We found 68875 price guide item(s) matching your search

A Victorian Mahogany, Inlaid and Parquetry Decorated Two-Piece Bedroom Suite, late 19th century, comprising: a breakfront mirror door wardrobe, with two cupboard doors flanked by fluted column supports, the five graduated mahogany drawers below flanked by mirror doors enclosing hanging space (one side fitted with a base drawer)120cm by 64cm by 210cma matching dressing table with bevelled glass pivoting plate between fluted tapering supports and urn finials with two bowfront drawers below, all above seven drawers around an arched apron136cm by 60cm by 163cmA Similar Edwardian Mahogany and Boxwood-Strung Tub-Shape Armchair, recovered in duck egg blue fabric, on square tapering legs with spade feet55cm by 43cm by 78cm (3)

A Victorian Satinwood, Rosewood-Crossbanded and Marquetry-Inlaid Pembroke Table, in George III style, the top inlaid with a border of trailing leaves and flowerbells around a central segmented oval above a mahogany-lined drawer decorated with an urn, flowerbells and leaves, on square tapering legs with capped feet73cm by 60cm closed by 68cm

A Victorian Gilt and Gesso Girandole Mirror, 2nd half 19th century, the later bevelled glass mirror plate within a stiff leaf border supporting two candle arms and surmounted by an urn116cm by 56cm

A Regency-Style Carved Mahogany Three-Seater Sofa, circa 1900, recovered in grey and beige fabric decorated with peacocks and foliage, the reeded frame centred by an acanthus-decorated urn issuing swags, with reeded and serpentine-shaped arm supports with acanthus-carved hand grips and fluted supports, on tapering and fluted forelegs with carved claw feet187cm by 70cm by 93cmRecently recovered, therefore fabric in excellent condition framework also very good

A Pair of George III-Style Adam Design Carved Mahogany Demi-Lune Side Tables, late 19th century, the reeded tops with fluted friezes and centred by a bowfront drawer carved with an urn and flanked by acanthus leaves and flowers, on square tapering legs decorated with flowerbells and on spade feet106cm by 44cm by 80cm

A Georgian style mahogany breakfront bookcase, the broken arch pediment with urn finial over dentil cornice and four astragal glazed doors opening to adjustable shelves, above two drawers and four panelled cupboard doors to base, H224cm, W211cm, D41cm

A set of three Minton ceramic tiles, depicting an urn issuing a bouquet of flowers, together with four other tiles

A collection of contemporary ceramics by Brady & Jordan of Liverpool, to include; flat-sided urn shaped vase, decorated with abstract nude figure, printed marks verso, h.32.7cm; a pair of opposing circular plates, of slightly dished form, decorated with nude male and female striding figure, printed backstamps verso, dia.22.2cm; and a pair of small vases (one with significant damage and restoration), each h.16.5cm (5)

FRANZ BERGMAN (AUSTRIAN 1861-1936) A cold painted bronze figure of a Whirling Dervish, with impressed B in urn to back and numbers 2746 to underside, 20cm high Condition Report:figure may have been overpainted at some time, rubbing all over

FRANZ BERGMAN (AUSTRIAN 1861-1936) A cold painted bronze figure of an Arab man, sitting on a camel and holding a rifle, with stamped B in urn to side, 13cm high Condition Report:Rubbed areas of paint all over and rifle is bent

A ROYAL CROWN DERBY URN AND COVER the body with lion's head masks and upon four paw feet, the white and blue ground painted with a panel of a girl in a rural setting, with painted numbers 9143 & 1662, 25cm high, together with a porcelain box and cover with rams head corners and cherub finial, a pair of masks and painted with flowers,  and a continental pottery wall flower holder (3) Condition Report:box 22cm w x 15cm d x 20cm high

A VICTORIAN BURR WALNUT VENEERED EBONISED FOLDOVER CARD TABLE  with shaped rectangular top concealing red baize playing surface over brass mounted apron with inset porcelain plaques on turned supports with out swept feet terminating in ceramic casters joined by turned stretcher adorned with brass urn, 76cm high x 92cm wide x 46cm deep Condition Report:Available upon request

