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

An Arts & Crafts walnut hexagonal occasional table with Islamic arch frieze and platform undertier on turned supports, 54cm wide x 72cm high, together with a similar smaller, 46cm wide x 67cm high, and another square table, (3).

An early 20th century arch topped ivory banded shagreen triptych dressing mirror, 72cm high x 84cm wide, together with a bur yew and ebonised 19th century mirror with out stepped square corners, 50cm wide x 58cm high.

A Victorian gilt framed arch top overmantel mirror, with shell and acanthus scroll crest, 122cm x 173cm high.

A Gothic revival polychrome painted faux marble pedestal with arch moulded sides on stepped base, 66cm wide x 112cm high.

A Victorian gilt framed arch top overmantel mirror, with ribbon tied egg and dart moulding, 145cm wide x 168cm high.

A Victorian mahogany wheel barometer by A. Pagan, Nottingham, with broken arch pediment, dry/ damp detector over a thermometer, 8.5 inch silvered dial and warranted level, (a.f.), 96cm high. CAB

An 18th century style cast iron arch top fireback, with female green goddess decoration, 41cm wide x 60cm high and two pairs of late 18th century cast iron fire dogs, the largest 48cm wide x 52cm high. B1

An 18th century 8 day oak longcase clock with arch top 13 inch dial, 217cm high(two weights and one pendulum).

A Queen Anne style stained beech arch top cheval mirror, 46cm wide x 158cm high. D3

An Edwardian mahogany framed arch back armchair on tapering square supports, 64cm wide x 86cm high. A1

An 18th century style grey painted double arch wardrobe on bun feet, 98cm wide x 183cm high. A3

A 20th century aluminium arch gazebo, 260cm high.

A pair of 20th century mahogany framed arch top wall mirrors, with bevelled glass, 45cm wide x 86cm high, (2).

F. Salteri Co Nottingham, a mahogany and chequered stick barometer, 19th century, with broken arch pediment, silvered plate and half block cistern, 97cm high.

Mahogany inlaid two train lancet bracket clock, the W & H movement striking on two gongs, the 6.5" silvered arched dial with subsidiary slow/fast and chime/silent dials to the arch, within a stepped case with side carrying handles, 16" high (pendulum)

Unusual single train four day wall clock with bracket, the circular silvered dial plate divided into sixty minute quadrants and enclosing Roman numeral hour chapter rings, with subsidiary seconds dial to the rounded arch, 11" high overall with bracket (pendulum and weight)

A pair of Victorian Arts & Crafts oak hall chairs with cathedral arch back rest on turned and tapering legs, 101cm tall

And Edwardian Inlaid Mahogany Triple Wardrobe,with dentil cornice to arch decorated pediment, central mirror door flanked by panelled doors, base with twin drawers, 165cm wide.

~ A mahogany eight day white dial longcase clock, signed M Whinnie, Ayr, arch painted dial with Nelson in the arch

~ A Scottish mahogany eight day longcase clock, signed John Dobbie, Glasgow, early 19th century, arch painted dial with Adam & Eve automata in the arch (now disconnected from the movement)

~ An oak eight day white dial longcase clock, signed Andw Esdaile, Newcastle, late 18th century, arch painted dial with a moonphase aperture

An 18th century style table timepiece, arch brass dial with silvered plaque inscribed 'Tempus Fugit', single fusee movement with an anchor escapement

An 18th century joined oak dresser, the open rack with two shelves, over base with a pair of drawers and double arch apron, raised on chamfered square legs united by a potboard. Reduced. 37' wide. South Wales

An 18th century oak dresser rack, the two cupboards enclosed by arch doors flanking three shelves. 73' wide. Prov: The Estate of Islwyn Watkins

Mahogany three train musical longcase clock, the 14" brass arched dial signed W Drew, Lynn on the silvered chapter ring, with four bells/eight bells lever positioned at three o'clock enclosing a foliate engraved centre with subsidiary seconds dial, with moon phase and painted ships to the arch, the movement playing on a nest of eight graduated bells, the flame mahogany case with long triple pointed arched ebony banded door, surmounted by a swan neck pediment and inlaid overall with oval reserves depicting conch shells, birds and Classical urns, 88" high (pendulum and three weights)

