We found 68904 price guide item(s) matching your search

A late-Victorian gilt metal mantle clock, the square case with urn finial, gilt dial and enamelled numerals, signed 'Richard, 11 Bd Montmartre', the French drum movement striking on a bell, 39cm high.

18th century Prattware teapot of oval form, with square handle and moulded body, the sliding cover with lion finial, foliage and urn decoration to the body, 24cm x 14cm

Ko Satsuma vase of urn form, the tiered base with 'three children' supports, the body with lion mask handles, rings and swags in relief and decorated with figures in a garden, 31cm.

Two Antique Continental Plaster Figurines, one depicting a father and son, the child holding a mandolin, the other a mother carries an urn and the girl holds a tambourine, approx 71 cms tall.

A Royal Worcester Urn Shaped Vase, circa 1870, decorated in polychrome on white ground with gilt banding to lip and foot, with central garland of ivy, Worcester mark to base, approx 21 cms

A 19th Century Indian Colonial silver tea pot, by Hamilton & Co., Calcutta, maker's mark, elephant mark, urn and Roman A, 32.3troy oz. approx.

A 19th century marble half-fluted campagna urn, square base, 32cm high

An Edwardian silver balloon shaped boudoir mantel timepiece, 5cm circular enamel dial inscribed with Arabic numerals, 8-day movement, the case engraved with a flowering urn, guilloche borders, leafy scroll feet, 13.5cm high, William Comyns London 1906

A Neo-Classical style desk weight, cast as a tripod urn, ram mask monopodia, marble base, 11cm wide, early 20th century

A French Second Empire gilt metal and black marble figural mantel clock, 8cm enamel dial inscribed Hry. Marc A Paris, Roman numerals, twin winding holes, 14-day movement signed and numbered 22317, the case cast with a Renaissance huntsman and his hound, the base with an urn and scrolling acanthus, 39cm high, c.1860

After the Antique, a museum plaster campana urn, The Medici Vase, square base, 35cm high

A Neoclassical Carrara marble rectangular relief, probably from a fireplace, carved with a two-handled urn and cover, bedecked with ribbon-tied garlands, 16.5cm high, 11.5cm wide, c. 1780

A Regency flame mahogany long case clock, arched painted 33cm dial, Arabic chapter, date aperture, lion to arch, floral spandrels, gilt hands signed W Roar/Whitby, thirty hour movement striking on a bell, the hood with swan neck pediment with brass paterae, centred by urn finial, turned columns, shaped trunk door flanked by fluted quarter columns, 203cm high, c.1820 William Raw was working at Whitby was born 1791, apprenticed 1805-1811, and was working 1813-1858, subscribing to Young's 'History of Whitby' in 1817

A George III carton pierre wall mirror, circa 1770 A George III carton pierre wall mirror, circa 1770, the oval plate within a gadroon and acanthus moulded surround and an elaborately pierced frame incorporating scrolling foliage, surmounted by a twin handled urn hung with swags of bellflowers and a further stylised honeysuckle motif above, 184cm high, 95cm wide To be sold by order of the executors of the late Sally, Duchess of Newcastle The original painted colour scheme used for this mirror relates closely to that employed by Thomas Chippendale for a suite of furniture supplied to David & Eva Garrick for their villa at hampton, middlesex (now south-west london) in 1779. Other pieces supplied by Thomas chippendale (1718-1779) included a dressing table (now at anglesey abbey, cambridgeshire), a pair of cabinet bookcases, a pair of clothes presses, a corner cupboard and a bed. several of the pieces from the suite are part of the Victoria and Albert museum collection. The bed is situated in the British Galleries, room 118a, case 1 (W.70-1916) For a related carton pierre mirror see Christie s, Dealing in Excellence, a celebration of Hotspur & Jeremy, 20th November 2008, lot 57. The design for the Christie s example was related to a design by John Linnell in the 1770 s (H. Hayward, 'The Drawings of John Linnell', Furniture History, 1969, figs. 90, 92 and 126). Linnell was not recorded as making carton pierre mirrors but amongst the specialist papier-maché frame makers working in the manner promoted by Linnell was the Berwick street carver and gilder William Duffour (d.1784), who may have executed a related vase-decked pier-glass (acquired in 1926 by the Victoria & Albert museum (m. Tomlin, Catalogue of Adam Period Furniture, London, 1982, N/14). A related 'Oval Glass Frame' pattern, with reed gadrooned border, and another crowned by a basket, were published in W. Ince and J. Mayhew's, Universal System of Household Furniture, 1762 (pls. 78 and 79). Their patterns also relate to those previously issued in 1758 by Thomas Johnson, for his Collection of Designs and other recorded designs by Matthias Lock and Thomas Chippendale. For a mirror design reflecting very similar use of the large scale stylised honeysuckle or anthemion motif surmount above an urn flanked by rams heads, see Susan E. Stuart, Gillows of lancaster and london 1730-1840, antique collectors club 2008, Volume II, page 81, pl.625

