

Lot 197

A 19th century gilt gesso table top display cabinet with swag, leaf, laurel and bead ornament, a glazed door, sides and a mirrored back, on scrolled feet

Lot 325

An early 20th century mahogany Sutherland table

Lot 326

An early 18th century drop leaf dining table

Lot 228

An early 20th century silver clad dressing table hand mirror and matching brush, makers mark WJM & Co A/F

Lot 156

A William IV rosewood work table having a hinged top, over a wool well drawer, V shaped under frame and stepped, bead carved base, on curved feet and castors, 29"h, 23 1/2"w, 17 1/2"d

Lot 227

A Victorian walnut pedestal table with a turned, carved column on a tripod base

Lot 264

A pair of early 19th century table spoons with initials to the top, weight 150g

Lot 104

A late 19th century ebonized table with a gilt metal, pierced gallery, on barley twist legs, united by barley twist stretchers, 30" h, 23 1/2"w, 18"d

Lot 259

A G-Plan retro tile topped coffee table with inset smoke tinted glass panel, on splayed legs, united by a square stretcher, 17 1/2" x 47 1/2" x 19 1/2", along with a matching occasional table, 20" x 19 1/2" x 19 1/2"

Lot 174

A George III brass mounted mahogany table clock Thomas Hunter Junior, London, circa 1775 The five pillar twin fusee bell striking movement with trip hour repeat and fine asymmetric rococo foliate scroll and engraved backplate centred with a basket of flowers, the 7 inch single sheet silvered brass break-arch dial with calendar aperture and fine engraved signature Tho’s Hunter Jun’r, LONDON to the centre within Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands beneath subsidiary Strike/Silent selection dial to arch, the bell top case with hinged brass carrying handle and four pineapple finials to the gilt brass rococo scroll mount fronted superstructure over cavetto top mouldings, the front with conforming cast upper quadrant frets and raised mouldings bordering the glazed dial aperture to the door flanked by cast female caryatid applied canted angles, the sides with fillet moulded circular above conforming concave topped rectangular side windows, the rear with break-arch blind panel inset rectangular door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet, 49cm (19.25ins) high excluding handle. Thomas Hunter junior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed 1734 gaining his freedom in 1742, he worked from New Broad Street Buildings, was appointed Warden in 1762 then served as Master in 1765, he died in 1785.

Lot 180

A fine French Empire ormolu and breccia marble figural mantel clock ‘Homage to Josephine’ The movement by Marchand, the case possibly by Pierre-Philippe Thomire, Paris, circa 1805 The circular two train bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the 5.25 inch circular white enamel Roman numeral convex dial signed Marchand, Paris to centre with concentric date-of-the-month between the hour numerals and minute ring and with Arabic five minutes to outer track, with scroll pierced and engraved gilt hour and minute hands and steel calendar hand set behind hinged convex glazed cast gilt brass bezel, the case surmounted with a seated Classical female harpist with a flaming gueridon at her feet opposing winged Amour with quiver of arrows slung over his shoulder and gesturing towards a manuscript inscribed Bouton de rose next to an X-frame table with book resting on top, the dial with elaborate draped lambrequin cast with tassels beneath flanked by stepped D-ended plinth, the upper stage panel-cast with stylised Grecian masks flanked by alternating palmette and foliate scroll decoration to ends over breakfronted marble lower stage applied with mounts cast as putto terms holding aloft floral wreaths over gilt fillet moulding, on platform base with cast bun feet, 46.5cm (18.25ins) high. The movement of the current lot is probably by Charles-Frédéric Marchand who is recorded in Tardy DICTIONNAIRES DES HORLOGERS FRANCAIS as becoming a Paris maître in 1777 and working at Rue St. Martin the following year. Pierre-Philippe Thomire (born 1751) was one of the most important bronze casters of 18th century France, and was later granted the title Ciseleur de l’Empereur (chaser to the Emperor) by Napoleon Bonaparte. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770’s began working with Louis Prieur. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres. Thomire retired in 1827 and died in 1843. The design of the current clock was inspired by a poem entitled ‘Bouton de rose’ (rosebud), by Constance-Marie de Théis, Princess de Salm-Dyck (1767-1845). Published in 1785 in the Almanach des Grâces the poem became famous during the latter part of the 18th century, when it was set to music by the composer Louis-Barthélémy Pradher (1782-1843). The popular singer Pierre-Jean Garat (1762-1823) sang it in fashionable Salons, dedicating it to the beauty of Josephine, the wife of the future Emperor Napoleon.

