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Lot 14

Nazi Germany D.L.V. 1st pattern dagger and scabbard by Gebr Heller Marienthal. Features nickel urn shaped pommel & winged guard numbered 542 with rotating swastika panels, with dark blue brown leather grip. Excellent condition 17.5 cm long maker marked and numbered ‘164’ blade, retaining leather washer. Blade fits well into the nickel and Moroccan leather scabbard, showing light wear overall, retaining suspension ring & hanger, with slightly dented ball end. Good unit stamps to throat, including swastika eagle propeller. Scarce 1st type dagger. Scarce.

Lot 95

1796 pattern British Army light infantry officer’s sword and scabbard named to C.C. BAKKER. Wire strung grip solid with worn gilt wash hilt fittings, urn shaped pommel and D’ shaped hilt guard, partially folding half circle langet, folding lock not locking, guard with floral designs to underside and to end of quillon includes officer’s name etched to bottom. Single edged blade, etching visible but worn, blade straight, no visible makers marks. Leather scabbard with worn brass and gilded fittings, scabbard bottom metal mount taped on, with damage to upper leather mount. Overall measures 97cm.

Lot 330

A reconstituted stone urn and stand

Lot 151

A polished serpentine urn and Pagoda style cover, 41cm high

Lot 1050

A large garden urn

Lot 212

19th Century Masonic powder horn, with a Crown above 33 I AD, a flowering urn below with Masonic symbols surround, 36cm long

Lot 27

A pair of Edwardian Coalport miniature vases, of baluster form with twin foliate clasped handles, decorated with a circular reserve of flowers against a cobalt blue ground, gilt highlights, pattern V7586/285, each 7.5 by 11cm, together with another pair of Coalport vases, of tapering urn form, decorated with an overlaid gilt frieze of birds against a blue pattern below, check borders and gilt rims, pointed leaf feet, pattern V6662/223, each 6 by 7.5cm. (4)Provenance: Private Deceased Estate

Lot 814

Two Royal Doulton figures Biddy and Monica, Paragon flower decorated dish, Royal Crown Derby twin handled urn, Carlton Ware pot and cover, lady artist painted vase etc Condition Report: Doultons both AF.

Lot 927

Charles Stuart (fl. 1854-1868) Dutch old master style still life with a basket of fruit, gros-point needlework and urn, oil on canvas, in gilt frame, signed and dated 1862, 65 x 48 cm

Lot 302

Pair of carved soapstone urn table lamps raised on dolphin supports, 62cm tall to to of the shade

Lot 339

Two ceramic garden urn planters, one repaired, 40cmH and 29cmH

Lot 680A

A glazed ceramic garden urn/planter, together with a terracotta flower pot

Lot 145

A SILVER POINTED-OVAL CAFÉ AU LAIT POT With am ebonised side handle and finial and engraved with a shield cartouche, a fluted urn and garrya swags and pendants, mark of the Barnards, London 1907, 19.5cm high (7 ½ in), 350g gross (11 ¼ oz)

Lot 1532

A pair of Swansea porcelain urn shape vases having twin ram's head handles, circa 1815, a thick everted rim, and the body moulded to each side with swags of flowers, painted with pink roses on a gilt ground and raised on circular pedestal base, red Swansea mark to the base, 14.5cm high (2)

Lot 2008

Thomas Shepherd, London 1786, a George III silver mustard pot, reticulated cylindrical form, bright cut and banded with Vitruvian scrolls and floral motifs, the tapered domed lid with urn finial and pierced lyre thumb piece, 10cm high, 3.00ozt Provenance: Woolley and Wallis 28th October 2008, lot 447; Petzall Collection See the Colman Collection number 19 for a similar example of this date

Lot 2068

Charles Chesterman II, London 1807, a George III silver mustard pot, of oval navette form, bright cut engraved and reticulated borders, reeded rim, shallow domed hinged lid with urn shape finial, reeded angular handle, blue glass liner, 8cm high, 8.58ozt

Lot 2035

Thomas Hobbs and James Taylor, London 1798, a George III silver mustard pot, straight sided oval form, plain with moulded borders, boat lid and cast urn finial, S scroll handle, glass liner, 8.5cm high, 4.37ozt