Good English ebonised double fusee bracket clock and bracket, the 7" brass arched dial signed J. Green on the silvered chapter ring enclosing a matted centre with calendar aperture, with strike/silent dial to the arch, the foliate engraved back plate also signed J. Green, London, within a stepped case surmounted by a caddy top and brass carrying handle, 20.5" high (pendulum and winding key)

Fine Lenzkirch walnut ting-tang bracket clock, the movement back plate bearing the maker's name and stamped One Million, 72342 (circa 1895), the 5.5" brass arched dial signed with the retailer's name James King, Devizes on the silvered chapter ring enclosing a matted centre, with subsidiary slow/fast dial to the arch, within an attractive canted stepped gilt metal mounted case, surmounted by four flame finials and a carved caddy top, 15.5" high (pendulum and keys)

English ebonised triple fusee original verge bracket clock, the 6.5" white enamel dial signed Stephen Rimbault, London under a shaped arched dial plate decorated in relief with painted flowers and foliage with strike/silent and chime/not chime subsidiary dials to the arch under six tune selections, the foliate engraved movement back plate also signed Stephen Rimbault, London and striking on a single bell, within a stepped case surmounted by a caddy top with five pineapple brass finials, 25.5" high (pendulum and door key) (alterations) *This clock has had the musical train removed

English ebonised double fusee verge bracket clock, the 7" brass arched dial signed John Taylor, London on a silver shaped recessed plate to the matted centre with calendar aperture, enclosed by a 6" silvered chapter ring and surmounted by a strike/silent dial to the arch, the movement with fine foliate engraved back plate, within a stepped case surmounted by four pineapple finials, caddy top and brass carrying handle, 21.5" high

Interesting and rare mahogany Masonic four glass banjo barometer signed J. Schalfino, Taunton, Warranted, the principal 8" silvered dial engraved with various Masonic symbols, within a shaped featherbanded and tapered case surmounted by a broken arch pediment

Good English mahogany double fusee five pillar triple pad bracket clock, the movement back plate signed Thos Reynolds, London, with pull repeat striking on a bell, the 7" brass arched dial with strike/silent dial to the arch, within a stepped rounded arched case surmounted by a foliate bronze handle, 18.5" high (pendulum and door keys)

English ebonised double fusee verge bracket clock, the 7.25" brass arched dial signed Jon. Pittman, London on an oval plate to the matted centre with false pendulum bob aperture, with a calendar dial and pointer to the arch, also signed Jon Pittman, London to the foliate engraved movement back plate, within a stepped case surmounted by a caddy top and brass carrying handle, 21.5" high (pendulum and keys)

Small English brass lantern clock movement with alarm and wall bracket, the 5" brass arched dial signed John May Southampton on a silvered circular boss to the arch over a silvered chapter ring enclosing a foliate engraved centre with central alarm dial and single iron hand, striking on a bell behind the arch, 7.5" high overall (pendulum, two weights and oak wall bracket)

English mahogany double fusee bracket clock, the 7" brass arched dial signed Chas Blanchard, London on the foliate engraved silvered dial centre with false bob aperture, enclosed by a silvered chapter ring and surmounted by a moon phase to the arch, the five pillar movement with anchor escapement converted from verge with foliate engraved back plate and striking on a bell, within a stepped case surmounted by a caddy top, four ball and spike finials and a carrying handle, 18.5" high (pendulum and keys)

Rare mahogany 6.5" banjo barometer signed Tagliabue, 26 Holborn, London, within a shaped case inlaid with boxwood lines and surmounted by a triangular broken arch pediment and brass turned urn finial

Oak and mahogany eight day longcase clock, the 12" painted arched dial signed Tomlinson, Horncastle, with subsidiary seconds dial and arched calendar aperture, painted with a marine scene to the arch, within a case with short mahogany banded pointed door, the hood surmounted by a moulded swan neck pediment with three brass ball finials, 84" high (pendulum, two weights and keys)

