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A JAPANESE IVORY AND SHIBAYANA TUSK LIDDED VASE, late 19th century, with silver and enamel mounts, the mildly domed lid enamelled with flowers and surmounted by a pair of doves, the body with doves on a flowering branch over a stream with fish, the opposite side similar with partridge and butterfly, on faux bamboo silver stand, signature to base, 11" high (Illustrated)
A FRENCH GILT METAL AND PORCELAIN MANTEL CLOCK, 19th century, the twin barrel movement striking on a bell and stamped P.R. 630352, 4" gilded porcelain dial painted with cherubs, in urn shaped porcelain vase flanked by cherubs and painted with lovers in a garden, pineapple finial on domed lid, female mask loop handles, moulded rounded oblong base with central cartouche, on bracket feet, 26" high (Illustrated)
An ormolu mounted white marble and biscuit porcelain ‘Venus’ mantel timepiece. The design attributed to Benjamin Vulliamy, late 18th/early 19th century. The French eight-day movement with platform lever escapement vertically mounted on the backplate and white enamel Roman numeral chapter ring to the engine turned-gilt dial within a rope-twist bezel, in a case with gilt compressed urn surmount above shaped upstand housing the movement and dial, raised on a half rotunda temple-form base with conforming ovoid pedestal vase finials above the gilt-capped Tuscan columns enclosing a figure of a semi-clad Classical female holding forth a dove flanked by male and female putti, the former with a basket of fruit the latter with a birdcage, the figures set on a shaped gilt plinth with mirror behind, the whole on stepped curved base, some restoration, 49cm high. Provenance: Christies, King Street Out of The Ordinary The Discerning And Individual Taste of Christopher Gibbs And Harris Lindsay 10th May 2006 lot 236. Where the case is attributed to Benjamin Vulliamy and the figures to Derby. The design of the current lot clock is perhaps related to the model celebrating the triumph of Love with Euterpe produced by Vulliamy with Duesbury Derby figures modelled by Johann Jacob Wilhelm Spangler in the early 1790’s. Both share the use of bisque porcelain figures within a well conceived and detailed temple-form case. The proportions and refined detailing of the current lot confirms the fact that this clock was conceived by someone highly versed in Classical Arts and Architecture such as Vulliamy.
An early third period large brass lantern clock. The movement and frame attributed to the Fromanteel workshop, circa 1660, the dial later. The two train posted movement with heavily tapered arbors, double-cut hoop wheel, iron countwheel and conversion to anchor escapement with long pendulum and later motion work for two handed notation, the frame with ball feet, well-turned Doric corner columns and distinctive vase finials with four-stage graduated knopped caps, the current dial bearing signature Gibbon, London to the rose and tulip engraved centre within an applied silvered Roman numeral chapter ring with baton half hour markers, with later bell-bearer, foliate scroll cast and pierced frets, brass backplate and side doors, 44cm high, with an oak wall bracket, pendulum and weights. For examples by the Fromanteel family with comparable frame castings see White, George English Lantern Clocks figures III/22 (page 137), III/64 (page 155), IV/26 (page 175) and IV/59-61 (page 189). On page 148 White comments ‘Fromanteel’s large frames were exclusive to his workshop’. This large lantern clock retains many early features such as separately wound trains, heavily tapered arbors and iron countwheel, however evidence in the central bar of the movement and top plate indicates that this clock was originally made with verge escapement and short pendulum.
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653685 item(s)/page