We found 42009 price guide item(s) matching your search

A VICTORIAN TRIPLE PLATE BEVELLED GLASS MIRROR, THE CENTRAL ROUND ARCH OF THE OAK FRAME FLANKED BY ACORN FINIALS AND RAISED ABOVE PAIRS OF MALE AND FEMALE PILASTERS. W 163 x 148cms.

A GEORGE III MAHOGANY BOW FRONT CORNER CUPBOARD, THE ROUND ARCH PANELLED DOORS ABOVE A SMALL DRAWER. W 99 x 123.5cms.

A SILVER BOX, BY BLANKENSEE, CHESTER 1909, THE RECTANGULAR SHAPE OPENING ON EACH LONG SIDE TO REVEAL GILT INTERIORS WITH SEVEN ROUND ARCH WIRE DIVSIONS, THE BOX. 12 x 7cms. WEIGHT 162g

A PAIR OF TALL NARROW GILT ARCH TOP PIER MIRRORS WITH ROPE TWIST FRAMES. H 214. W 36cms (2)

A 19th C. OAK AND MAHOGANY LONG CASED CLOCK INDISTINCTLY SIGNED BELOW COWS PAINTED IN THE ARCH OF THE DIAL WITH SUBSIDIARY DATE ARC. H 229cms.

Giovanni Battista Piranesi (Italian, 1720-1778)The Gothic Arch, pl. XIV from The Prisons (Carceri d'invenzione or 'Imaginary Prisons' series of 16 prints)etching, without letters, marked 'XIV' in the plate, 46.5 x 59.5cmmargins a little foxed and toned; On thick laid paper, central joint, without obvious watermark. Presumably a re-worked state.

Giovanni Ottaviani (1735-1808) and Giovanni Volpato (1740-1803) after drawings by Pietro Camporesi (1726-81) and Gaetano Savorelli (d. 1791), a bound folio containing an incomplete series of 11 copperplate engravings with later hand colouring taken from Volume I Loggie di Rafaele nel Vaticano, 3 plates being single page, 1 folding plate and 7 double page size, some old damage and repairs, all in a worn binding Footnote: These 18th century hand-coloured engravings are from the famous series Loggie di Rafaele nel Vaticano, which consisted of 43 plates published in 3 volumes. The plates show the 'grotesque style' decorations executed by Raphael and his assistants in the Loggie of the Vatican palace for Pope Leo X (1475-1521) in 1515-1519. Raphael’s pilaster frescoes for the walls of the Loggie, featuring plants, flowers, fruit tendrils, mythological creatures and architectural elements were directly inspired by the then recently excavated ancient Roman decorations in the Domus Aurea of Nero. Over 200 years later, the engravers Giovanni Ottaviani (1735-1808) and Giovanni Volpato (1740-1803) were commissioned by Pope Clement XIII (1693-1769) to print a series of copperplate engravings after Raphael’s Loggie. Each engraving was made in 2 parts, based on the designs drawn by the architect Pietro Camporesi (1726-1781), painter Gaetano Savorelli (d. 1791) and draughtsman Lodovico Teseo (1731-1782). The present lot includes one title-plate showing a view along the loggia with an oval portrait of Raphael (61 x 40cm), plates A and B showing the two doors at the end of the loggia (75 x 42cm), three unnumbered plates placed together showing a plan and elevation captioned 'Spaccato per il longo del secondo piano della loggia nel Cortile del Palazzo Vaticano corrispondente nel Cortile grande detto di S. Damaso, ove si dimostra l'Architettura ed Ornati della medema dipinti da Giovanni da Udine con la direzzione di Rafaele Sanzio da Urbino' (24 x 160cm), and fourteen plates showing the decoration of pilasters between windows on the inner side of the loggia pasted as mismatched pairs on seven sequential pages each inscribed 'Joann. Ottaviani sculp. cum privilegio SS.D.N. Clementis XIII.' and 'Cai Savorelli Piet., et Pet. Camporesi Arch. delin.', including numbers I to XIII and another unnumbered (100 x 78cm pasted together)

9ct gold Masonic Royal Arch Chapter fob on 9ct gold double strand curb link watch guard chain with Albert bar, 41.2g gross.Fob marked 9ct.  T-bar marked E.W & S 9 .375.  Each chain link marked 9 .375.  Both dog clips marked 9 .375. 