Eight day longcase clock movement, the 13" brass arched dial signed Earl, Oxford on the silvered chapter ring enclosing a foliate engraved centre with subsidiary seconds dial and calendar aperture, the arch with circular aperture painted with soldiers before a castle

Mahogany eight day longcase clock with five pillar movement, the 12" silvered dial signed T. Payne, London, with subsidiary seconds and calendar dials to the centre, also with strike/silent dial to the arch, the case with long moulded arched door and the hood surmounted by a moulded rounded arch pediment, 86.5" high (pendulum, two weights and key)

Two early 20th Century mantel clocks comprising a lancet-arch mahogany example with two train movement, 20cm high, and an oak 'Napoleons Hat' mantel clock, 36.5cm wide x 22cm high (2)

A good and large early 20th century Arts and Crafts-style oak double wardrobe, the single broken-arch hand-bevelled mirror plate flanked by two panelled doors enclosing hanging space and headed with mother-of-pearl inlay and marquetry Art Nouveau panels in high Charles Rennie McIntosh style, two half-width drawers below and raised on stile feet It is noted that there is hanging space to the inside and there is a middle partition in the central part behind the mirror so that there are only two doors flanking the mirror. The internal dimensions of these two areas flanking the mirror are roughly 44cm deep, 84cm wide and 137cm high

An early 19th century oak and mahogany cased eight-day longcase clock; the 13.15" broken-arch dial with silvered chapter ring with Roman numerals and central foliate style engraving and the arch with a silvered roundel signed J. Davison, Perth; shaped crossbanded trunk door flanked by quadrant fluted pilasters with gilt-metal capitals and raised on short ogee-style bracket feet (approx. 220cm high) 

An attractive 19th Century Irish mahogany three tier Dumbwaiter, with carved arch back flanked with finials, supported by turned and carved pillars, two central frieze drawers with brass handles, on brass castors, approx. 145cms x 125cms (57" x 49"). (1)

An Arts & Crafts style two piece Conversation Chair, the top with panelled prints of elegant ladies, with open arch panels, padded seats on square tapering legs with brass castors, united by turned stretchers. (1)

A good Elizabeth I joined oak and marqeutry-inlaid overmantle, circa 1570Having a chequer-inlaid cornice with leaf-carved lambrequin edge, a coved-frieze carved with alternating naturalistic flowerheads, and with three corbels each painted with a coat of arms, probably later/over-painted, above a pair of marquetry-inlaid panels in the Nonsuch-style, each panel beneath a floral bolection arch, with angel spandrels, and winged-horse and griffin carved supports, spaced by three figural terms, two male and one female, the coved-undershelf carved with bold stylized palmettes, 178cm wide x 22cm deep x 95cm high, (70in wide x 8 1/2in deep x 37in high)Footnotes:The sinister side of the impaled arms is: azure, on a chevron argent between three estoiles or, three lozenges gules, all within a bordure also or for HOPKINSON. Impaled arms can denote a marriage and so it is probable that these arms belonged to a woman with the surname Hopkinson. The fecund appearance of the figural terms underlines the association with marriage. The arms on the dexter side of this shield, for her husband, have not been identified. They are the same as the single coat of arms at the far left-hand (proper right) of the frieze. The far right-hand (proper left) coat of arms is argent, guttée de sang, a lion rampant gules, on a chief of the last three escallops or for PATTISON. No association between the families of Pattison and Hopkinson in the late 16th century has been found. A William Hopkinson of Alford and Mablethorpe, Lincolnshire, died in 1599. Elizabeth, daughter of George Nevile of Ragnall, County Nottingham, married first, William Hardinge of Foss and secondly, John Hopkinson of Lincoln's Inn. She was buried at Alford, Lincolnshire in 1636. John Hopkinson is said to have built Alford Manor House in 1611.In 1848, William Hopkinson, who bore the same arms as those identified on this overmantel, purchased the manor of Little Gidding - famously associated with the religious community founded there by Nicholas Ferrar (1592-1637) in the mid-17th century - and restored its buildings. Part of that restoration included the insertion of four armorial windows, one of them bearing the Hopkinson coat of arms.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.