Victorian cast iron Campana shaped garden urn, with lobed rim on square base and stepped square plinth, D79cm H110

Regency style silver plated two handled urn shaped Champagne cooler, with gadrooned rim on stepped circular base, H25cm

Deane & Co. London Bridge - Victorian copper urn shaped Samovar, capstan lid with ceramic finial, two gryphon cast ring handles and brass tap, on column support and square base with four scroll feet, H52cm

This lovely farmhouse chic vase is well crafted in a luxurious rich white glaze over a classic urn shape. The delicate handles have a distinct nod to the craftsman style which is a nice contrast to the Roman column patten around the exterior of this fine ceramic piece. Dimensions: 4.5"L x 3.75"W x 6.5"HCondition: Age related wear.

An early 20th century decorated and parcel gilt pier looking glass in the manner of William Kent, the broken acanthus swan-neck pediment with brass urn finial. 36' x 19½'

A Queen Anne walnut cabinet on chest, the double arch pediment with three urn finials over a pair of conforming doors with shaped arched bevelled plates, enclosing an arrangement of thirteen feather banded drawers, the chest with two short over two long feather banded drawers with later brasses, raised on turned bun feet. Early 18th century with some later elements. 38' wide x 73' high x 18½' deep

George III oak-cased 8-day brass dial longcase clock with unusual spherical lunar calendar, the 13-inch break-arched two-piece dial signed John Fletcher, having a silvered chapter ring with Roman hours, Arabic minutes and half hour divisions plus inner quarter hour track, framing foliage-engraved centre with subsidiary seconds dial over ringed winding arbors and terrestrial calendar, all within Baroque urn spandrels, the arch with sea serpents flanking a rare spherical ball moon engraved with phases of waxing and waning, stars and lunar calendar ring, in convex housing, the knopped and finned four-pillar movement striking on a vertically-mounted bell, the case with pagoda surmount and ball-and-spire finials over fluted Corinthian columns to the break-arched hood, ebonised edge mouldings to trunk and base, with handwritten internal label "This clock was restored and presented by John Whiteley Ward of South-Royde Halifax Yorkshire to his Son-in-law William Windus of Clifton Bristol. Christmas 1879" , 244cm high, sold with two brass weights, pendulum, and winder

George III verre églomisé oval miniature, with chinoiserie decoration of a 'Chinaman' seated beneath a canopy before a chequered floor, 69mm x 55mm, in brass surround and ebonised frame with urn suspender and loop, 15.5cm overall

Mid 19th Century French Sèvres-style porcelain-mounted mantel clock, the 3.25-inch circular dial with bleu celeste ground gilt Roman chapter ring framing cherub musician, over a panel of Liberal Arts and two cherub supporters to side panels, the two-train movement stamped 'AD' (for Auguste-Maximillian Delafontaine) and numbered 1093, striking on a bell, the architectural case having an inverted breakfront roof with oval portrait to surmount between cherubs, urn and flambeau finials supported by caryatids, on toupie feet, 36.5cm high, raised on original inverted breakfront giltwood base, 40.5cm high overall, with original numbered pendulum and later winder

Antiquities - early alloy bowl of hemipsherical form with rolled rim over incised frieze band, 9.5cm diameter x 4.2cm high, with accompanying label 'English Anglo Saxon cremation urn. 6th Century Found North West Norfolk Coast'

Late 19th Century French gilt spelter and porcelain mounted mantel clock, with 3-inch cellular Roman dial, the lower panel depicting a lady fishing beside a river, unmarked two-train bell-striking movement, the cast case, with urn surmount, stamped P. H. MOUREY, 34cm high, sold with glass dome (no plinth), key and pendulum

A George III giltwood mirror,c.1760, Irish, in the manner of Thomas Chippendale, with a later arched plate in shaped mirrored borders, surmounted by a pagoda and entwined with fruiting vines, restorations and losses,124cm wide235m highProvenance: Farmleigh, Entrance Hall.Condition ReportThe centre mirror plate later. The frame suggests there would have been a horizontal plate divider across the middle, now masked by regilding. Some loose pieces of decoration (which are present - one vine leaf from right hand side of the frame, and one flaming urn finial from the right hand side). Central mirror plate presumed to be later. The frame regilded and restored. Additional images uploaded.

