We found 42164 price guide item(s) matching your search

Good quality George II style burr walnut and silvered wall mirror, with rectangular bevelled plate in egg and dart moulded classical frame surmounted by broken arch pediment, 103 x 61cm

George III 8 day longcase clock, by Sam Maddock, Winsford with painted arched dial with revolving lunar arch in inlaid mahogany case In good overall condition, does run for a while but then stops . The case is faded

Pair of 1930s silver four division toast racks of Gothic arch form, with central carrying handles (London 1933) Sir John Bennett Ltd, 7.6cm across, all at approximately 3.5 troy ozs

An early 19th century needlework sampler - inscribed 'Elizabeth Grange Aged 8 Years', the eight lines of verse bordered by angels, coronets and small trees, above a pictorial with a central country house with a path leading to a garden with two dogs, peacocks, flowering shrubs and a floral arch, with flowers, baskets of flowers and a pair of parrots above, within a floral meander border, 42.25 x 39cm, modern gilt frame.* Some age-fading to colours. Small hole to centre of verse panel and two small holes towards the lower left corner in the border. No other faults.

1974 MG MidgetRegistration number PDV 632MChassis number GAN5144296GEngine number12V/778F/H 11091,275 cc, wire wheelsThis Round Wheel Arch Midget is entered into the auction from a retired mechanic friend of Frank (who has also helped in starting many of the vehicles in the auction)Bought to improve mechanically this Midget is now running well as you would expect. Scope to improve the bodywork/paint will be down to the new ownerNew exhaust manifold, water pump and clutch, Gearbox overhauledDVLA notes incomplete engine number (1109 only)Please see our terms and conditions in relation to collectionAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Please read our terms and conditions

A MAHOGANY LONGCASE CLOCK late 18th/early 19th century, the painted dial with hunting scene to arch, with an eight day two train movement striking on a bell, contained in case with reeded columns to the hood and quarter columns to the trunk, 225cm high x 53cm wide x 26cm deep

An 18th Century walnut chest on stand, the four long drawer top with crossbanded fronts, drop handles, D-moulding over a three drawer base with domed arch detail raised on four turned supports to shaped stretcher. The drawers are oak lined. 162.5cm x 100cm x 54cm

AUSTRIA. TYROL. Ferdinand II, 1564-1595. Silver 1 Kreuzer, ND (1564-1595). Obv: •FERDIN•D•G•ARCH•AVS•, crowned portrait right. Rev: DVX•BVR•COM•TIR•, eagle of Tyrol over two cross pattées.Diameter: 17 mm.Weight: 1.00 g.Composition: 375/1000 Silver.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

A Vienna porcelain Chivalric painted cabinet cup and saucer, circa 1820, the cup decorated in the round with a semi topographical Gothic arcade and figures emerging from a door arch, the saucer with a tournament scene of various pairs or knights in combat within a walled a gate posted arena stationed with equestrian figures, underglaze blue shield marks, impressed numbers 12, 40, 820, 16cm diameter

Attributed to Alphonse Mucha (Czech, 1860-1939), a pair of Art Nouveau bronzed and gilt art metal wall plaques, circa 1897, each with a relief profile bust portrait of a Byzantine head within an arch, 38 by 17cm, wooden frames (2)

European painter 20th century"Architectural capriccio with arch of Constantine and glimpse of the Colosseum", oil on canvas, within gilded wood frame60x50 cm.

A pair of hardwood panels, 19th century, Burmese, of oval form, each integral frame with deeply carved foliate decoration, enclosing a monk stood beneath an arch,61cm wide11cm deep93cm high (2)Condition Reportlight knocks and chips to the surface of the carving no large splits, overall fair orderlight knocks and chips to the surface of the carving no large splits, overall fair order, small filled areas, lots of small losses to the foliate boarders, see images overall good presentable order