Lot 2016

John Wakelin and William Taylor, London 1776, a George III silver mustard pot, Neoclassical ovoid pedestal urn form, relief moulded with vertical stripe design and cast shell thumb piece, artechoke finial and gilt interior, 13cm high, 7.30ozt

Lot 2052

Alexander Field, London 1794, a George III silver oval straight sided mustard pot with reeded borders, the domed hinged lid with urn shape finial, scroll reeded handle, shaped openwork thumb piece, glass liner 8.3cm high, 3.29ozt Notes: single initial to one side, wild boar motif for Campbell or Sanders to the second side

Lot 1447

A Royal Worcester blush ivory ground two handled urn shape vase florally decorated in coloured enamels including honeysuckle and jasmine, within green painted and gilt lined borders, lion mask stylised handles, green printed factory marks, date code for 1901, 36cm high

Lot 2015

Solomon Hougham, London 1792, a George III silver mustard pot, square section octagonal ovoid form, bright cut decorated with floral festoons and leaves and central coat of arms, the reeded scroll handle to the centre of one side, the hinged lid with urn shape finial and spoon aperture, blue glass liner, 8.5cm high, 9.46ozt

Lot 1448

A Royal China Works, Worcester blush ivory ground with green highlights, twin handled urn and cover of baluster form, decorated with pastoral scene overlaid with stylised tree branches highlighted in gilt, and raised on circular pedestal mounted on square plinth base, the domed cover with green and gilt edged finial, brown printed mark to base, 33.5cm high

Lot 20

A French silver gilt and cut glass pepper pot, HO, Paris circa 1890, pedestal bombe urn form, the double ogee gourd fluted body, within cast lappet and scroll mounts, 11.5cm high

Lot 2018

Duncan Urquhart and Naphtali Hart, London 1797, a George III silver mustard pot, bright cut engaved pedestal urn form, gilt interior and glass liner, 10cm high, 3.28ozt

Lot 2051

William Plummer, London 1780, a George III silver mustard pot, cylindrical form, bright cut and reticulated with a central band of entwined flowers between galleried borders, punctuated by urn and rosette roundels, ogee domed lid with cast beaded shell thumb piece, glass liner, 8.5cm high, 2.95ozt

Lot 1503

J H Plant for Royal Doulton, a scene painted vase and cover, twin handled footed urn form, views of Venice, RA7090, within heavily gilded cobalt blue ground, signed, 15cm high

Lot 1028

Abele Jacopi for Lenci, a figure, Ragazza Abyssinia, circa 1936, modelled as a semi nude woman resting on a large water urn, signed and painted marks, 45cm high

Lot 89

A boxed pair of George V silver mustard pots and spoons, Goldsmiths and Silvermiths Company, London 1920, rectangular section footed urn form, glass liners, 6cm high, 5.47ozt

Lot 2017

Robert Hennell, London 1784, a George III silver mustard pot, pedestal urn form, bright cut and reticulated in the Neoclassical style, rosettes and grilles between Vitruvian scroll bands, beaded to the foot and rim, the lid of waisted and ogee domed form, ear handle, glass liner, 13.5cm high, 4.17ozt Provenance: Mary Cooke

Lot 67

A George V silver pepper pot, George Nathan and Ridley Hayes, Chester 1911, Neoclassical pedestal urn form, reticulated arcading and fluting below a beaded rim, on a square base, blue glass liner, 12cm high, 1.86ozt

Lot 1434

A Coalport jewelled vase, 1891, pedestal urn form, relief moulded horned handled, the gilt body with turquoise enamel dots, between cobalt blue and Rococo scroll borders, 16.5cm high

Lot 1456

A Pair of Royal Worcester blush ivory urn vases and covers, the body florally decorated in coloured enamels between gilt and shaped borders and raised on pedestal circular steeped bases, gilt lion mask scroll shoulder decoration, the domed covers with gilt finials, date code for 1909, puce printed marks, 41.5cm high (2)

Lot 2084

Eliza Godfrey, London 1762, a George III silver mustard pot of cylindrical form, heavily decorated with scroll and leaf decoration and with urn style motifs between alternating head busts, foliate scrolled foot and decorative borders, the hinged cover with leaf and floral scroll motifs and with central lion head mask in oval raised border, scroll handle and shell back thumb piece, glass liner 8 cm high, 7.94ozt