Lot 187

A second period brass lantern clock with later spring movement The front fret signed for William Selwood, London, circa 1640, the movement late 19th century Now with four pillar single fusee movement with anchor escapement regulated by a short lenticular bob pendulum and passing strike sounding on the original bell above, the dial engraved with central flowerhead enveloped by stylised leafy floral sprays issuing from another flowerhead positioned just above six o'clock and incorporating large blooms to upper and lower margins, with original iron hour hand and later minute hand carefully made to match within applied narrow silvered Roman numeral chapter ring with stylised wheatear hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced shield centred stapwork fret signed William sellwood at y’e Mermayd in Lothbury to lower edge and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, on turned ball feet, 38cm (15ins) high. William Selwood was born in Abingdon in Berkshire in 1607 and is recorded as a Free Brother in the Clockmakers' Company in 1633 until his death in 1653. He trained under Henry Stevens from 1624 to 1632, and worked at the Mermaid in Lothbury till his death in 1653. Selwood was succeeded by his is former pupil, Thomas Loomes, who married Mary, the daughter of Ahasuerus Fromanteel in 1654. A clock by Selwood with related dial engraving to the current lot (albeit around an alarm disc) is illustrated in White, George English Lantern Clocks on page 134 (figure III/14). White also illustrates two further dials by Henry Ireland and Thomas Knifton (both of whom were apprenticed to William Selwood) which also exhibit very similar engraving (figures III/15 and III/14 respectively). The design of fret used on the present clock is of the earlier 'strapwork' type (which was generally phased-out during the 1650's in favour of the later 'foliate' pattern - see White page 144), whilst the frame castings are of typical second period 'Lothbury' pattern which were mainly in use up until around 1660 (see lot 154). These details reflect the fact that by the 1650's Lothbury had become a hub for the horological trade mainly due to the abundant supply of brass and iron from nearby foundries. The efficient supply of raw castings lead to the emergence of a degree of standardisation (assisted by many workshops having shared roots) with regards to frame patterns, dial engraving and fret design. During the latter part of the 19th century the re-purposing of ‘historic’ objects became fashionable in order to create interiors which had an authentic feel of antiquity. Regrettably this fashion meant that many items (particularly furniture) were altered in form and/or had decorative elements added. At this time many original lantern clock survivors were converted from weight-driven to spring movements in order that they can rest on a table or mantelpiece, indeed they became so popular as decorative objects that reproductions began to be made. The current lot was converted at this time however the all of the original frame elements were retained as well as the hour hand hence the original appearance of the clock has been largely preserved and it has good rich patination.

Lot 11

An Austrian japanned brass theodolite Gebruder Fromme, Vienna, late 19th century The telescope with rack and pinion focus adjustment and fitted with a spirit level to top, mounted via a pivot fitted with a vertical silvered Vernier sector onto a curved support over rectangular table fitted with X and Y spirit levels and central glazed compass stamped GEBR. FROMME, WIEN, 632 and annotated N, O, S and W to centre within fine engraved outer degree scale, the lower section with horizontal circle with fine silver Vernier scale, locking and fine adjustment screws over triform ball and socket levelling joint and tapered tripod socket, in original hardwood box applied with trade label inscribed GEBRUDER FROMM, MATHEMATISCH-MECHANISCHES INSTITUT, WIEN, HAINBURGERSTRASSE N’R 21…, to inside of lid, the box 31cm (12.25 ins) deep. The Viennese firm of Gebruder Fromme was formed by brothers Adolf and Karl Fromme when they succeeded Joseph Perfler (established in 1835) in 1884. Their workshop was located at Hainburgerstrasse 21 until 1903 and the business continued in various guises until around 1970.

Lot 66

A pierced brass table clock winding key Probably 20th century in the late 17th century style The loop pierced and engraved with asymmetric tulip stems; with four cast silver coloured metal winged cherub head spandrels in the late 17th century style for a 9.5 to 10 inch longcase clock dial, and a sculpted steel hour hand in the manner of John Knibb, late 17th century, measuring 3 inches from centre to tip, (6).

Lot 102

An unusual Austrian small early pendulum spring-driven timepiece Albrecht Erb, Vienna, third quarter of the 17th century The circular single chain fusee movement with three baluster-turned pillars pinned through the backplate and four wheel train incorporating verge escapement with escape wheel set above the plates and regulated by short bob pendulum suspended from combined top potance and pallet arbor pivot arm, the backplate with blued steel mainspring set-up ratchet incorporating sculpted scroll-pierced pawl spring tail and fine flowering poppy trail engraved and pierced gilt brass footed guard, the upper margin boldly signed Albrecht Erb, In Wienn, the 3.5 inch square gilt copper dial now with applied scroll engraved disc to centre within a silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes beyond the arcaded minute track, with pierced steel hands and fine foliate spray engraved infill to the spandrel areas beneath later added strapwork scroll engraved gilt brass arch panel, the movement and dial now mounted on a mahogany ogee moulded plinth with glass dome cover, the timepiece 12cm (4.25ins) high; overall height including base and dome 19.5cm (7.75ins) overall. Provenance: From the beneficiaries of the estate of the eminent Anglo-Austrian economist and philosopher Friedrich August von Hayek. Albrecht Erb is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working as a master clockmaker in Vienna circa 1661. Britten, F.J. in Britten’s Old Clocks and watches and their Makers indicates that Erb was born in 1628 and died 1714. He is believed to have made watches, astronomical timepieces, horizontal table clocks and ‘Telleruhr’ (plate) pendulum timepieces. Examples of his work are in the collection of the Kunsthistoriches Museum Vienna and have been known to turn-up at auction with notable recent examples being a fine silver mounted horizontal table clock with grande-sonnerie striking which was sold at the Christies, New York sale of The Abbott Guggenheim Collection: A New York Kunstkammer 15th January 2015 (lot 96) for a buyer’s premium inclusive $47,500; and an impressive gilt brass Telleruhr offered at Sotheby’s, Paris sale entitled Pierre Berge -from one home to another 30th October 2018 (lot 4) for a premium inclusive 43,750 EUR. The arch to the dial of the current lot appears to be an 18th century addition hence in its original form the dial would have only been 3.375 inches square. This coupled with the overall compact nature of the movement suggests that it could have been made to ‘accessorise’ a table cabinet perhaps forming the centre-piece of an architectural pediment.