A carved stone arch, 12th century, Indian, Rajasthan, formed in three sections, each with a central deity seated in a columnar niche and holding attributes, flanked by standing attendants in openwork niches, the arched section centred by Vishnu flanked by domed pavilions, mounted on an iron base,54cm wide25cm deep90cm highProvenance: Sotheby's, 'Indian, Himalayan and South-East Asian Art', 24 November 1986, lot 194.Condition Reportchips and loses, the top with loss and damages

A Freemasons Ceremonial Sword, early 20th century, Wilkinson’s Sword Ltd,  with an etched blade decorated with square and compass etc, a wire wound handle and red leather sheath, 88cm long (overall); also a Masonic ‘Royal Arch’ principles apron, with lamb-skin pouch, diamond ribbon and two plated ball and chain tassels, 41cm wide (2)

A collection of Gothic revival garden edging tiles including salt glazed examples with repeating arch and floret designs (20)

A late Georgian mahogany longcase clock the broken arch painted dial showing landscape and shooting scene, with eight day striking movement Neiseger of Brighton, with pendulum and two weights

A Georgian oak country made lowboy with three drawers to a shaped arch on four pad feet 72H x 88W x 55D

ARCH GARDEN MIRROR

Registration – P402 LOXChassis No. – SAXXNWAZEBD135110M.O.T. – October 2025Odometer – 71,597If ever there was a car that fully embraced the special edition, niche marketing opportunity it was the classic Mini. This approach was so successful that the Mini ultimately outlived the car launched to replace it – the Metro. ‘P402LOX’ is one of these models in 1997 Balmoral trim. The Balmoral was primarily designed for export markets but was available in the UK upon request. A rare model. The current keeper has owned ‘P402LOX’ for around two years and is the Mini’s 10th keeper to date. Just over 71,500 miles are recorded to date, a mileage which appears to be supported by the MOT history. ‘P402LOX’ has a category “C” (now category “S”) insurance marker lodged against it from 2016. This ended up being a £1,500 repair and has been professionally addressed. ‘P402LOX’ is offered here with NO RESERVE.This rare Mini model presents in bright blue livery which lends it an even more cheerful demeanour. The Balmoral special attributes are all noted. These include the white sill decals and matching bonnet stripes. The so called “Premium” alloy wheels are a “pepper pot” style and are accompanied by marginally extended wheel arch extensions. Balmoral enhancements are even more prominent inside ‘P402LOX,’ too. The upholstery is courtesy of a Burberry-style, multicoloured, checked fabric with light tan accent panels. Other special edition features include a wood veneer dashboard fascia and chrome bezeled instruments. ‘P402LOX’s’ bodywork and paintwork is rated as “average” with the interior judged as “good.”In mechanical terms ‘P402LOX’ is standard 1997 Mini MK VII fare. This means the erstwhile 1275cc multipoint fuel injected unit with a front mounted radiator. In this iteration it originally produced around 62bhp offering a top speed of close to 90mph. Power is fed to the front wheels via a four speed manual transmission. ‘P402LOX’ is reported to have some service history and has been maintained by a mechanic friend of the current owner for the last couple of years. The mechanical aspects of ‘P402LOX’ are reported as “good.”In summary:A rare special edition Mini in final MK VII formComplete with a vibrant colourway and attractive, special edition interiorOffered with numerous other Balmoral attributes

A 19th mahogany longcase clock with automata dial signed Edward Samm, Linton arched case with cornice supported on ring-turned columns, arched long door and panel base on ogee bracket feet, the associated 18th century 12 inch brass dial with rocking chronos( Tempus Fugit) in the arch over an arcaded Roman and Arabic chapter ring secondary and calendar dials, the movement with four knopped pillars and anchor escapement rack striking on a bell, 53 by 26 by 224cm high.

A pair of hand knotted woolen Kashan Persian rugs, with a central medallion on a red field and stylised arch border, 136 by 202cm. (2)

A pair of arch shaped garden mirrors with ornate wrought iron decoration.