A small Elizabeth I joined oak standing 'hutch', circa 1580The boarded top with ovolo-moulded edge, the single board door framed by edge-moulded rails, with panelled sides and rear, all lower rails of flattened-arch shape with chamfered edge, 51cm wide x 39cm deep x 68cm high, (20in wide x 15in deep x 26 1/2in high)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.

An unusual Elizabeth I/James I boarded oak box, circa 1600Of pegged-construction, the one-piece lid board carved to simulate a single panel, all side boards with a shallow flattened-arch cut-away base, 67.5cm wide x 33.5cm deep x 27.5cm high, (26 1/2in wide x 13in deep x 10 1/2in high)

A Charles II joined oak chest of drawers, circa 1680Typically in two-parts, the boarded top with ovolo-moulded edge, above dentilated mouldings and four long mitre-moulded drawers, all drawer fronts with applied split-mouldings, and the top drawer with the addition of a central corbel moulding with matching carcase end-mouldings, and with the painted initials 'M G', the third and deepest drawer with a central arch-moulded reserve, on extended stile supports, the rear of both parts unusually triple-panelled, 112.5cm wide x 59.5cm deep x 102.5cm high, (44in wide x 23in deep x 40in high)

A George III miniature boarded oak chest with drawer, Welsh, circa 1800Having an edge-moulded and hinged lid, the front board with brass keyhole liner, the base with upper edge moulding and a long drawer, fitted with a pair of brass knob handles, raised on a cutaway bracket plinth, the front apron with central peak and arched ends, the aprons to the ends centred by a flattened arch, faint ink inscription to underside of lid, 22cm wide x 12cm deep x 22.5cm high, (8 1/2in wide x 4 1/2in deep x 8 1/2in high)

An interesting James I oak joint stool, Gloucestershire, circa 1620Having an ovolo edge moulded top, and rare arch-shaped rails with integral central stepped and rounded pendant, on columnar ring-turned legs, joined all round by stretchers with narrow central run-mouldings, 48cm wide x 27.5cm deep x 56cm high, (18 1/2in wide x 10 1/2in deep x 22in high)Footnotes:Literature:For a comparable stool see Tobias Jellinek, Early British Chairs and Seats 1500 to 1700 (2009), p. 226, pl. 289.

A mid-18th century fruitwood miniature bureau, possibly Dutch, circa 1750The hinged sloping fall carved with an unusual tableau of four figures, including a man wearing a head-dress, skirt and holding a long pipe, a drummer wearing a feathered cap, a man with sword, with feathered cap, and a man in a frock coat, his hand outstretched, also in feathered cap, within a landscape of flowers, two central stems forming an arch, and against a matted ground, all above three drawers, all carved with different animals, a lion and a pig, an ox and a dog, and to the bottom drawer a monkey, a bird and a ram, all within landscapes of flowering plants, and against a matted ground, the end boards extending to form the feet, later facing brackets, 37cm wide x 17cm deep x 34.5cm high, (14 1/2in wide x 6 1/2in deep x 13 1/2in high)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.