A late Victorian mahogany and sycamore strung urn in George III style A late Victorian mahogany and sycamore strung urn in George III style, fitted as a decanter case, late 19th century, the acorn finial above a spreading knopped stem, on a domed and cavetto edged cover, the urn with equally spaced twin lines of vertical stringing from top to stem, above a circular foot and square base, on four bracket feet, 63cm high; the rust coloured velvet lined interior with three fitted green glass decanters, all with foliate silver gilt mounts and stoppers hallmarked for London, 1895, with six fitted liqueur glasses

A Russian birch and marquetry cabinet , mid 19th century A Russian birch and marquetry cabinet , mid 19th century, the central section with a classical triangular pediment inlaid with arabesques and scrolling leaves and surmounted by a foliate-inlaid finial, the frieze inlaid with ribbon-tied swags and square panels with rosettes above the arched door inlaid with the Crown of Wurttemberg, within a sunburst and surrounded by ribbons and scrolling leaves issuing from an urn flanked by feathers and above two lions, the moulded shelves fitted with glass and supported by ormolu stags and surmounted by ormolu five-light candelabra, the base with three frieze drawers above a panelled front with two doors and flanked by scrolled projecting supports inlaid overall with roundels, leaves and arabesques, the whole on bun feet, 215cm high, 139cm wide, 59cm deep Provenance: Reputedly a wedding present from the Tsar of Russia to the Wurttemberg Royal family.

A gilt bronze sixteen light chandelier in Régence style A gilt bronze sixteen light chandelier in Régence style, last quarter 19th century, the urn sockets in broad, dished drip pans with dentilled edges, arranged in two graduated tiers each of eight scrolling foliate cast branches, the upper tier issuing directly from the knopped and foliate cast stem, the lower tier issuing above maidens' heads around a lower stem boss, the shaft rising past four further adorsed maidens' heads to a ring finial, a leaf clad berried terminal beneath, (later fitted for electricity), 116cm high, 104cm wide Provenance: Cherkley Court, Surrey

A Sèvres-style gilt-metal mounted urn and cover, late 19th century A Sèvres-style gilt-metal mounted urn and cover, late 19th century, decorated with panels in the manner of Fragonard within white 'jewelled' borders reserved on a blue and gilt ground, mounted with a pair of putti handles and supported on four pieds de biche and shaped base, 25cm high Provenance: Cherkley Court, Surrey

A 19TH CENTURY EUROPEAN FAIENCE URN, with colourful strapwork bands over animals, bird and flowers in landscape over further strapwork on circular foot, approximately 38cm high, some chips, losses and repairs

A PAIR OF ROYAL WORCESTER FIGURES, modelled by James Hadley, male Eastern Water Carrier and a female Eastern Water Carrier with urn, decorated in blush and green enamels with gilt highlights, puce 594 and date marks for 1898, approximate heights 44.5cm and 43cm, both on naturalistic bases with Hadley verso (a/f) (2)

A pair of Art Deco brass applied urn vases together with two further examples.