A George III-style cast iron fire grate,with urn-decorated backplate, cut-steel apron and finials to the legs and uprights,76cm wide41cm deep85cm high, anda cut-steel serpentine fire kerb,103cm wide38cm deep12cm high (2)Condition ReportRusted, but not cracked or with apparant damages

An Edwardian mahogany and satinwood Sheraton Revival cheval mirror,c.1910, with a break-arch swan-neck pediment surmounted by urn finials, the rectangular bevelled plate surrounded by an inlaid and painted frame, raised on four sabre legs, terminating in brass feet and castors,84cm wide66cm deep200cm high Condition ReportLosses to inlay, central urn a possible replacement, knocks dents and small losses to the legs in line with age,

A George III-style mahogany standing corner cupboard,19th century, with a triangular break-arch pediment, above two geometrically glazed doors and urn-inlaid panelled doors below, 127cm wide62.5cm deep264cm highCondition ReportA small cornice return moulding is missing to one end of the pediment

A large copper urn two-handled vase,late 19th century38cm wide52cm highCondition ReportVerdigris finish with minor knocks and marks

A satinwood press,late 19th century, with an architectural pediment, urn finials, and two panelled doors enclosing slides, above two short and two long drawers, banded with tulipwood, on splayed bracket feet,138.5cm wide57.5cm deep228cm highCondition ReportThe figured panelled doors have faint shrinkage cracks to knotted areasThere are small veneer losses to the corners of the doors

An Edwardian mahogany and inlaid cheval dressing mirror,with swan-neck pediment and urn finials, on swept legs, brass feet and castors,79cm wide64cm deep213cm highCondition ReportOne finial repaired

A Sheraton Revival mahogany dressing table mirror,19th century, having satinwood banding and inlaid urn and swag decoration,63cm wide24.5cm deep87cm highCondition ReportVery little damage with only a small veneer chip to the right corner of the shield mirror frameSome marks to the top surface of the base, also some light surface scratched along to front edge above the drawers, but no lifting marquetry or other apparent damages.

A mahogany hanging cupboard,19th century, the break arch pediment having an eagle finial, over astragal glazed and inlaid doors, each decorated with a neoclassical urn motif, all on bracket feet,135cm wide66cm deep240cm highCondition ReportRight hand door has a slight warp

An Adam Revival brass and steel serpentine fire grate, with pierced borders, urn finials and on square reeded supports, 82cm wide 33cm deep 75cm high, and a matching brass serpentine fender, 175.5cm wide 33cm deep (2) Provenance: Farmleigh, Ballroom. Condition ReportA few knocks to the decorative brasswork, but good overall

A LEAD FIGURE OF A BACCHANALIAN CHERUB on circular base with traces of gilding, 12cm high overall Condition Report : formerly the lid of an urn? Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

A large late 19th Century European (likely Austrian) crackled porcelain urn / cassolette with gilt metal ormolu decorations, including two putti cherubs, two musical boys sat on the handles, female bust atop of the lid. Base stood on four feet. Stamped to the bottom with Hapsburg crest, dated 1894. Height 49cm.

3 vintage concrete garden ornaments. A lion, a young girl and a cherub holding an urn. Tallest approx. 57cm tall.

A PAIR OF UNMARKED WHITE METAL CANDLESTICKS, having central twin handled urn design central column and both with a white metal four branch inserts, these have marks but they're indistinct, approx total height 47.5 cm

A 19TH CENTURY BRONZE AND SIENNA MARBLE URN ON STAND, of grand tour interest, H 15 cm

A COLLECTION OF THREE ALBUMS AND LOOSE WORLD & BRITISH STAMPS & FIRST DAY ISSUES, to include two signed autograph editions England World Cup Heros 1966, The Shane Warne Collection to include The Artistry, The Legendary, The Mastery, King of Spain etc., The Three Mobile Ashes series 2006 / 07, The Urn Returns 2006 / 07, A Century of Tests at the MCG etc., together with an album of 1995 Daily Telegraph Rugby World Cup Player profile cardsCondition Report:The signed items in this lot are part of a private lifetime collection consigned by the deceased Daughter. There is no provenance other than the confirmation her Father was an avid postcard and autograph collector during his lifetime.