Autographed Paul Scholes 16 X 12 Photos colour, Depicting A Superb Lot Showing Manchester Uniteds Paul Scholes Scoring And Celebrating His Winning Goal Against Barcelona In The 2008 Champions League Semi-Final Second Leg At Old Trafford, Together With A Similar Image Showing Scholes Heading A Last Minute Winning Goal Against Arch-Rivals Manchester City In A Pivotal Premiership Encounter At The City Of Manchester Stadium In 2010, All 3 Photos Signed In Black Marker.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Northern European School of the 18th century."Holy Trinity".Mixed media on vellum.Measurements: 26 x 17,5 cm.A beautiful and subtle border of flowers in the purest baroque style frames the Holy Trinity, welcomed in a window in the shape of a semicircular arch. It is a composition with the dove of the Holy Spirit on the top, to the right God Almighty with a red mantle pointing to the orb and to the left Christ with the Passion Cross. The harmoniously coloured border is reminiscent of Baroque works in which the beautiful, highly developed garlands competed in prominence with the subject itself.

School of ALBERTO DURERO (Nuremberg, 1471-1528), 16th century."Christ in Limbo, 1510.Oil on panel.It shows faults and damage to the paint layer.A pigment study has been carried out which confirms the period of the panel.Dated in the upper left corner.Measurements: 104 x 74.5 cm.This is an important painting from the Renaissance period on panel, whose scene is inspired by one of the burin engravings that formed part of Dürer's so-called "Little Passion" (1512) (to distinguish it from the "Great Passion", another series that the German master produced a year earlier, in 1511, on the Death and Passion of Christ). The print in question shows Christ in Limbo, surrounded by demons and Adam and Eve, whom he has come to rescue. Jesus carries the banner of Victory and bends his body to save other inhabitants of that intermediate realm. Several hellish creatures surround them. The passage is recorded in the Apocryphal Gospels, specifically in the Gospel of Nicodemus, which narrates the Resurrection of Christ. In the present painting, which is of excellent quality, the elongated canons of Adam and Eve are derived from the Dürerian ideal of beauty, characterised by long, moulded muscles, supple torsos and long necks. Subtle shades of tanning turn the contours, here we can see the fusion of the Durerian school with the Florentine tradition of the time, derived from Leonardo and his technique of sfumato. Adam's aged face, with its long, kinky, cottony beard, contrasts with the soft flesh tones of Eve. The gallery of characters stands out: the variety of expressions and human types, some of them resolved with bold strokes, and others with soft and tender features (such as Jesus and Eve). Drawing and colour dialogue with success. Compared to the original print, subtle changes can be seen in its transfer to this magnificent canvas. If we compare this painting with the engraving, we see here a demon depicted with singular imagination and expressive resources that did not appear in the engraving, where other demons lurk from the top of the arch, their diabolical heads poking out of the lower part. It seems likely, moreover, that the present painter based his work on the print of the same name from the other series by Dürer (the Great Passion), which shows a figure (probably Saint Jerome) holding a cross. Here, too, the detail of the cross has been introduced, held by two figures looking at each other, hopeful and aged, perhaps Saint Jerome and The Baptist. It is evident that the artist who painted this oil painting was thoroughly familiar with the cycles of The Passion painted by Dürer in various versions. The engravings by the German master were works in their own right, but they also played a very important role in teaching and disseminating his work. His prints were a source of inspiration throughout Europe, especially in Italy and Spain.

A VINTAGE CAST IRON ARCH WAY TOP

A 20th century French design dressing table, arch top rectangular mirror flanked by twin mirrors, kidney shape and serpentine front table, frieze drawers, raised on cabriole supports, comprising with a dressing stool. (2) 137cm H x 110cm W x 55cm D

A Victorian mahogany wardrobe, circa 1860, curved moulded pediment above two panel arch moulded doors, enclosing a clothe hanging rail above an interior drawer, with four linen drawers over three gradual drawers, raised on a plinth base. A/F 207cm H x 152cm W x 58cm D

A Chinese hardwood glazed display cabinet, moulded outswept cornice above arch glazed inlay doors, enclosing four glass shelves, raised on a moulded plinth base. 20th Century. 209cm H x 107cm W x 36cm DCondition: flake on outer rim, kiln grit as expected on surface and foot.