A fine Queen Anne walnut eight-day longcase clock John Knibb, Oxford A fine Queen Anne walnut eight-day longcase clock John Knibb, Oxford, early 18th century The five fully latched and crisply turned finned pillar inside countwheel bell-striking movement with anchor escapement regulated by seconds pendulum, the 11.875 inch square brass dial with delicate border engraved calendar aperture and subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with fine pierced steel hands and gilt winged cherub mask spandrels to angles within deep herringbone engraved outer border incorporating signature IOHN * KNIBB * OXON to lower margin, the walnut case with three cast brass flambeau urn finials to the domed caddy surmounted foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns set against bargeboards, the trunk with convex throat above 41 inch rectangular door fronted with book-matched burr veneers laid in quarters, the sides divided into pairs of panels within crossbanded borders, on ogee moulded plinth base with book-matched veneers within herringbone bordered crossbanded surround to front over applied moulded double skirt, 240cm (94.5ins) high excluding top finial, 253cm (99.5ins) high overall. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph's larger concern in London. The strong similarities between John's best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The movement of the current lot is fully latched with the usual delicate wheelwork and typical Knibb feature of having no bridge for the hour wheel to the frontplate. The dial plate is unusual in having a broad herringbone border interrupted by the bold signature at the base which echoes that of an earlier (circa 1680) clock by John Knibb in Ashmolean Museum, Oxford. The half hour markers and engraved decoration to the calendar aperture however are 'typical' of John Knibbs later work; the case echoes London work of the period despite being provincially made (probably Oxford) and is veneered in well chosen figured walnut.

A fine Charles II ebonised eight-day longcase clock Lawrence Debnam, Frome A fine Charles II ebonised eight-day longcase clock Lawrence Debnam, Frome, dated 1675 The two-handed posted countwheel bell striking movement with column-turned corner uprights and resting on integral spikes fitted to the underside of the baseplate, the trains both with offset greatwheels each pivoted between a post attached to the baseplate opposing lug fitted to the one of the frame uprights, the going with anchor escapement incorporating solid ºttery brass' escape wheel and regulated by seconds pendulum, the strike sounding on a bell mounted above, the 10 inch square brass dial with iron hands and fine symmetrical scrolling tulip engraved centre issuing from a stylised urn to lower centre and incorporating flamboyant signature Lawrence Debnam, in Froome Fecit to upper margin, within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, the dial plate engraved with the names Jam: Delanc and John Sentance along with the date 1675 beneath the chapter ring at two o'clock, the angles applied with winged cherub mask cast and pierced spandrels, the ebonised pine case with triangular pediment and architectural frieze over fixed glazed dial aperture and conforming rectangular side windows to the formerly rising hood, the trunk with convex throat moulding and 43 inch rectangular door, the plinth base with ogee mouldings to upper edges and on moulded skirt, 221cm (87ins) high. Literature: The current lot is documented in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 5 pages 30-33 (where the movement and dial is extensively illustrated). Lawrence Debnam is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Frome, Somerset in 1643 and was working from Cheap Street in the town from at least 1667 and is thought to have died in 1682/3. The presence of James Delance's signature beneath the chapter ring suggests that he was also involved in the making of the current lot. James Delance is recorded by Loomes as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Debnam who died in 1683 at the age of 40. By 1721 Delance had moved to Downton, Wiltshire and was still working in 1736. John Sentance appears to be unrecorded as a clockmaker although it could be considered possible that he was responsible for the remarkable engraved decoration to the centre of the dial. The current lot employs and escape wheel made from work-hardened ºttery brass' formed by hammering a cast solid disc prior to cutting of the teeth. This creates a wheel much more resilient to wear however this process makes it difficult to cross it out hence why it is left as a solid disc when fitted. It is perhaps appropriate to speculate that the current lot is probably one of the earliest West Country clocks to be fitted with anchor escapement with seconds pendulum; as such the maker(s) may have sought to experiment with the metallurgy of the escape wheel in order to ensure longevity of this new technology. This very rare feature appears to have been subsequently used by James Delance (see following lot) and it is testament to both makers that these wheels are still serviceable after over three hundred years of use. The layout of the trains suggests that when originally conceived the current lot was intended to have a duration of thirty-hours, however the maker chose to complete the clock with eight-day continuance and facilitated this by incorporating offset greatwheels each pivoted between a post attached to the baseplate opposing lug fitted to the one of the frame uprights. The frame uses typical 'Bristol' one-piece lantern castings but dispenses with the finials and feet substituting the latter for steel spikes - a feature typical of the early Somerset clocks. Another 'West Country' detail present in the current lot is the keyhole shaped aperture cut into the lower edge of each of the movement pivot plates. The reason for these is unknown however they may be have been intended to allow slight adjustment/tight fitting of the integral locating lugs into the baseplate. The remarkable dial of the current lot is perhaps one of the finest examples of the fully developed Bristol and West Country style made fashionable by makers such as John London of Bristol during the kid 1670's. Indeed the engraving can be compared to a dial by London illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on page 38 (exhibit 7 in the exhibition). The exuberant signature is extraordinary in its confidence and execution as such is extremely effective in expressing the pride and individuality of the maker. It is also highly likely that the current lot is the earliest surviving dated provincial clock to have an anchor escapement regulated by seconds pendulum. Indeed the early incorporation of this refinement may be one of the principal reasons why the dial is apparently inscribed by all those involved in its making.