James Hall of Newcastle-Late19th century mahogany longcase clock c1870, with a swan necked pediment and break arch hood door beneath flanked by ring turned pilasters, trunk with half-round inset pilasters and a short panelled trunk door, on a square plinth with a recessed panel, painted dial with spandrels depicting country cottages and a coastal scene of a child and fisherman to the arch, with Roman numerals, minute track, date and seconds dial and stamped brass hands, dial attached via a false plate to a rack striking movement striking the hours on a bell. With weights and pendulum. James Hall is recorded as working from King Street Newcastle-upon-Tyne from 1850 onwards. This clock was the subject of a detailed article on both the clock and maker, published in CLOCKS magazine in 2009. Dimensions: Height: 227cm  Length/Width: 59cm  Depth/Diameter: 27cmCondition Report: Glass in hood door cracked.

W. Phillips of Bromyard - 8-day mahogany longcase with a painted moon roller dial, c 1790,swans neck pediment with dog tooth moulding, raised carving and brass paterie, break arch hood door beneath flanked by reeded pilasters with brass Corinthian capitals, trunk with a blind fret, reeded quarter columns and long wavy topped door,Plinth with a deep moulding and canted corners raised on a shaped base, painted dial with gesso spandrels, Roman numerals, five minute Arabic's and minute dots, with steel hands, seconds dial and square date aperture, dial pinned to a rack striking movement with an anchor escapement, striking the hours on a cast bell. A clockmaker by the name of John Phillips is recorded as working in Bromyard (Worcs) in the early to mid 18th century, certainly by 1770-90. W. Phillips was possibly an unrecorded son or brother also working in the same family clockmaking business during the later part of the 18th century.Dimensions: Height: 250cm  Length/Width: 54cm  Depth/Diameter: 27cm

Mid-19th century-oak cased 8-day longcase clock, with a swan neck pediment, brass ball and spire finial and paterea, break arch hood door, detached pilasters with Corinthian brass capitals, trunk with canted corners and a spire topped door, square plinth with moulded feet, painted dial with images of the four seasons to the spandrels and a depiction of a boy and his dog to the arch, with Roman numerals, seconds and calendar dial and matching steel hands, dial pinned to a rack striking movement, striking the hours on a bell.Dimensions: Height: 220cm  Length/Width: 36cm  Depth/Diameter: 23cmCondition Report:No weights or pendulum.

Sinford, of Newcastle - mid 19th century Oak and Mahogany 8-day longcase clock c1840, with a break-arched pediment and three brass ball and spire finials, break arch hood door flanked by turned pilasters with wooden capitals, trunk with a long door with cross banding and a gable top, rectangular plinth with a integral shaped base, painted dial with floral depictions to the spandrels and a pastoral scene to the arch, with Roman numerals, seconds and date dials and stamped brass hands, rack striking movement , striking the hours on a bell. With weights and pendulum.Dimensions: Height: 230cm  Length/Width: 50cm  Depth/Diameter: 25cm

19th century Rosewood Arch shaped topped double section Box with brass bounding. 20x24x15cm.

A group of gold jewellery elements,comprising a red stone set gold arch-shaped plaque; a gold cup pendant; a rectangular jade element; a white metal bar set with turquoise, and a number of gold sheet beads7g (0.225 t oz)(a lot) 

A Levantine or Levantine style mother of pearl inlaid hexagonal table,  20th century, The top decorated with a simplified tughra within a six pointed star51cm. high ; top, 46.5cm. wideCondition Report: Small nicks to protruding top's angles. Slightly loose inlays in places, some raised and some minimal losses sometimes filled in with black paste.. Some losses and cracks to wood. One marked split to wood above a pointed arch. Pseudo tughra intended illegible or possibly amended later. The top loose from feet. Some screws lacking underneath. No obvious sign of extensive use or further condition issue. 