A Far eastern style arch shape single panel dressing screen, mounted with carvings of a exotic fruit tree. 153cm H

A Victorian oak linen press/wardrobe, circa 1870, moulded cornice above two arch shaped panel doors, enclosing a cylinder clothes rail over linen drawers on campaign interior drawers, raised on a plinth base. approx 198cm H x 123cm W x 59cm D

A late Victorian oak stationary box, circa 1900, moulded edge lid that reveals a fall front folding leather inlay writing slope, fitted with interior drawers, dividers and storage space, arch panel front, raised on a moulded base. 26cm H x 35cm W x 22cm D

A large oak and elm refectory dining table, incorporating in a 16/17th century manner, three plank top with cleated ends, cushion moulded rails on bulbous turned supports on block feet, united by floor stretchers. 80cm H x 305cm W x 108cm D; A similar set of ten oak 17th century style dining chairs, arch topped back over a solid seat, and raised on block and turned front supports tied by a turned stretcher. (11) Provenance:The content of Wartnaby Castle in Melton Mowbray, Leicestershire, the property is mentioned Nicholas Pevsner's The Building of England and noted as a substantial house in the Little Belvoir Estate built in 1839 and enlarged in the mid 19th century. Note:The table is extremely heavy, for collection please make sure you have more than four people and have the appropriate lifting equipment.

An Art Deco burr walnut double bed, gradual arch headboard and footboard, united with an iron frame. Headboard: 109cm H x 137cm W, Bed Frame: 194cm L x 137cm W, Footboard: 60cm H x 137cm W; another similar style pair of bed side cupboards, frieze drawer over a single panel cupboard. 66cm H x 35.5cm W x 37.5cm D (3)

A Victorian revival oak extending dining table with extra leaves, winding movement with curved edge top, raised on turning baluster supports on brass castors; with a set of six oak dining chairs, arch back inlaid with a stuffed back and seat flanked by brass studded frame, raised on turned on block supports united by stretchers. (7)

An American Ansonia clock of New York mahogany cased, arch shape carved top, 6inch brass frame enamel dial with Roman numerals and twin wind up sockets, flanked by turned pillars, raised on moulded plinth base. 38cm H

A George III mahogany, satinwood and ebonised strung 8-day longcase clock by Joseph Plowman, Cawood (Selby, North Yorkshire), circa 1820, brass globe finial on scrolling pediment, above an arch shape glazed panel door opening to a 33.5cm wide painted dial, landscape scene on the arch above Arabic hour and outer quarter of an hour minutes numerals, subsidiary dial and date aperture, twin wind up key holes, above a serpentine panel door with ivory escutcheon revealing weights and pendulum, moulded base, raised on carved bracket feet. 

A 19th Century walnut Viennese wall clock, in a Dachluhr manner, moulded arch top, above a glazed panel door displaying a 19cm brass and enamel dial, Roman numerals, Arabic subsidiary seconds dial, wind up key hole, pendulum and key canted corner base, stretched apron. 120cm H

Imposing Large late 19th/early 20th century oak mirror-backed sideboard with fluted arch pediment, an arrangement of five mirrors and dog kennel centre to the base, flanked by panel doors and three drawers. 230cm wide approx.(B.P. 21% + VAT)

Lutyens Design stained teak arch backed garden seat. (B.P. 21% + VAT

19th century three train ebonised bracket clock, the case with urn finials and term mounts, loop handles on scrolled feet. Arch brass face with silvered Roman chapter ring and strike silent and chime dials. Three train movement, striking on eight bells and a gong. 52cm high approximately.(B.P. 21% + VAT) Complete with key and pendulum.

19th century French ormulu two train clock garniture, the arch case surmounted by a bust of Achilles, ceramic Roman dial above painted porcelain panels. Together with a pair of porcelain Campana shaped urn supporters. Eight day, two train movement. Strikes on one bell. 44cm high approximately.  One porcelain urn is damaged - face of clock is cracked - ribbon mount missing from clock - very grubby - no pendulum.  

A pair of Victorian ladies and gents walnut and burr walnut armchairs, each with a button back below a break arch rail inlaid with a burr walnut panel and foliate motif, the gents with padded out swept arms above a bowfront sprung seat, raised upon tuned vase shaped front legs, plain back swept rear legs and castors, 89cm and 91cm high (2)

A William and Mary style walnut and upholstered settee, late 19th/early 20th century, in green satin fabric, the twin arched back extending to padded out swept arms enclosing the two seat cushions, raised upon inverted baluster front legs on bun feet, united to three cylindrical back swept rear feet by curved cross stretchers, 88cm H x 140cm W x 61cm DCondition reportMinor play in the RH arch back due to a break/split in the frame, minor scuffing and wear to the fabric on the scroll terminals, small stain to the fabric on the left arm.The turned spindle in the cross stretcher is loose at one end and needs to be re-attached, although not detrimental to the structure of the sofa.Two of the front legs have been repaired at the top of the legs and are at fault 