A rare George II ebonised grande-sonnerie striking table clock The dial... A rare George II ebonised grande-sonnerie striking table clock The dial signed for John Wood, Grantham, mid 18th century The substantial seven knopped and ringed pillar triple chain fusee movement with plates measuring 8.75 by 7.25 inches and chiming the quarters on a nest of six graduated bells followed by full hour strike on a further larger bell every fifteen minutes, with trip quarter repeat, verge escapement regulated by lenticular bob pendulum and backplate engraved with symmetrical foliate scrolls around a vacant matted oval cartouche within herringbone decorated border, the 8 inch brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and female mask and scroll cast gilt brass spandrels to angles beneath arch centred with a circular silvered boss with engraved signature John Wood, GRANTHAM flanked by subsidiary Hours/Hours & Quarters/Silent all and Repeat/Silent strike selection dials with applied foliate cast infill mounts to upper margin between, the ebonised case with inverted bell-top superstructure and brass urn and spire finials to the foliate fretwork fronted box upstand over break-arch cornice, plain frieze and glazed dial aperture to the front door, the sides with hinged cast brass handles over slender break-arch windows, the rear with glazed door matching the front set within the frame of the case, on shallow cavetto moulded skirt base incorporating bracket feet, 53.5cm (21ins) high excluding finials. John wood is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Grantham 1753-97. Grande sonnerie striking table clocks are particularly rare mainly due to the technical challenges of making an hour striking train appropriately geared to sound the hours every fifteen minutes for eight days. Due to the technical skill required such clocks were generally the preserve of the leading London makers such as John Ellicott; with this in mind the movement of the current lot was probably 'bought-in' from one of the leading London workshops - this would certainly account for the matted-over cartouche to the backplate.

A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned, mid to late 19th century The triple train weight-driven movement striking the hour with every quarter on a pair of graduated gongs, the going train with deadbeat escapement regulated by wood rod pendulum with large brass lenticular bob, the two-piece white enamel Roman numeral dial with pierced steel hands and moulded brass bezel, the case with elaborate break-arch pediment applied with urn finials and turned rosette to frieze over full-height arch glazed door flanked by corbels and short spiral twist columns to the canted moulded uprights, the sides with tall rectangular windows, the base with inverted bell-shaped caddy with pendant finial, 129cm (51ins) high.