A Mughal agate and gold inlaid steel Qur'an stand, India, circa 1800, Each upper panel carved with an intricate rosettes, each lower panels worked as lobed pointed arch, fitted within a crenulated koftgari frame41 x 18.5cm., 29cm. highProvenance: Private London Collection formed in the 1970s-80s Condition Report: With minor wear to gilding

A detached illustrated folio from a Razmnama : Yudhisthira ask his brothers and Vidura what was an important virtue Mughal India, circa 1598 or later,Possibly by the artist Bahin, opaque pigments on paper, in a palace, seated on an elaborate carpet, lobed arch arcade in the background, 6ll. of black naskh script above, the reverse with 277ll of similar script, thin gold borders double ruled in black and blue, foliated in black and in red ink, inscription below30.5 x 17.5cm.Provenance : Sotheby's Fine Orientalist Manuscripts and Miniatures, 15 October, 1984, lot 15 Condition Report: Repainting, some losses, 

A compilation manuscript, including a Mir’aj-nama and tales of the Prophet and his Companions, with numerous illustrations, Kashmir, second half 18th century, Arabic and Persian manuscript on paper, 283ff., 3fl., with 15 illustrations, four vertical columns of 22ll. of black nasta'liq within thin red and blue margins ruled in black to the page, the text panel ruled in gold and blue, the opening bifolio with 7ll. of text within floral clouds and margins, a plain gold cusped cartouches on dense floral field within similar margins above and below, the borders illuminated with profuse floral tendrils and swaying botehs within three cusped cupolas, the gutter side with a crenulation of rising gold trefoiled palmette interspersed with flowers and hanging leaves against blue field, the chapter heading in red nasta'liq script within cusped medallions amidst foliated tendrils against blue field, catchword in black script to each right page's lower left corner, each lacquered papier-mâché covers with dense floral decoration arranged around a central lobed star composed of floral sprays, the wide margins with an elegant floral garland, each reverse with a large boteh under a cusped arch, its spandrel with a profuse and tight floral scrollwork, the margins with simplified alternating flowers and leaves, the upper cover detached, the spine torn, some folios or quires lacking, first quire loose, one detached central folioFolio 26.8 x 15.4cm.Provenance: Acquired by descent from the vendor's great grandfather who was an engineer involved in railway construction in Egypt and Lebanon in the late 19th century.  

A fine Mughal red sandstone Chini Kana panel, North India, first quarter 17th centuryOf rectangular form, the large central niche with cusped foliate arch containing a long-necked flask (surahi) and two covered bowls, with variegated leaves to interstices, large flower blooms to upper corners and smaller ones to lower,  53.7 x 41.9 cm.This revetment compares closely to those on early 17th century buildings such as the Kanch Mahal and Suraj Bhank Ka Bagh at Sikander, near Agra. See Koch, Mughal Architecture, New York, 1991, figs 99 & 100. Provenance:Acquired in the early 1990s from the London art trade Footnotes: This kind of decoration is referred to as chini kana, a term meaning "China room", and applied to small wall-niches in which bottles, vases and other vessels were placed within a domestic interior.Similar flasks, arranged in niches carved in red sandstone, are illustrated in M. Zebrowski, Gold, Silver and Bronze from Mughal India, 1997, p. 185, pl. 269. This decoration can be seen at the Gate Pavilion of the Suraj Bhan ka Bagh at Sikandra near Agra and dates from the early seventeenth century. The exterior walls of another early seventeenth century palace at Sikandra, the Kanch Mahal, are also decorated with similar flasks in niches. According to Zebrowski, these motifs may originally have had a connection with the "waters of fertility" but it seems likely that by the seventeenth century they were appreciated more and simply for their elegant and stylised shapes. A comparable red sandstone chini kana panel was sold; Christie's London, 23 September 2005, lot 81 and Peter Petrou: Tales of the Unexpected 30 January 2019, Lot 31

A large Corinthian trefoil-lipped oinochoe Late 7th – early 6th Century B.C. with an animal frieze, decorated in three registers divided by encircling bands of varying width, the central register decorated with a siren, panthers, wild goat and a goose, the top register with panthers and a grazing antelope, the lower register with panthers, wild goat, a swan, a bull and two elephant-headed mythological creatures, floral motifs in the field of each register, rosettes on the neck and lip and rays emanating from the base, stylised rotelles on either side of the triple-reeded handle, 40cm. highProvenance: The Private Estate of Michael and Jill Barrington acquired at the latest in the 1970s based on photographs of the work. Footnotes: NB. There are two photographs (now in the lever arch file) taken by Prudence Cuming Associate Ltd, 41 Dover Street, London W1X 3RB. It’s the first item on her typed list and we still have the original envelope with Silver Jubilee Stamps 1977, so dating the provenance back to at least the latter part of the 1970s. 