Lot 103

A very rare French Louis XIII small brass lantern or chamber clock G. Estienne, Caen, first half of the 17th century The posted two train bell striking movement with fine Roman Doric turned corner posts and separately wound trains with the going now with verge escapement for regulation by short small bob pendulum, the dial with fine foliate scroll decorated hour disc applied with sculpted steel trefoil hand tip and engraved with Arabic hour numerals for the alarm to outer track, within applied silvered narrow Roman numeral chapter ring with cruciform half hour markers, set onto a dial plate finely engraved with tulip, poppy, narcissi and other floral blooms and trails to the upper and lower margins, beneath conforming engraved shaped front fret centred with a vacant cartouche, small acorn finials and iron-strap bell bearer surmounted with a bulbous brass finial, the base with frame securing nuts and engraved G. Estienne ACaen to underside, (unrestored, formerly verge with balance regulation, lacking countwheel, pendulum rod, alarm and alarm hand; the bell and bearer replaced), 18cm (7ins) high excluding bell and bearer. G. Estienne of Caen does not appear to be recorded in the usual sources. The engraving to the dial plate of the current is very finely executed and composed of scrolling floral trails with different blooms arranged in a symmetrical manner. This engraving can be compared to that on the dial of a chamber clock dated 1588 by Francis Nawe illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 18 (Plate 5), which although incorporates grotesques and a small amount of strapwork is very similar in feel and quality. Francis Nawe was a Huguenot immigrant who is believed to have come to London from Antwerp in around 1575 and died of the plague in 1593. Other timepieces with related engraving are two very similar small table clocks by Bartholomew Newsam illustrated in Early English Clocks on pages 26 (Plate 19) and 29 (Plate 26) and another drum clock by the same maker illustrated on page 28 (Plate 22). George White in English Lantern Clocks also illustrates the side panel of Francis Nawe’s 1588 clock (on page 58, Figures II/23 & 24) and notes that the designs were after Etienne de Laune and Abraham de Bruyn. When the engraving on these late 16th century clocks are compared to those a little later in date it becomes clear that the size of the flowerheads increased and the designs became more abstracted although the symmetrical balance remained. This is well illustrated on the dial of wall alarm timepiece dating to before 1615 by Robert Harvey, London, illustrated in White, George English Lantern Clocks on page 61 (Figure II/30). Interestingly on the same page White also illustrates a possibly English unsigned steel and brass chamber clock with related dial engraving and similar arrangement of hour hand tip applied to revolving disc (this time indicating the lunar calendar) within the chapter ring. One final clock with floral engraved dial worth considering is a silver example by David Bouquet dating to around 1650 illustrated in Early English Clocks on page 61 (Plate 69). The engraved blooms on this example are much larger than the present clock although some semblance of symmetry is retained whilst the quality of execution is good but not as fine as that on the current lot. From the above observations it would seem appropriate to suggest a date of around 1625 for the current lot. The movement was originally made with verge escapement with balance wheel regulation and has separately wound trains which also suggests an early date of manufacture.

Lot 208

A George III brass mounted mahogany table clock Thomas Lozano, London, circa 1780 The five pillar twin fusee movement with verge escapement regulated by short bob pendulum and striking the hour on a bell, with rococo scroll engraved backplate and 7 inch brass break-arch dial plate applied with circular white painted centre signed THO’s LOZANO, EN LONDRES within Roman numeral chapter ring and Arabic five minutes to outer track, with pierced brass hands, and rococo scroll cast spandrels to angles beneath subsidiary calendar dial flanked by conforming mounts to arch, the brass mounted bell top case with hinged brass carrying handle to the brass scroll pierced fretwork border decorated upstand over pinecone finials and cavetto top mouldings, the front door with inset brass fillet moulding to the glazed dial aperture, foliate and scroll cast upper quadrant frets flanked by canted angles adorned with fine female caryatid and pendant floral cast mounts, the sides with circular martial trophy cast brass frets over further concave topped rectangular sunburst cherub mask centred rococo scroll cast frets, the rear with rectangular break-arch glazed door set within the frame of the case, the cavetto moulded shallow skirt base with generous leafy scroll cast feet, 49cm (19.25ins) high excluding handle. Tomas Lozano was Spanish by birth and is known to have worked in both London and Spain. Whilst working in London it seems that he primarily produced timepieces for export to his native Spain; he is also known to have successfully repaired damaged marine chronometers for the Spanish Navy in 1786.

Loading...Loading...
  • 1181390 item(s)
    /page

Recently Viewed Lots