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A late 18c eight day longcase clock, the 12" arched brass dial signed John Grace, Tring and having a strike/silent lever in the arch (not connected), scrolls, spandrels and date and seconds indicators. It is contained in a plain oak case with full arch hood with vase finials and fluted columns flanking the dial. The long trunk door has an arched top and raised edge moulding and the plain base has a double plinth, 81" tall overall (John Grace is not listed as a maker in Tring and this clock bears resemblances to ones made by John Clement of Tring at this time. A John Grace was born in Tring in 1766 and it is possible that this may have been made for him by Clements in 1780/90`s).
An early 19c eight day longcase clock, the 12" arched dial indistinctly signed and having floral corners and a vase of flowers in the arch. The dial has seconds and date indications and matched brass hands. The oak mahogany case has swan neck pediments to the hood with three pineapple finials and plain columns flanking the dial. The trunk has canted corners with boxwood line inlays and the door has mahogany crossbanded edges and a central applied oval. The base has mahogany crossbanding and no plinth, 77" tall overall.
An early 19c eight day longcase clock, the 12" arched brass dial signed John Isaacs, London and having vase spandrels and engraved floral dial centre and tempus fusee in the arch. It has seconds and date indicators and unmatched steel hands. The substantial three train movement quarter chimes on eight barrels and strikes on a ninth. It is contained in a mahogany case which has been extensively recarved, the hood has swan neck pediments with a central finial and plain columns flank the dial. The trunk has canted fluted corners and the pointed door has extensive floral carving. The base has large lunette carving with a central sheaf of corn and a deep bracket footed plinth also recarved, it stands 89" tall overall.
A SET OF EIGHT EARLY 20TH CENTURY CHIPPENDALE STYLE MAHOGANY DINING CHAIRS each having a shaped crest rail, fretted waisted vase splat drop-in seat and raised on cabriole forelegs with pad feet, comprising six standards and two carvers, the framed stamped reg.no.537819 and 1085
A Shelley Harmony wall pocket, pattern number 8792/b “Amber” with original paper label, 7 1/4” high, a Shelley Harmony butter dish and cover, pattern number 8792/c “Green”, 5 1/4” wide, a Shelley preserve pot and cover pattern number 8797 “Mottled Pink”, 4 1/4” high and the matching beaker vase, 4 1/2” high (4).
A Wileman & Co Foley “Urbato” vase, pattern number 4021, of six handled bulbous form, tube lined with yellow flowers on green leaves, 6 1/2” diameter, together with a Wileman & Co Foley jug, pattern number 7622 “Bird of Paradise”, of octagonal form with serpentine handle, 7 1/4” high (2).
A pair of Bohemian ruby flash vases, of pedestal hexagonal form, the wavy trumpet rims engraved with panels of stags, deer and horses, etc, the faceted bodies and flowerhead shaped base with trailing fruiting vines, 9 1/4” high, together with a similar smaller oval vase, 3 3/4” high and mallet shaped scent bottle with faceted stopper, 7” high (4).
An early Victorian sampler, worked by Ann Emsley aged 12 years and dated 1841, depicting a four line verse above a vase of flowers surrounded by stylized floral and bird motifs within a multicoloured trailing floral border, 23 1/2” x 20 1/2”, in rosewood and gilt frame.
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653685 item(s)/page