Swarovski crystal nativity scene featuring eight faceted clear crystal figures, including Mary, Joseph, Baby Jesus, the Three Wise Men, a shepherd with frosted staff, and an angel. The set includes an octagonal Swarovski Collectors Society mirrored display base etched with the SCS logo and a two-column frosted crystal arch backdrop. Each figurine is crafted with precision-cut crystal and showcases fine detailing associated with Swarovski craftsmanship. Largest piece measures 3.75"H.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: AustriaCondition: Age related wear.

ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachlass E. L. Kirchner mark and numbered P Da/Ba 5 in ink and K6796 and 6450 in pencil (to reverse), Indian ink and wash on paper  30.2cm x 36cm (11 7/8in x 14 1/8in) Theo Hill Galerie, Cologne, 1968;Anthony Hepworth FIne Art, Bath;The Collection of Gillian Raffles. This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist's graphic works,Exhibited:Mercury Gallery, London, Summer Exhibition, 11 June - 15 September 1973, no. 191, illustrated in exhibition catalogue. ‘I learnt to value the first sketch, so that the first sketches and drawings have the greatest worth for me. How often I’ve failed to pull off and consciously complete on the canvas that which I threw off without effort in a trance in my sketch…’ Ernst Ludwig Kirchner, ‘Zebdher Essay’, recorded in his diary, 1927 Ernst Ludwig Kirchner’s Zwei Frauen im Gesprach is the perfect expression of the ‘modernist primitivism’ that defined German Expressionism in the early 20th Century, both that of the Die Brücke group (of which Kirchner was the founder and leading light) and its Munich counterpart, Der Blaue Reiter, led by Kandinsky. Both groups sought to free art – and life – from the shackles of bourgeois ideals and (in art) stifling Academism, alighting upon the cultures of non-European peoples as ciphers of a more direct and intuitive emotional ‘truth’, in particular the art of the Pacific (inspired by Gauguin) and of Africa. Whilst today we would look at the Expressionists’ approach to non-Europan art as a form of cultural appropriation, based on fundamental misconceptions of this art being ‘primitive’ rather than highly sophisticated in its own right, this approach was, at least, wholehearted in its intention: Kirchner and his contemporaries were genuinely looking to the non-European for something lacking in the West, their ‘primitivism’ beyond a mere imitation – rather  a search for authenticity, a direction of travel to express true modernity.  In Zwei Frauen im Gesprach, we see two young women in conversation in what looks like Kirchner’s studio – which itself was a gesamkunstwerk (total art work) of hand-printed batik hangings, dark painted walls, hand-carved furniture and African objects. In the background, we see one of these objects, a small totemic figure, listening in, perhaps, to what these two thoroughly modern women are discussing. The figure on the left, with her bobbed hair and arch hand gesture looks like she has stepped straight out of a Berlin cabaret. Indeed, she could well be the dancer Nina Hard, renowned for her slick black bob, whom Kirchner had met in Zürich in May 1921 and who was to became an important model and muse for him.  And this sculpture in the background could well be African, brought back by the brother of fellow Die Brücke artist Erich Heckel, who held a job in colonial East Africa, but equally it could be a work of Heckel or Kirchner’s own making, as modern as the women themselves. Kirchner’s sculptures of the 1910s are incredible hybrid works, far beyond imitations of African art and distinctly European, that don’t really find their counterpart until Georg Baselitz’s chainsaw carvings of the 1980s. In Zwei Frauen im Gesprach Kirchner shows his mastery of brush and ink, which perhaps could be said to be the medium of German Expressionism. The brush allows for bold, jagging lines and an emphasis on outline over shading, as sculpting the figures on paper as they would with chisels out of wood; and the ink allows for speed – an idea as modern as modern can be. Brush and ink allows spontaneity, a definitiveness of gesture, that Kirchner, Heckel and fellow members of Die Brücke honed in their ‘quarter-hour’ life drawing sessions, where working quickly became analogous to working without premeditation – or as Jill Lloyd puts it, speed of execution becomes an ‘attempt… to catch modernity on the wing’. (Jill Lloyd, German Expressionism: Primitivism and Modernity, Yale University Press, New Haven & London, 1991, p.45)