Pair of Spode ceramic vases of campagna urn shape, decorated in Imari palate, red painted marks to base '967', raised on wood stands (restored).  (2)  #27

A Neo-Classical Revival brass campana mantel urn, applied with a cast mask, scroll handles terminating in sunflower bosses, black marble base, 29cm high, c.1880

A Neo-Classical Revival gilt bronze mounted marble urn, the fittings cast with caprine masks and monopodia, fruiting foliage and swags, pine cone finials, circular base, 47cm high, early 20th century

A GIII Sheffield plate rectangular standish, the domed cover with urn finial enclosing two square clear glass wells, centered by a wax box and cover, the whole outlined with beaded borders, bun feet, 20cm wide, 9cm deep, 7cm high, c.1820

A pair of Edwardian embossed peppers with urn finials, 3 3/4" high, Birmingham 1909, 60g

A Chinese urn table, with a frieze drawer and a pierced and carved recess, 93cm high, 39cm wide.

Federal mahogany and giltwood Chippendale style mirror. Similar to works by Nathan Margolis and George Hepplewhite. Surmounted by a giltwood urn with an attractive floral spray and two 'hanging' floral swags on either side. With an inlaid marquetry medallion depicting a seashell.Height: 47 in x width: 19 in x depth: 4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

An urn with large handles, decorated with putti and grape vines, bronze mounted on marble. Dimensions:(W:25 x H:32,5 cm)

A GEORGE II FIGURED WALNUT VENEERED EIGHT-DAY LONGCASE CLOCKTHOMAS CHAPPELL, LONDON, CIRCA 1755The 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, calendar aperture and arched signature plate engraved Tho's Chappell, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced steel hands and twin-bird-and-urn cast spandrels to angles, the arch with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, the case with domed caddy superstructure above architectural cornice, and break-arch mouldings over the hinged glazed dial aperture applied with three-quarter columns to front angles, the sides with break-arch glazed windows and quarter columns set against bargeboards at the rear, the trunk with fine quarter-veneered break-arch door applied with half-round cross grain edge mouldings, the plinth base with cavetto top moulding over crossbanded figured walnut panel veneered fascia, on moulded double skirt base incorporating shaped apron to lower margin.226cm (89ins) high, 53.5cm (21ins) wide, 26.5cm (10.5ins) deep. Thomas Chappell is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Great Tower Street, London 1754-63 Condition Report: Movement is in dirty/neglected condition however appears to be all-original with no visible evidence of alteration or noticeable replacements. A clean/service is probably all that it requires. The dial again is dirty/tarnished but appears all original retaining gilding to the spandrel castings with only minor rubbing. The movement retains its original seatboard which rests directly onto the cheek uprights of the case which other than having numerous holes for screws/fixings appears undisturbed hence movement and dial are probably original to the case. The case is in sound original condition. The back-panel to the hood superstructure is a historic replacement (caddy etc appears original) and there is evidence to the front corners above the cornice to indicate that finials on blocks were once fitted. The rear quarter columns are missing both base turnings and one capital turning is a crude replacement. The chin moulding has a small loss to right hand corner; otherwise hood is in good condition although the upper front door hinge is a little loose. The trunk and base are generally very good with faults limited to s slender strip of moulding bordering the upper margin of the plinth top moulding missing from the left-hand side. Otherwise faults to the case as a whole are generally limited to minor bumps, scuffs, shrinkage, veneer chips and wear commensurate with age and use.Clock is complete with pendulum, winder and a case key.  Condition Report Disclaimer