CIRCLE OF GASPER VAN WITTEL, CALLED IL VANVITELLI (ROME, 1653-1736) View of Palermo Oil on canvas, 59 x 94cm Gaspar Van Wittel, known in Italian as Il Vanvitelli, was a Dutch painter and draughtsman who had a lengthy career in Rome. He played a pivotal role in developing the genre of Veduta, or topographical views, which became a painterly specialism in Italy in the 17th and 18th centuries. This work of the View of Palermo, showing the cultural and historical capital of the island of Sicily, reflects these highly detailed and large-scale compositions. In the painting we can see the monumental city gate, Porta Nuova, to the left-hand side, which represents the entrance to the Cassaro, the main thoroughfare and most ancient street in the city. It was built to commemorate Charles V's conquest of Tunis and his subsequent visit to the Sicilian capital. The gate is formed with a typical central triumphal arch flagged by four telamone sculptures of Moorish figures, referencing Charles V’s defeat over the Ottoman Empire. The buildings adjoining to this are the Royal Palace of Palermo, or Palazzo dei Normanni, originally constructed in the 9th century by its Islamic rulers, and then subsequently taken over by the Norman conquerors who established it as the main residence for future Kings. The foreground is dominated by the heavy castellated city walls projecting and receding along the boundaries of the capital and drawing our eye to the buildings in the background on either side. The cityscape is the main focus of the work, with the artist paying particular attention to the architectural features of the differing Norman and Italian styles of building. The vantage point chosen by the artist seems to be from a hill looking down towards the city, which is reflective of the position of the Palace at the highest point of the ancient centre of Palermo. The gate and the palace stood on the traditional western side of the city. The foreground is enlivened with the steady stream of horse drawn carriages coming to and from the main gate. The trees are in full bloom, with thick luscious green leaves while in the far distance there is a small glimpse of the blue sea and a view of what is probably the hill of Monte Pellegrino. There is a distinct mix of individuals represented by the artist, courtiers, ordinary citizens, workers and travellers, reflecting the diverse range of classes populating this 17th century port city.

Daniel Vauguion, London, a quarter-repeating ebonised Georgian bracket clock with bracket: the eight-day duration, double-fusee, five-pillar movement having an anchor escapement and fully engraved backplate, striking the hours on a bell with pull-quarter repeat sounding on a nest of six further bells, the seven-inch silvered brass break-arch dial engraved with black Roman hour numerals, Arabic five-minute outer numerals and makers name Danl. Vauguion, London, with a false pendulum aperture and decorative blued steel hands, the arch engraved with a 'Strike/Silent' dial, the bell-top ebonised case with glazed sides, canted corners, brass fretwork above the dial and surmounted by a brass carrying handle, all standing on brass bracket feet, height 53cm. Complete with a matching ebonised wall bracket, height 26cm.* Biography Daniel Vauguion is recorded as working in St James, Westminster, and is known to have taken Joseph Jacobs as an apprentice in 1756.

A George III mahogany longcase clock: the eight-day duration movement striking the hours on a bell with brass-bound weights, with the twelve-inch painted break-arch dial having black Roman numerals, a subsidiary seconds dial, shell decoration to the four corners and arch, and indistinct makers name, with blued steel hands, the mahogany case having inlaid stringing and crossbanding, the hood surmounted with typical Norfolk' wavy' cresting, height 224cm.

Jones & Son, Merthyr, an oak and mahogany longcase clock: the thirty-hour duration movement striking the hours on a gong, the twelve-inch painted break-arch dial having black Roman hour numerals, a subsidiary seconds dial and date aperture, with painted floral decoration to the four corners and church ruins within the arch, with gilt-brass hands, the oak case with turned ebonised columns to the trunk and hood, mahogany crossbanding and a swan-neck pediment, height 208cm.* Biography David Jones, born circa 1760, is recorded as working in Merthyr Tydfil from 1816 and invented a 'night watch' in about 1828 with a light going out at 11 o'clock when 'all people should be in their houses'. His son, also David, is known working in the High Street from circa 1835 until circa 1852.* Notes Reference William Linnard Wales Clocks & Clockmakers Pub. Mayfield Books 2003.