BREON O'CASEY (BRITISH 1928-2011) ARCH, 1994 signed and dated in pencil (lower right), gouache on paper 19cm x 27cm (7 ½in x 10 5/8in) Porthminster Gallery, St. Ives, 2005;Collection of Professor John Chambers.

John Harry Pepper (1830-1847) Biggleswade, oak longcase clock, 12" arch brass dial mounted with a silvered chapter ring, brass spandrels, inset seconds ring, circular winding holes, date aperture, signed JH Pepper, eight-day movement, striking to a bell, complete with original lead weights and brass pendulum, approx 210 cms h. (af)Condition ReportThe back of the case shows signs of repair. 

A Victorian silver coffee tea set, London dated 1883, mm Walter & John Barnard, comprising tea pot, tea pot stand, coffee pot, milk jug and twin handled sugar bowl. The elegant set of octagonal form, having an impressed foliate border, each rim having a repeating arch design, the two pots having fruitwood handles and finials, 2100 gms. 

A George III silver 7 bar toast rack, probable mark of J. E. Terrey & Company (John Edward Terrey), London 1819, of rectangular form with applied cast shell and scroll border, double row Gothic arch bars and cast double scroll handle, raised on four paw feet, 17 x 13cm 444g, (14ozt)Overall in good condition with no obvious signs of damage or repair. Some surface scratches all over, as to be expected and commensurate with age and use. One or two of the arches a little out of shape, but not excessively so. Stands well on a flat surface with no wobble. Hallmark a little difficult to read.

A collection of 5 Victorian and later arch topped silver vesta cases, each with hinged cover and strike to the base, marks of George Unite, Birmingham 1880 (largest example), William Neale & Sons, Chester 1899, Reynolds & Westwood, ?, Birmingham 1906, ?, London 1874 and George Unite 1894 (5)

Badische, Black Forest, early 20th Century oak mantle clock, 7" break arch alloy dial with Arabic chapter ring and applied brass spandrels, two train movement striking on a gong, no. 22358/85, H38cmShipping £48.00 plus vat (UK Only)

Philip Norman (1842 - 1931)A study of Rye's 13th Century Landgate Arch with figures and a horse-drawn cart idling by small shops, watercolour, signed, in pen-lined double card mount and Hogarth frame under glass, 34 cm x 38 cm overall[Norman attended Eton College and the Slade School of Art, where he trained as a draughtsman and watercolourist. He captured surviving buildings or locations of a bygone era, often depicting sites which were due to be demolished, immortalising them in watercolour. He exhibited over a period of 50 years at the Royal Academy.]

A near contemporary five-stone opal ring, comprising an arch of marquise cabochons, each claw-set within and above conforming torse bezels, set between the bifurcated shoulders of a 9 ct gold shank, opals approx 6 mm x 3 mm, N/O, 2.2 g

A George III long case clock by Henry Munsden of Chelmsford, having an 8-day movement and arched brass face with silvered hours and subsidiary seconds chapters, date aperture and automaton Old Father Time within the arch, in a brass-mounted oak case, 212 cm

A late 19th / early 20th Century walnut bracket clock by Junghans, having a two-train movement with silvered chapter ring, gilt cherub within the arch and striking on a coiled gong, 41 cm

A late 19th / early 20th Century Junghans arch top oak bracket clock by W Wells & Son of Stroud, having a two train movement and striking on a coiled gong, 32.5 cm excluding handle