A FRENCH LOUIS XVI STYLE GILT BRASS AND WHITE MARBLE SMALL DESK TIMEPIECETHE CASE STAMPED FOR BOIN TABURET, PARIS, CIRCA 1900The circular eight-day single train movement with silvered platform lever escapement regulated by sprung bimetallic balance vertically planted on the backplate over serial number 1119 stamped to the lower left hand margin, the 2.75 inch circular slightly convex white enamel dial with vertically orientated Arabic hour numerals and conforming quarter annotations within the outer minute track, with fine scroll-pierced gilt hands set behind a convex glazed hinged gilt brass engine-milled bezel, the case with twin handled flambeau-urn finial and draped oakleaves applied to the gilt drum housing the movement incorporating conforming glazed hinged bezel to rear, over tapered fluted column upright draped with generous husk swags tied with ribbon bows at the sides around a segmented collar, above an acanthus cast ogee mounded foot set onto a square platform with gilt disc feet.30.5cm (12ins) high, 9.5cm (3.75ins) square. The Boin-Taburet firm of metalworkers and silversmiths was founded in George Boin and Emile Taburet in 1873. They specialised in producing silverwares in the Louis XV revival style and gained a reputation for their very fine quality and attention to detail leading to the firm receiving a major award at the 1889 Paris Exposition Universelle. Amongst Boin-Taburet's most impressive creations were a series of 'surtout de tables' crafted to resemble garden lakes or ponds with temples, ornamental sculptures, fountains and urns. 

A GEORGE III EIGHT-DAY LONGCASE CLOCK MOVEMENT AND DIALBENJAMIN GRAY AND JUSTIN VULLIAMY, LONDON, CIRCA 1770The five pillar rack and bell striking movement with anchor escapement incorporating delicate inverted Y-shaped pallets and regulated by wood-rod pendulum with large diameter brass-faced bob, the 12 inch square brass dial with large diameter subsidiary seconds ring over applied shaped nameplate engraved Benj'n: Gray, Just: Vulliamy, London and calendar aperture to the finely matted centre within an applied Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and twin bird and urn cast brass spandrels to angles (lacking bell, lines, pulleys and seatboard)The dial 30.5cm (12ins square), the movement and dial 16.5cm (6.5ins) deep overall. Very little is known about Benjamin Gray however in 1738 he was working from 'Ye Sun Dyall in Thatched House Court', St. James' Street West with these premises, along with others, previously being Lord Shelburn's house, which was demolished. In 1742 he became watchmaker to King George II. Justin Vulliamy was born in Pay de Vaud, the watchmaking heartland of Switzerland, in 1712. He initially trained and moved to Paris to make watches there, but when George Graham invented the cylinder escapement he came to London (in around 1730), to familiarise himself with it. It was around this that time he met Benjamin Gray with whom he subsequently formed a partnership. In 1746 Vulliamy married Benjamin's daughter, Mary and they subsequently had four children, Jane, Benjamin, Lewis and Mary. Justin Vulliamy was proud of his roots, and took the lead in permanently establishing the Swiss Church in London in 1762. Whilst Vulliamy was in partnership with Gray their work was signed with both names. After the death of Gray in 1764 Vulliamy signed with either his full name or the shortened version 'Just. Vulliamy'. In around 1780 Justin's son, Benjamin, joined his father in partnership and the workshop subsequently adopted the practice of signing their work with the family surname 'Vulliamy' alone. Justin Vulliamy died in 1797 leaving the business in the hands of his son, Benjamin, who in turn passed it on to his son, Benjamin Lewis, who worked from 52 Pall Mall, served as Warden of the Clockmakers' Company 1821-5 and was appointed Master five times. All three generations of the Vulliamy clockmaking family benefitted from Royal patronage. 