Lot 2043

Stephen Adams, London 1805, a George III silver mustard pot of barrel form with reeded decoration, and with reeded handle and scroll thumb piece, hinged lid with urn shape finial, glass liner, 8 cm high, 3.85ozt

Lot 199

A late 19th Century Chinese lidded urn vase of large tapering form being hand painted and enamelled with central panels, one side depicting a prancing pony amongst purple plum trees and the other decorated with a crane in the water amongst leaves. The borders having geometric pattern red ground with Greek key and floral accents throughout. Character marks to base. (A/F) Measures 45 cm tall.     

Lot 76

ANTIQUE DIAMOND AND ENAMEL HAIRWORK MOURNING BROOCH, set with a rose cut diamond encrusted urn and blue and white enamel, 6cm, 22.8g.

Lot 171

A Victorian gilt brass mounted ebonised quarter chiming bracket clock in the George III style J. C. Jennens, London, late 19th century The substantial four pillar triple chain fusee movement with anchor escapement regulated by lenticular bob pendulum, chiming the quarters on a graduated nest of eight bells and striking the hour on a further bell, the backplate engraved with a central twin-handled urn within stylised line borders and with pendulum holdfast screw, the 7 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with starburst half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and rococo scroll cast spandrels beneath subsidiary CHIME/SILENT selection dial flanked by conforming mounts to arch, the inverted bell-top case with hinged brass carrying handle and vase finials to superstructure over brass fillet inset glazed dial aperture and conforming fish scale fret upper quadrant panels to front door, flanked by female caryatid mounts to the canted front angles and circular over concave-topped rectangular brass fillet edges fish scale frets to sides, the rear with rectangular glazed door, on moulded skirt base with scroll cast brass bracket feet, 49cm (19.25ins) high excluding handle. John Creed Jennens was born in 1822. He specialised in musical and chiming clocks and first worked in Birmingham (1845-53) before moving to Great Sutton St, Clerkenwell, London where he was based 1863-83.

Lot 201

A George III mahogany eight-day longcase clock William Creak, London, circa 1760 The eight-day five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced blued steel hands and applied with twin bird and urn cast spandrels to angles, the arch centred with a circular silvered boss signed W’m Creak, London flanked by dolphin cast mounts, in a case with break-arch dentil cavetto cornice over brass stop-fluted columns flanking the glazed hinged dial aperture, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with break-arch flame-figured door flanked by brass stop-fluted rounded angles, on raised shaped panel fronted plinth base with moulded double skirt incorporating shaped apron to lower edge, 222cm (87.5ins) high. William Creak is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a ‘fine maker’ who worked in London from 1754-63. Other sources indicate that he was working from 1740-75 and his workshop was located in the Royal exchange from 1754. Creak supplied musical and automaton clocks for export to the Middle East and China and often incorporated similar complications into examples made for the domestic market.

Lot 195

Ï’A fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

Lot 206

A George III mahogany table clock Bearing a signature for Benj, Gray, London, late 18th century The five pillar twin fusee bell striking movement with verge escapement and trip repeat, the backplate engraved with a Neo-Classical urn centred cartouche within delicate rococo scroll infill, the 6 inch cream painted Roman numeral break-arch dial with calendar aperture and bearing inscription Benj. Gray, LONDON to centre, with Arabic five minutes to outer track and pierced brass hands beneath STRIKE/SILENT selection dial to arch above, the bell-top case with hinged brass carrying handle and vase finials over complex top mouldings, the front door with brass fillet bordered glazed dial aperture and scroll-pierced upper quadrant frets, the sides with break-arch windows and the rear with break-arch glazed door, on cavetto moulded skirt base with brass ogee bracket feet, (pallets and pendulum assembly lacking), 43cm (17ins) high excluding handle. Provenance: Brocket Hall, Hertfordshire.

Lot 73

A selection of wooden longcase clock case fittings For use in the restoration of 17th century and later longcase clocks Including six giltwood ball and spire finials, a set of three flambeau urn finials, a group of hood column caps and bases, two walnut and one ebonised trunk door lenticle surrounds, and a quantity of assorted bun feet, (qty).

