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A Canton ivory export rectangular card case, late 19th century, carved with a vase or cross shaped panel enclosing figures amongst trees and pavilions, 11 cm. high; also a pair of Japanese cloisonné vases, Meiji period, decorated with alternating panels of ho-o birds and dragons, 25cm. high, (3).
A Japanese blue and white dish in kraak porcelain style, probably 19th century, painted in the centre with a vase, a scroll, fruit and flowers, inside a panelled border enclosing flowers and emblems, 39cm. diameter; and two smaller Japanese kraak style plates painted with a grasshopper inside a panelled border, 21cm. diameter, (3).
An Edwardian chinoiserie japanned cabinet-on-stand, incorporating 18th century Japanese lacquer doors, the exterior decorated with figures, palm trees, buildings and cranes, the doors decorated to the inside with traditional flowers in a vase, enclosing a shelf, on a late 19th century Chinese hardwood stand, 154 cm high, 104 cm wide, 60 cm deep. Provenance; property from the late Sir David Tang This lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.
A modern gilt metal and glass twelve branch chandelier of shaped open cage form with central internal 'vase of flowers', the branches arranged over two graduated tiers, 95cm high. Provenance; property from the late Sir David Tang This lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 20% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.
A late 19th century chandelier of unusual vase form, the central amphora shaped body with scrolling branches approx. 77cm high and a gilt brass chandelier with cut and moulded glass drops, 82cm high. (2) Provenance; property from the late Sir David Tang This lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.
A FRENCH GILT BRASS AND ONYX GARNITURECirca 1900The clock modelled with a figure of Ceres, emblematic of summer, and another emblematic of painting, standing to each side of a waisted case holding the drum-shaped movement, with alabaster dial, the twin train movement stamped Leroy A Paris No. 6909 and striking on a bell, on a chamfered stepped base; together with a pair of six-light candelabra, each surmounted by a stork, with square-shaped scrolled arms, on a baluster vase and chamfered stepped baseThe clock 46cm highThe candelabra 62cm high
A REGENCE ORMOLU-MOUNTED TORTOISESHELL 'BOULLE' RELIGIEUSE CLOCKBy Gaudron, Paris, circa 1720 and laterThe arched case surmounted by a cockerel and orb finial, above four vase finials, the pediment supported by caryatid busts, with moulded bezel and glazed door above a pair of reclining figures, signed in the arch Gaudron A Paris, the twin train rectangular movement, formerly quarter-striking, signed to the backplate and striking the hour on a bell and once in passing on the half, on scrolled feet, on a later conforming base68cm highPierre Gaudron, Faubourg St-Germain, Paris, is recorded working 1690-1730 (Maitre 1695). He was appointed Clockmaker to the Regent, Philippe d'Orleans.
A REGENCY BRASS-INLAID MAHOGANY BRACKET CLOCKBy Horatio Smith, York, circa 1825The chamfer-top case surmounted by a vase pomander finial, the front with brass line and foliate inlay, with 8in. white painted dial, inscribed H. SMITH YORK, with Roman chapters, the twin train fusée movement, signed H. Smith YORK, with engraved outline to the backplate, anchor escapement and strike on a bell56cm high
A GEORGE III GILT-BRASS-MOUNTED MAHOGANY QUARTER-CHIMING MUSICAL TABLE CLOCK By Eardley Norton, London, No. 795, Circa 1770The bell-top case with five flaming vase finials, above a moulded pediment, the glazed door with pierced sound frets, flanked by fluted canted angles, with brass inlaid stop flutes, the sides each with a brass carrying handle above a glazed panel, the 7in. arched brass dial, signed in the arch Eardley Norton , London 795, flanked by a subsidiary for chime/not chime and another for the tune selector, March/Sonata/Air/Cotillion, above a silvered chapter ring, Roman chapters and Arabic five-minute markers, enclosing a matted centre with calendar aperture and pierced blued steel hands, the substantial three train fusée movement with six pillars, the profusely engraved backplate with foliate scrolls signed Eardley Norton London and numbered in the upper righthand side 795, striking the hours on a bell and with musical quarters on eight bells with fifteen hammers 53cm highCOMPARATIVE LITERATURE: Richard C. R. Barder, The Georgian Bracket Clock, 1714-1830, Woodbridge 2001, p. 110 shows a virtually identical clock, number 1087.Arthur W. J. G. Ord-Hume, The Musical Clock, Mayfield, 1995, p. 315, pl. XIII/13.Eardley Norton, 49 St. John Street, London, was first recorded in 1762, a Freeman of the Clockmakers' Company 1770-1794.A reknowned maker, with an international clientele, especially in Russia and Sweden. He is noted for his musical and astronomical clocks.A similar clock, number 1093, sold Christie's, London, 4 July 2007, lot 156.
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