A FINE RARE GEORGE III TWELVE-TUNE MUSICAL BRASS MOUNTED MAHOGANY TABLE CLOCK WITH DOUBLE AUTOMATON THOMAS MONKHOUSE, LONDON, CIRCA 1775The substantial eight pillar triple fusee movement sounding the hours on a bell positioned behind the automaton above the T-shaped plates each measuring 8.25 inches high by 12 inches wide at the top before playing a choice of twelve tunes via an 11 inch pinned cylinder on thirteen bells with twenty-four hammers transversely mounted across the top of the mechanism, the going train with verge escapement regulated by short bob pendulum with holdfast hook to the symmetrical foliate scroll engraved backplate signed Tho:'s Monkhouse, London to centre, the 9 inch arched brass dial painted with an English arcadian landscape with figure tending sheep before a lake and castle and with recessed shaped signature plate engraved Tho's Monkhouse, LONDON to upper margin to centre, within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced blued steel hands and rococo scroll cast spandrels to angles with the upper two interrupted by polychrome floral painted subsidiary Strike/Silent and Chime/Silent selection dials, the arch with fine painted scene of a quintet incorporating triple-action automaton features to simulate playing of string instruments, set on a gallery over recess painted with backdrop of a crowd with two companion male a female automata figures with articulated waists appearing from each side and moving to simulate dancing whilst the music is in play, flanked by curtain-draped columns within arch applied with curved silvered plate engraved with tune selections Cassino, Minuet, Cicely Badger, Sukey bids Me, Minuet, Scots Bonnet, March, Berks of Abergeld, The Waterman, Langolee, Air de Jolie and The Egg Hornpipe with scroll-pierced steel selection pointer pivoted from the centre of the lower edge, the figured mahogany veneered inverted bell-top case with brass flambeau urn finials over double cavetto top mouldings and rectangular front door with brass fillet bordered glazed dial aperture and scroll-cast brass upper quadrant frets, flanked by canted angles applied with generous cast brass female terms, the sides with substantial hinged brass carrying handles over concave-topped rectangular brass fish scale sound frets within fillet surrounds, the rear with break-arch glazed door incorporating scroll-pierced upper quadrant frets flanked by canted angles applied with conforming female terms, on generous cavetto moulded skirt base with moulded brass squab feet.71cm (21ins) high, 43cm (17ins) wide, 27.5cm (10.75ins) deep. Provenance:Purchased at Bonhams, London sale of FINE CLOCKS 19th June 2019 (lot 41) for £17,562.50. Thomas Monkhouse is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Complete 21st Century Edition as working in London circa 1760. Although very little is known about him Thomas Monkhouse was clearly a very skilled maker who appeared to specialise in the production of musical and chiming clocks. The tunes played by the current clock aid to dating with the most relevant being 'The Waterman', which is from a comic opera of 1774 by Charles Dibdin. Amongst the other melodies 'Scots Bonnet' also known as 'Blue Bonnets Over the Border' was first registered in 1857; 'Cicely Badger' relates to a character in Samuel Richardson's 1753 Novel 'The History of Sir Charles Grandison'; 'Cassino', registered in 1770, was a country dance tune popular in both England and America; and 'Sukey Bids Me' was a country dance printed in 'The Universal Magazine of Knowledge and Pleasure in 1749. Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The dial is also in fine condition with minimal rubbing/wear around the winding holes; the painted finish appears original with some slight touching-in in places. The tune selection pointer appears to be a well-made replacement, the other hands are original and in good condition. Both automata are operational - the upper with the band playing is connected to the escapement hence operates whilst the clock is running; the lower dancing figures whilst the music is playing.The case is in fine condition with only minor repairs/restoration evident. The mask around the dial has been 'strengthened' by adding thin timber plates/packing to the inside around the arch and to the lower corners. The rear door hinges where attached to the carcass of the case have been strengthened by applying filler paste to consolidate the timber at that point. The front door has a veneer patch repair to the lower right-hand corner, otherwise faults to the case are very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use.Clock is complete with case key and a winder. Condition Report Disclaimer