A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris, circa 1700 The rectangular twin barrel movement with four shouldered baluster turned pillars pinned through the backplate signed Ducoroy AParis to lower margin, the strike train with scroll pierced detent gates and high position countwheel for sounding the hours and half hour on a bell mounted within the superstructure of the case, the 8.75 inch circular twelve-piece cartouche numeral dial with centre incorporating cast decoration of seated musicians within chapter ring with enamel Roman hour numerals and rococo scroll cast borders and every minute numbered to outer track, the engraved cut brass and red stained shell marquetry veneered case with cast Roman Emperor bust surmount and gilt urn finials applied to the ogee shaped upstand veneered with foliate strapwork and with acanthus corner mounts over foliate cast frieze emerging from the sides of the gilt cavetto moulded arcade inlaid cornice, the front with heavy cast break-arch glazed bezel enclosing lyre and laurel infill beneath dial within floral trail and panel inlaid surround, the canted front angles applied with fine scroll-cast allegorical male terms and the angled sides with brass bordered rectangular windows over swollen marquetry decorated lower sections, the base with generous gilt brass scrolls flanking shaped apron centred with a lions masked adorned with palmette headpiece, on knopped feet, 71cm (28ins) high. A clockmaker with the name Ducoroy appears not to be recorded in the ususal sources however an 18th century French clockmaker with the name Mynuel Duccoroy is mentioned in Wilson, Cohen, Ronfort, Augarde and Friess EUROPEAN CLOCKS IN THE J. P. GETTY MUSEUM on page 176.

A George III mahogany eight-day longcase clock Samuel Bradley, Worcester A George III mahogany eight-day longcase clock Samuel Bradley, Worcester, circa 1770 The 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 signed SAM'L BRADLEY, WORCESTER to a shaped silver plaque to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn foliate cast spandrels to angles beneath arch centred with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a case with open centred break-arch cavetto cornice incorporating scroll cartouche to apex and foliate scroll pierced blind fret frieze over fluted columns flanking the glazed dial aperture, the plain sides with half columns applied to the rear, the trunk with break-arch caddy moulded crossbanded door flanked by fluted quarter columns over raised shaped panel fronted plinth base with fluted canted angles and moulded shallow skirt incorporating reduced ogee bracket feet, 223.5cm (88ins) high. Samuel Bradley is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1744 until his death in 1783.

A George II/III green japanned eight-day longcase clock William and John... A George II/III green japanned eight-day longcase clock William and John Kipling, London, mid 18th century The five pillar inside countwheel 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 applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn cast spandrels to angles beneath circular boss signed W:m & Jn:o, Kipling, London flanked by dolphin cast mounts to arch, the green japanned case with concave sided 'pagoda' pediment fronted with anthemion and scroll pierced fret over gilt floral trail and hatched panel painted break-arch cavetto cornice and further scroll pierced fret above figural panel decorated hood door flanked by conforming columns to front angles, the sides with rectangular windows within leafy borders and bargeboards to the rear, the trunk with gilt leaf motif centred hatched panel painted concave throat moulding over shaped 'block top' door decorated in raised polychrome and gilt with figures amongst elaborate pagodas and other structures within silver line borders, the surround with seated figures to upper margin over foliate trails interrupted by hatch panels, the sides divided into pairs of leafy panels, on raised shaped panel fronted plinth base decorated with a European man o' war moored beside a coastal fort over moulded double skirt and squab feet, 250cm (98.5ins) high. William Kipling is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Romaldkirk, Yorkshire in 1680/1 and apprenticed through the Blacksmiths' Company to Thomas Johnson in September 1695. He is thought to have succeeded Johnson working from Ratcliffe Cross, London from circa 1705. Latterly William Kipling took his son, John (born 1722) into partnership until the latter's death in 1750, when the business was handed over to Charles Bosley. William is believed to have outlived his son by seven years dying in 1757. The current lot is a fine original unrestored example of an early London pagoda-cased clock which retains much of its original decorated surface to the case.