Walter Tucker, Exeter a mahogany longcase clock: the eight-day duration movement striking the hours on a bell, the twelve-inch break-arch silvered brass dial engraved with black Roman numerals, floral decoration to the four corners, Father Time to the arch, subsidiary seconds and date dials to the centre and engraved with the makers name Walter Tucker, Exeter, with a 'strike/silent' lever to the side, the mahogany case having canted corners to the trunk, crossbanding to the base and a swan-neck pediment with turned wooden centre finial and fluted columns to the hood, all standing on bracket feet, height 216cm.* Biography Walter Tucker, born circa 1801, was a member of the well-known Tucker watchmaking family being the son of John Tucker. He is recorded as working as a clock and watchmaker, silversmith and jeweller in the High Street from circa 1826 until 1848 before moving to 9, Belmont Terrace in circa 1850.* Notes Reference Clive N. Ponsford Devon Clocks & Clockmakers Pub. David & Charles 1985.

POSSIBLY ROMAN & LATER METAL DETECTORIST'S FINDS - to include Georgian and later silver coins, 2 x 1837 To Hanover (Cumberland Jacks) with Victoria heads, 1790 Spade Guinea brass token, 1902 commemorative medallion stamped verso, Barratt & Co's 'Sweets are Pure', Masonic one penny marked 'Bancroft, Royal Arch Chapter Instituted September 11 1900, Victoria half penny model, hallmarked silver St Dunstan's Billiard Fund medallion, 6 x Reward of Superior Merit for Regular Attendance medallions, numerous silver and other St Christopher pendants, silver and other rings, badges, buttons, some Roman coinage in a presentation pack (reproduction), bronze model of an owl, 5cms H, copper bangle and numerous other interesting finds, tobacco tin containing 3 x miniature cigarette packets with dummy plastic contents, vintage needle pack advertising Coca Cola, small quantity of envelope removed stamps

Modern pine dresser, moulded cornice, the upper section with open shelf above spice drawers, flanked by glazed doors, the base wtih three drawers above two cupboards and an open arch, width 141cm, depth 47cm, height 191cm.

Edwardian oak dresser, moulded cornice, panelled back with two fixed shelves, the base with moulded edge, four drawers above cupboards and an open arch, width 167cm, depth 51cm, height 196cm.

Robert Parry, Pwllheli, early 19th century oak and fruitwood crossbanded longcase clock with painted arched dial with lunar arch with two weights and pendulum 224cm highMovement appears to be complete and moves freely, but we unable to confirm if it is in full working order, dial is quite good, slightly worn and damaged round border, some numerals have been repainted. Case is dirty, scratched and marked, veneer is missing in places, plinth is cracked, door is coming away from inner frame and lock is missing. Hood is good.

Hornby R9660 low relief arch/viaduct and Bachmann Scenecraft, cattle, duck and diesel fueling point. All in good condition, boxed. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Mary Rich (born 1940), a slender vase with spirally moulded neck, gold arch designs to body, impressed mark, 20cm high and a white crackle glaze vase by Hugh West (damages) (2) CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

R. Crawford of Glasgow: a mahogany longcase clock, the arched brass dial with silvered roman chapter ring, with outer arabic numerals, subsidiary seconds dial to matted centre, tempest fugit plaque to arch, eight-day movement with anchor escapement, the case with swan neck pediment, the glazed door flanked by fluted columns, arched waist door, panel base, on bracket feet, with brass weights, pendulum, and winding key, 220cms high.

An early 20th Century mahogany full-length corner display cabinet, the pierced broken arch pediment above blind fret frieze, a pair of glazed panel doors and solid panel doors under, 79 x 219cms high.

A good Victorian 8 day Longcase clock by Rhind of Manchester, with moon phase in the arch of the dial. Contained in a lovely mahogany case with turned and reeded columns to the hood, the trunk is decorated in different cuts of mahogany.There were 2 Rhinds working in Manchester. James 1828-76 and Thomas 1828-51 

A good Victorian table or boardroom clock with cartouche. Examined by J.W. Benson London on dial. A three-train chain driven fusee movement striking on 8 bells and a gong with 3 sub dials in arch; chime 8-bell Westminster, silent, fast-slow. Arch dial 7" x 10.5". 29" x 26" base x 51" without glass case. Decorated with winged cherubs and flower spandrels. Ebonised case 16" x 29" x 11". Decorated with pineapple finial, reeded gilded columns, swags and flowers. Sun-burst face, side frets with silk.Condition report.Restored by the vendor and in working condition movement not tested