A GEORGE I EIGHT-DAY LONGCASE CLOCK MOVEMENT AND DIAL WITH 'TWO-IN-ONE' QUARTER-STRIKINGJEREMIAH HARTLEY, NORWICH, CIRCA 1715The five finned pillar movement with anchor escapement for regulation by seconds pendulum, the strike train with inside countwheel cut for both the hours and quarters, twin hammers for 'ting-tang' quarter notation and motionwork incorporating pump action to move the second hammer arbor clear of the pin-wheel whilst sounding the hour, the 12 inch square brass dial with star decorated subsidiary seconds dial, border engraved calendar aperture and ringed winding holes to the bright-cut Ho-Ho bird decorated matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half markers, Arabic five minutes beyond the minute track and signed Jeremiah Hartley, NOR,WICH to lower margin, with pierced steel minute hand and urn-centred scroll cast spandrels to angles within a herringbone engraved border, (lacking bells, hour hand, pendulum and weights).30.5cm (12ins) square, 15cm (6ins) deep. Jeremiah Hartley is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as made free in Norwich in 1706. He married Esther Weavers at Heigham, Norfolk the same year and was recorded as a 'clock and watch maker and founder' when he took on Thomas Watson as an apprentice in 1715. Hartley died in 1717 and was succeeded by Edward Browne and Thomas Johnson. Condition Report: The movement between the plates appears complete and in original condition with the only noticeable replacements being the escapewheel and pallets (historic 'service' replacements). The mechanism is somewhat dirty/dusty but there is nothing to suggest that trains would not run once a gentle clean/service has been undertaken. External to the plates the crutch is missing its tip and the bells and bell stand(s) are also missing. The under-dial motionwork is complete including the calendar wheel. The dial is in sound original condition but with overall discolouration, tarnishing and light wear to the old finishes The hands are replacements and the hour is currently broken.Clock has an old seatboard but no pendulum or weights, pulleys or winding key. Condition Report Disclaimer

A QUEEN-ANNE THIRTY-HOUR HOOK-AND-SPIKE WALL CLOCK WITH TEN INCH DIALWALTER ARCHER, STOWE, CIRCA 1715The posted countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the frame with square section corner posts rivetted to both the top and bottom plates, the rear with hanging hoop screwed to the top plate and distinctive 'cranked' spurs riveted to the bottom plate, the 10 inch square brass dial with matted centre and scroll pierced steel hand within applied Roman numeral chapter ring with stylised sword hilt half hour markers and signed Walter Archer to lower margin, the angles with applied urn-centred scroll cast spandrels.33cm (13ins) high overall, 25.5cm (10.125ins) wide, 15cm (6ins) deep including spurs. Walter Archer is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as baptised at Moreton-in-the-Marsh, Gloucestershire in 1674/5. His father, Thomas, was a blacksmith and gunsmith who died in 1722 leaving his tools to his sons, Walter and Charles. By 1694 both brothers had already moved to Stow-on-the-Wold where they worked in partnership. Walter had several children with his wife, Mary, and paid rent on a premises from 1712 until 1742 when he is thought to have died. Walter Archer was a relatively prolific maker mostly of thirty-hour 'hook-and-spike' wall clocks; he also made eight-day and thirty-hour longcase clocks and a few 'hybrid' clocks which essentially took the form of a hook-and-spike wall clock but with a lantern clock-type dial and frets. His work is fairly distinctive with his wall clocks often employing tic-tac escapements and use of 'cranked' spurs for stability. A good survey of his work can be found in Loomes, Brian BRASS DIAL CLOCKS pages 410-18. 