The Hornby Castle Chair: A documented oak open armchairElizabeth I/James I, circa 1580-1600 and later, probably South-West ScotlandOf unusual design, having an open back formed of two twin-arcades with fluted-baluster pillars, below a tall cresting, historically thought to be carved with the arms of Conyers of Hornby Castle, Yorkshire, the relatively flat arms carved with a cabled nail-head design, on bulbous basketwork-carved supports, the seat rails, front legs and stretchers similarly carved, restorations, 75.5cm wide x 52cm deep x 138.5cm high, (29 1/2in wide x 20in deep x 54 1/2in high)Footnotes:Provenance:Reputedly Duke of Leeds, Hornby Castle, Yorkshire. Thomas George Burn Collection, Rous Lench Court, Abbots Morton, Worcestershire, and reputedly purchased in Otley, Yorkshire.Sotheby's, London, The Rous Lench Collection, Vol. II, 4 July 1986, Lot 695. Alistair Sampson Antiques Ltd., London.Illustrated:Victor Chinnery, Oak Furniture: The British Tradition 2016, p. 389, fig. 4:37 and p. 390, fig.390 (detail). See also Antique Collectors, 'Rous Lench Court', December 1958, p. 220.Three extremely similar armchairs are known. The first, now in the Burrell Collection, Glasgow (accession no. 14.71), is said to have come from Wordsworth's house, Ambleside, Cumbria. The second, in cedar, at Temple Newsam House, Leeds, bears a label on the underside inscribed HORNBY CASTLE / COLLECTION /APRIL 1930 and another label printed LADY GLAMIS, indicating it passed to the third daughter of the 10th Duke of Leeds before reverting to the 11th Duke and then sold at Sotheby's, July 1961 Lot 140. It was purchased by S. W, Wolsey, Buckingham Gate, London and illustrated Percy Macquoid, The Age of Oak (1904), p. 55, pl. IV. The third, at Norton Conyers Hall, is dated '1603', and illustrated C. Latham In English Homes (1904), p. IX. All four chairs are known to have restoration, although Victor Chinnery refers to this Lot, ibid., p. 390, as 'the most complete of the chairs'.Although the group of chairs to which this example belongs is traditionally associated with Conyers of Hornby Castle, North Yorkshire, the heraldic motifs they bear – horses or unicorns (lacking horns) gorged and chained, a martlet, a lion rampant and the crest of a horned animal - are not traditionally associated with the family. The paternal arms of Conyers are azure, a maunch or with a crescent or surmounted by another gules in chief. The maunch – a sleeve – is a very distinctive heraldic charge, and its absence from these chairs is significant, suggesting that they were not, in fact, made for the Conyers family. Neither is their crest – a sinister wing gules, differenced with a crescent or surmounted by another gules – evident here. The lion rampant does feature, however, on the Hornby Arch in the Burrell Collection, once the main entrance into Hornby Castle.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.

A Charles II joined oak and bone-inlaid chest of drawers, circa 1670With two short over two long deep drawers, having a dentil-cut under-edge moulding to the thin ovolo-moulded top boards, both short drawers inlaid with pairs of flower baskets, the drawer below with paired cushion mitre-mouldings centred by a moulded arch with 'trompe l'oeil' chequer-pattern floor, the geometric moulded drawer below with applied pyramidal boss and again bone inlaid decoration, on walnut bun feet, 89cm wide x 49cm deep x 88cm high, (35in wide x 19in deep x 34 1/2in high)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.

An arch top overmantel mirror with ebonised and gilt border and a shield shped brass mirror

An early 19th century oak longcase clock, the later case with mahogany crossbanding, the hood with broken arch pediment and reeded side columns, quarter reeded columns and full length arched door to the trunk, on ogee bracket feet, square painted dial and 8 day striking movement by Thos Holmes, Cheadle, height 215 cm

A 1920's striking mantel clock in walnut arch top case

A Georgian mahogany long case clock having an arch topped dial with an 8-day movement with pendulum and weights

A VICTORIAN MAHOGANY EIGHT DAY LONGCASE CLOCK WITH PAINTED BREAK ARCH DIAL, 225CM H X 44CM W

A GEORGE III OAK EIGHT DAY LONGCASE CLOCK WITH FRETWORK DECORATION, THE SILVERED AND BRASS BREAK ARCH DIAL INSCRIBED THOMAS MCAULEY LEEDS, 230CM H X 54CM W

A MAHOGANY DWARF LONGCASE CLOCK, THE ARCH TOPPED BRASS DIAL INSCRIBED TEMPUS FUGIT, 178CM H

An engraving Nelson's Last Signal at Trafalgar; another, Roman Arch, signed in pencil