A French porcelain inset ormolu mantel clock Unsigned A French porcelain inset ormolu mantel clock Unsigned, circa 1870 The circular two train bell striking movement with anchor escapement, Brocot rate adjustment and backplate stamped with serial number 324 147 to lower margin, the square porcelain dial with fine gilt ground figural painted centre within stylised Roman numeral cartouche chapter ring and outer minute track, the spandrel areas decorated in black with Anthemions and scrollwork on a Uranium orange ground within fine repeating leaf cast surround, the plinth form case with twin-handled urn surmount incorporating orange ground porcelain body decorated with bands of stylised foliage on a gilt ground flanked by seated chimera sphinxes onto a foliate panel cast cavetto moulded platform incorporating elaborate repeating anthemion cast cornice beneath, the sides with projecting tapered columns with conforming porcelain shafts and geometric cast panel infill behind, the rear with circular foliate fretwork movement access hatch, on complex breakfronted ogee moulded skirt base cast with acanthus leaf decoration over ivy trail band and moulded squab feet applied with leafy motifs, the sides terminating with tombstone shaped panels, 40.5cm (16ins) high; with original giltwood stand 44.5cm (17.5ins) high overall.

A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.

A fine Renaissance style gilt brass and pierced ivory pendant watch Unsigned A fine Renaissance style gilt brass and pierced ivory pendant watch Unsigned, probably English, mid 19th century The oval full plate single fusee verge movement with four faceted baluster pillars pinned through the backplate applied with fine gilt eagle-head inhabited asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the fine engraved gilt brass dial with steel hand and centre decorated with asymmetric leafy sprays within applied Roman numeral chapter ring and conforming fine foliate scroll chased oval surround incorporating an urn to lower margin, the two-piece oval ivory case with gilt brass dust cover insert for the movement and profusely pierced throughout with intense foliate scrollwork incorporating armorial crest within moulded oval surround to verso, with gold hinge and suspension loop to top and hook clasp to base (movement incomplete including balance and staff, fusee cone now substituted for a cylinder), the movement pillar plate 40mm (1.5ins) by 33mm (1.25ins), the watch 58mm (2.25ins) high to top of suspension post; with original leather covered outer case decorated with pique work monogram surmounted by a coronet within studded border to front cover 61mm (2.625ins) high. The current lot was made in the 'Renaissance revival' style which became fashionable during the mid 19th century. The fine pierced ivory case was clearly purpose made to incorporate a family crest, this would suggest that the watch was probably a special commission possibly for presentation to the original owner whose monogram appears on the outer cover.

A French porcelain inset ormolu mantel clock The movement by John-Baptiste... A French porcelain inset ormolu mantel clock The movement by John-Baptiste Delettrez, circa 1870 The circular two train bell striking movement with anchor escapement regulated by lenticular bob pendulum with Brocot rate adjustment, the backplate with J. B. D. within oval cartouche trademark over serial number 30787 13-3 to lower margin, the square porcelain dial with fine floral wreath painted centre within Roman numeral chapter ring incorporating fine gilt scroll infill and outer puce ground minute track within spandrel areas decorated with insects and fine repeating leaf cast surround, the plinth form case with twin-handled urn surmount incorporating puce and gilt bordered floral band painted porcelain waist over spiral fluted laurel cast socle and stepped cavetto moulded platform to superstructure, the sides of scroll outline incorporating musical and military trophy surmounts issuing floral trails and inset porcelain panels to front, the rear with rectangular engraved foliate fretwork door, on breakfronted ogee moulded skirt base cast with ivy leaf decoration and with turned feet, 34cm (13.5ins) high; with original giltwood stand 39.5cm (15.5ins) high overall.

A Coalport blue and white china coffee urn and lazy susan decorated in a Willow pattern together with the residue of a Copeland blue and white china coffee service. (R3)

A silver on copper twin handled urn shaped ice bucket.