A FINE PATINATED AND GILT BRONZE TABLE REGULATOR WITH SIX-LEGGED GRAVITY ESCAPEMENTSINCLAIR HARDING, CHELTENHAM, CIRCA 1985-90The circular gilt four double-screwed columnar pillar single chain fusee movement with Harrison's maintaining power, external six-legged gravity escapement incorporating jewelled pallets pivoted beneath sub frame mounted on the backplate, and regulated by half-seconds pendulum with wire rod and large diameter heavy gilt brass cylindrical bob, the 6 inch circular silvered dial with eccentric Roman numeral chapter ring interrupted by slender subsidiary seconds ring at six o'clock and with separate outer minute track, applied onto the frosted silvered ground over two curved plates signed SINCLAIR, HARDING to lower margin, with blued steel spade hands within canted gilt circular surround, the case with fluted urn finial to the gilt line bordered stepped cavetto moulded panel upstand over keystone latch for the full-height bevelled front glass and rectangular section patinated bronze corner uprights incorporating horizontal gilt line details at the base of the arch, the sides with curved glasses following the profile of the arch over gilt rail and further rectangular windows, the rear matching the front, the interior with gilt floor applied with silvered pendulum beat scale calibrated 5-0-5 and engraved with serial number 869, on stepped black marble plinth base with chamfered edges and canted angles over brass ball feet.56cm (2ins) high, 26cm (10.25ins) wide, 23cm (9ins) deep. The Cheltenham based clockmaking firm Sinclair Harding was established by Bill Sinclair and Mike Harding in 1967. Between 1971 and around 1995 the business evolved from being initially focussed on restoration and repair to designing and building their own clocks including chiming longcase and table clocks, their design of 'sea clock', giant and perpetual calendar carriage clocks. In 1995 Mike Harding retired leaving the firm in the hands of Robert Bray; the following year Sinclair Harding were commissioned to make the clock for the Oval cricket ground and the business was relocated to North Yorkshire. In 1999 their first scale version of John Harrison's sea clock was produced adding to their ever increasing catalogue of complex timepieces, and 2010 saw Robert Bray awarded the Barrett Silver Medal by the British Horological Institute as well as being appointed Vice President. The firm have always been regular attendees at Baselworld and in 2017 exhibited their Harrison H1 timepiece at Salon QP. The Gravity escapement in the current lot has its roots in the exploratory designs of some of the leading late 18th and early 19th century makers such as Berthoud, Mudge, Cumming and Hardy. Bloxam had come close to perfecting the design in 1853 however was still plagued by the fault encountered by earlier attempts in that the pallets tended to bounce off the escapement locking surface; known as 'tripping'. Edward Denison (later Lord Grimthorp) perfected the gravity escapement in 1860 by eliminating the tripping problem. He did this through the connection of a fly (air brake), directly to the escape arbor via a friction clutch. It allows the fan to advance slightly after the escapement engages the pallet. The inertia provided by the weight of the fly keeps the escapement seated against the pallet during locking; in essence acting as an 'energy sink'. This escapement provides a nearly detached pendulum from the rest of the clockwork and, as there is no sliding friction, there is no need to oil the escapement. These features made the escapement perfect for use in turret clocks where a high degree of accuracy can be maintained with minimal maintenance. There are two principal designs of gravity escapement the first is the double three-legged type the second in the four-legged design. The former uses two pairs of three legs for the pallets and three impulse pins at the centre whilst the second has four legs and four pins. The disadvantage of both of these designs is that the escape arbor revolves either 1/6 (double three legged) or 1/4 (four legged) for each beat of the pendulum hence the train of the timepiece needs suitable long gearing to maintain a reasonably long duration. The current movement is unusual in that it utilizes a six-legged arrangement which has no doubt been employed to facilitate running with a half-seconds pendulum.   

A burr walnut miniature chest of two short and two long drawers, on bracket supports, 6 3/4" wide x 6 1/4" high, a turned mahogany campana urn, on square base, 12 1/2" high, a porcelain headed doll and other items Condition: The miniature chest is very modern

A LARGE PAIR OF SEVRES DESIGN BLUE TWO HANDLED URN SHAPED VASES with classical scenes. 18ins high.

A GOOD PAIR OF LARGE EARLY/MID 20TH CENTURY BRUSSELS NEEDLEWORK PANELS, cream ground, decoration with a flower filled basket suspended from a ribbon and bow, above a flower filled urn on a classical shell base, within an egg and dart border, mounted on a framed backing board. 13ft high x 3ft 4ins wide.

A PAIR OF SEVRES DESIGN GREEN GROUND TWO HANDLED URN SHAPED VASES with hunting scenes. 9ins high.

A LARGE PAIR OF 19TH CENTURY WHITE BISQUE URN SHAPED LAMPS with four scrolling branches.

A VERY GOOD PAIR OF BRONZE CHENETS with urn finial and lion ring handles. 21ins high.