A late 19th / early 20th Century arch top oak mantel clock by Samuel Marti of Paris, having a two-train movement and striking on a coiled gong, 27.5 cm

COLLECTION OF LOOSE STAMPS AND STAMP ALBUMS, comprising a number of stamp albums, and some loose stamps in lever arch boxes, all housed in a large plastic case

A striking Bohemian cut-to-clear crystal goblet in vibrant emerald green, showcasing intricate geometric and floral patterns meticulously hand-cut into the glass. The elaborate design features starburst, crosshatch, and arch motifs, reflecting the traditional craftsmanship associated with fine European crystal. The substantial faceted stem and wide base enhance its presence, making it a standout decorative or functional piece for any collection.Issued: 20th centuryDimensions: 7"HCondition: Age related wear.

A stunning Bohemian cut-to-clear crystal vase in deep emerald green, featuring masterfully hand-cut geometric and floral patterns. The intricate starburst and arch motifs add depth and elegance to the design, while the unique hexagonal base enhances its stability and aesthetic appeal. A remarkable example of fine European crystal craftsmanship, perfect for display or functional use.Issued: 20th centuryDimensions: 5"HCondition: Age related wear.

EIGHT MATCHBOX 1-75 SERIES SUPERFAST WHEEL MODELS comprising a No.4, '57 Chevy, red and white 'Cherry Bomb'; No.5, U.S. Mail Truck, blue and white; No.10, Plymouth Gran Fury Police Car, white and black 'Police'; No.10, Plymouth Gran Fury Police Car, white and black 'Metro Police'; No.54, Mobile Home, cream; No.62, Chevrolet Corvette, black, orange and yellow; No.62, Chevrolet Corvette, metallic red and white; and No.74, Cougar Villager, metallic green, each mint or near mint and boxed, the boxes generally good (No.62 black box slightly crushed). Condition Report : No.62 red with scrape to one wheel arch, chip to one windscreen pillar and rubbed nose printing. ; No.5 box with one torn and almost detached end flap). Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

I.A.S.: O'Callaghan (J. Corn)ed. The Destruction of Cyprus .. Col. Charles O'Kelly, 4to D. (Irish Arch. Society) 1850 First Edn., orig. cloth. Good. (1)

A George III oak and mahogany cased longcase clock, signed William Wain, Burslem, the twin swan neck hood with turned freestanding pillars flanking the painted 36cm break arch dial, centred with a subsidiary second dial and date aperture, signed with the makers name, enclosing the two train movement striking on a saucer bell, set to a case with a shaped door inlaid with Prince of Wales feathers, flanked by quarter fluted pilasters, all upon bracket feet, 233cm high, two weights and pendulum

A Victorian mahogany chiffonier, the arched shelf back with moulded foliate and 'C' scroll detail, over a pair of half cylinder frieze drawers and arch panelled cupboard doors, all upon a plinth base and compressed bun feet, 158cm/92cm H x 105cm W x 45cm D

A late 19th century oak cased Lenzkirch mantle clock, the case with brass swing handle and finials above the 8cm silvered break arch dial, enclosing the two train movement stamped 'Lenzkirch A.U.G' striking on a coiled gong, upon a moulded plinth base and brass paw feet, 29cm high

A Victorian mahogany linen press, the cavetto cornice over a pair of arch moulded cupboard doors opening to three sliding trays, upon the base formed with two short over two long drawers, applied with hardwood drawer pulls, upon a plinth base with inset castors, 212cm H x 139cm W x 56cm D139cm width of cornice at widest point

Musical Instruments - a 1950s Triumph arch-top acoustic guitar, ivorine tuning pegs, hard case

A mahogany architectural tabernacle, pointed-arch top, hinged glazed door, containing icons, etc, 51cm high; an octagonal table top display case, 49cm wide (2)

EARLY 19TH CENTURY 8 DAY LONGCASE CLOCK, painted break arch face with galleon and nocturnal phases, attractive brass inlaid and cross banded mahogany casing