Victorian Jackfield earthenware tea urn

Coalport hand painted Pageant pattern lidded urn, good condition

A Bernard Leach pottery tile, painted in brown to depict a two-handled urn with circular panel and cross-hatching, painted studio marks to lower corners, four impressed roundel marks to verso, 4” square

Doulton Lambeth Vase with Grecian urn and swagger decoration on green ground, Stamped 1885 to base with initials EP and MD Condition - Good Overall

A good mixed lot to include a Crown Ducal miniature sugar bowl and creamer, a Cauldron blue and white vase, a crown Ducal lustre vase, a T. Lawrence Falcon ware hand painted jug, a Cranston pottery vase in the shape of an urn marked to the base 6/7/28, a Royal Doulton small toby mug in the form of a woman signed to the base and a large John Beswick bulbous lidded jar marked Maeda to the base and other (10)

A collection of four vases to include a twin-handled urn decorated in a lava style, a bulbous vase, two matching glass vases, included in the lot is a ceramic decorative piece (5)

A marble urn on pedestal (restored)

COLLECTION OF DECORATIVE OBJECTS including a 20th century Royal Vienna lidded urn painted with gold and Roman figures, a clown figure playing the violin, a painted porcelain trumpet vase on a square base flanked by two putti; together with several shoes figures, perfume glass countainers, etc

A large Victorian papier mache lacquered oval tray, the black ground with an oil painting of flowers in a classical urn surrounded by gold painted abaresques, w. 75 cm, d. 60 cm CONDITION REPORT: Varnish coming off in places. Later repair to rim. Lacquer missing in places on the bottom. Paint cracking. General wear and tear

An early 19th century papier-mache work box by Jennens & Bettridge, the cover painted centrally with an urn within a surround of flowers, scrolls and Grecian Key borders, the later plush lined interior with fitted compartments, on bun feet, w. 28 cm. CONDITION REPORT: Bears stamp to base, some wear to finish

A 19th century Bohemian cranberry glass vase of urn form with gilt decoration and an applied porcelain plaque painted with flowering shrubs, h. 24 cm CONDITION REPORT: No obvious chips, cracks or restoration. Some losses to decoration

A pair of 19th century Chinese bronze vases of urn form, relief decorated with birds in flight and flowering shrubs, h. 24 cm CONDITION REPORT: One handle loose, some pitting and knocks (especially to bases)

A pair of green and gilt painted metal urn design table lamps, each on a splayed pedestal foot 15''h with cream pleated fabric shades CA

A pair of cream and gilt painted pottery urn design table lamps, each on a splayed foot 14''h with Italian design gold coloured fabric half shades CA

A pair of mottled black and green marble effect urn design table lamps, on a square foot 16''h with pleated fabric shades S

An old weathered composition stone garden urn and pedestal, total height 94.5cm.

A good late 19th century Sevres style and gilt bronze pedestal vase and cover, finely painted to one side with an oval panel of figures in a garden, the reverse with a floral bouquet, against a bleu celeste ground enriched with gilding, 50.5cm high. Condition Report: Overall condition of this urn is very good. However there are a few minor issues: 1. Some white enamel decoration is missing around the front Cartouche along with a scratch to the gentleman's cushion. 2. The reverse floral panel has several minor scratches. 3, The gilding is slightly rubbed in several places, to both urn and cover. 4. The plinth is slightly rubbed in places as are the mask head handles. To our knowledge there are no visible signs of chips, cracks or restoration seen.

A pair of Meissen small vases decorated with green floral pattern on white ground and ceramic roses in relief, urn-shaped, 10cm high and a pair of Sitzendorf figures showing a boy carrying a pannier of grapes on his back and a little girl with a garland of flowers and a nest of eggs, 11cm high (4)

A Spode Cornucopia vase, a Belleek spirally lobed vase, a Dartmouth campana urn vase and a Wade vase. (4)

A Gilt metal and glass jewellery casket with two hinged doors and an enclosed shelf, a glass pyramidal ink well, brass case in the form of a bible, a Bronze Egyptian pharaoh bust golfing trophy and a Viners silver plated urn.(5)

An Early 20th century mahogany music cabinet, a mahogany two drawer side table and an Eastern carved hardwood urn stand. (3)

A Royal Worcester vase, a Derby imari urn and a Worcester floral and gilt decorated urn (3)

A Chippendale style mahogany urn stand, on cluster legs, circa 1900, 74 x 33 x 33cm

A composite stone garden urn, 40 x 77cm

A concrete urn together with a stoneare tortoise and a terracotts bell

A maiolica style glazed urn with rams heads