A Robert Dawson ALFORD  Blue Chinoiserie longcase clock  with rocking ship automaton to the arch. 12-inch brass arch dial with seconds and dummy calendar 4 pillar movement. Brass cased weights. Contained in a blue  Chinoiserie case 19" x 92" x 10"Condition report: Movement may not be original to case: Movement pillars also do not match, calendar wheel missing and filled with blank. Case looks original and in reasonable condition. Keys present.A Robert Dawson Alford is recorded in 1678

A good Vienna wall clock of small proportions retailed by Perrat of Weston Super Mare. Single train weight driven movement. Two piece enamel dial 5" diameter. Contained on walnut case with arch top.Condition report: In good condition and working, restored by vendor. Movement not fully tested.

A Victorian Longcase Clock case only with arch dial measuring 12" x 16" highMahogany case with new back board

18th / 19th Century mahogany longcase clock, the inlaid case with spiral turned flanking pilasters, the brass dial with moonphase arch and subsidiary date aperture, signed John Arnold Child, Ockford, with weights and pendulum (for restoration)

19th Century mahogany longcase clock, the broken arch hood and rectangular panel door with flanking fluted pilasters, the painted dial with arch depicting the S.S. Great Britain, signed W. Burnock?, Appledore, with pendulum, weights lacking

Edwardian mahogany and marquetry inlaid wall cabinet, the broken arch pediment above a glazed door enclosing velvet lined shelves flanked by bow glazed end panels, 55ins wide x 56.5ins tall

18th Century French cherry wood cupboard, the moulded top above two arch panel doors enclosing shelves, on a moulded plinth base, 38ins x 15ins x 35ins high

George III oak and mahogany crossbanded longcase clock, the broken arch hood with flanking pilasters above a shaped panel door with flanking quarter pilasters and conforming plinth base, the painted dial with moonphase arch and subsidiary seconds with an associated two train movement (for restoration, weights lacking)

George III mahogany longcase clock, the broken arch hood above an arched panel door and conforming plinth, the painted dial signed Simkin, London, with a strike silent selector to the arch, subsidiary date and seconds dials, the two train movement with anchor escapement striking on a bellWeights and pendulum present. Please see photographs

George III mahogany inlaid and painted longcase clock, the broken arch hood with brass ball finials and flanking Corinthian pilasters above a rectangular panel door flanked by fluted quarter pilasters and conforming plinth base, the brass mounted and painted dial with Roman numerals, subsidiary seconds dial and date aperture, signed Ninyon? Brighthelmstone, the two train movement with anchor escapement striking on a bell

19th Century oak and mahogany crossbanded longcase clock, the broken arch hood with flanking pilasters above an arched door and conforming plinth base, the painted dial with a hunting scene to the arch, Roman numerals and date aperture, the single train thirty hour movement striking on a bell

MODERN PINE FRAMED ARCH TOP OVERMANTEL MIRROR, 101CM WIDE

A GEORGE III MAHOGANY AND STRUNG INLAID EIGHT DAY LONGCASE CLOCK, the hood with a swan neck pediment, with three brass pediments, twin pillars flanking a glazed arched door, enclosing a painted 12 inch dial, singed C A Mountford of Birmingham with bell striking movement, various landscapes to arch and borders, surrounding a seconds dial, subsidiary date aperture, roman numerals, height 242cm (two weights, pendulum, winding key and trunk key)

Original vintage travel advertising poster published by the British Travel and Holidays Association to promote the various traditional historic and other tourist attractions for visitors - Come to Britain - featuring the bold stylised title text between three images with small descriptive titles of Windsor Castle viewed from the Long Walk with cows grazing on the side; Pageantry in London depicting Royal Guards on horses riding past trees and people in fashionable summer dress with the historic Marble Arch in the background; and a Cornish Fishing Village with colourful houses on the coast, boats on the sandy beach in the harbour and people swimming in the sea and a man leaning against an old stone wall in the foreground. Printed in Great Britain by Fosh & Cross Ltd, London. Fair condition, staining, tears, creasing, pinholes Country of issue: UK, designer: Xenia, size (cm): 101x63, year of printing: 1955.

Small 19th century mahogany chiffonier with broken arch pediment over a single shelf, the body with a frieze drawer and two panelled doors raised on a plinth base, 77cm wide