Lot 282

A 20th neo-classical type marble urn lamp, with gilt metal highlights, on gilt metal additions with entwined handles, inverted mount and foot, on a shaped stepped marble base, with electrical fitting, 57cm H.

Lot 297

Various Wedgwood blue Jasperware, to include an urn vase with satyr mask handles, decorated with classical figures, on an inverted stem and square foot, 28cm H, lidded jar, another smaller, tazza, lidded sugar bowl, golfing saucer and two green Jasperware vases. (a quantity)

Lot 304

A 19thC oak and mahogany longcase clock, the swan neck pedimented hood surmounted by an urn and eagle finial, flanked by two further urn finials, above half carved columns and a shaped long trunk door, with crossbanding and shell patera, above an oval panel, on compressed bracket feet, the painted 34cm W arch dial signed Geo Williams Montgomery, with Roman numeric dial, subsidiary second hand and date aperture, 8-day movement, 234cm H.

Lot 154

A marble, brass and gilt metal clock garniture, comprising clock, with bird and garland finial, raised above a 9cm Dia. face with enamel Arabic dial, on cylindrical pillars terminating in a shaped base on squat feet, and two urn garniture, in neo-classical style, the 8-day movement striking on a bell the hour and half hours, with pendulum and key, 44cm H.

Lot 350

An early 20thC oak cased Vienna wall cut, the cornice with three urn finials, above a carved floral patera, a heavily carved glazed case flanked by quarter columns, with 15cm Dia. Roman numeric dial revealing a 8-day keywind movement, 100cm H.

Lot 385

A late 19thC Gustav Becker walnut cased Vienna wall clock, of rectangular form, with urn and sun patera finial, quarter columns and gadrooned under section, with a three part glazed case housing a 19cm Dia. Roman numeric dial marked GB, with subsidiary Arabic second hand, 8-day movement with twin weights, 112cm H.

Lot 177

A decorative urn and two lamps

Lot 320

A pair of late 19th century French ormolu and white marble twin-light candelabra in Louis XVI style, each with urn shape nozzles supported by scroll and hoof branches, centred with a flaming torch, above a beaded circular stepped base, stamped to the underside '440 EP', 27.7cm high. (2)

Lot 179

A George III urn stand, the undulating gallery above a pull-out slide and on stop fluted square tapering legs, on unusual waisted block feet, 71.2cm high, 38.6cm wide, 30.8cm deep.

Lot 202

A brass lantern clock, the eight day brass twin fusee movement with an anchor escapement and striking on a bell, with a circular dial with Roman numerals and an engraved centre, signed 'Smorthwaite Colchester', the case with urn finials and pierced fret panels, the front engraved with dolphins, on ball feet, early 18th century and later, 37.2cm high.

Lot 767

A late Victorian mahogany and marquetry demi-lune side table, the crossbanded top inlaid with an urn of flowers and scrolling leaves, the frieze inlaid with ribbon tied drapes and with a drawer, on square tapering legs united by an undertier, 76.5cm high, 58.5cm wide, 30.5cm deep.

Lot 766

A late Victorian mahogany and marquetry dressing table mirror, the bevelled shield shape plate above a serpentine box base inlaid with an urn of flowers, with three drawers and on bracket feet, 69.8cm high, 62.5cm wide, 23.4cm deep.

Lot 47

A pair of George III brass candlesticks, each with an urn shape nozzle above a knopped stem and a swirl dome base, 23.3cm high. (2)

Lot 571

λ An early 19th century ivory ornamentally turned urn and cover, with ribbed and fluted decoration, with a slender stem and square base, 19.5cm high.

Lot 305

A pair of 19th century giltwood and composition three-light wall sconces in Adam style, each with an urn of flowers surmount, with ram's masks issuing beads above scrolling leaves, with three leaf decorated branches, 54cm high, 37cm wide. (2)

Lot 224

A pair of Arts and Crafts style brass and steel andirons, each with a pierced rondel decorated with an urn of flowers, on scroll supports, one stamped '48', late 19th / early 20th century, 42.3cm high, 25.5cm wide, 25cm deep. (2) Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

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