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

A Victorian mahogany and satinwood crossbanded desk with a drawer above an arch flanked by further drawers on square section tapering legs, width 106cm.

A SOUTH GERMAN BREASTPLATE WITH EMBOSSED DECORATION IN THE 'BLACK AND WHITE' FASHION, CIRCA 1540-50 with a medially-ridged main plate projecting forward over the belly, formed at its upper edge with a broad concave neck-opening struck at its centre with the quality-control-mark of the city of Nuremberg, fitted at its arm-openings with moveable gussets (the right with a small loss at its outer end), and overlapped at its lower edge (patched at the centre) by a waist-lame flanged outwards at it lower end to receive a fauld of three lames (associated), the lowest of which is cut over the crotch with a shallow arch and fitted to either side of it with rivets for the attachment of tassets, the neck and arm-opening each formed with boldly roped inward turns, and the surfaces of the whole decorated with recessed bands and borders, the bands of the main plate medially ridged, all burnished bright against a formerly blackened ground (now cleaned to a mottled bright finish; the whole lightly pitted and the right of the breast with two later holes for a lance-rest closed by hammering) 44.0 cm; 17¼ in

A SOUTH GERMAN 'BLACK AND WHITE' BREASTPLATE, CIRCA 1570-80 with a medially ridged main plate projecting forward over the belly, having a broad slightly concave upper edge, fitted at its arm-openings with moveable gussetts, and flanged outwards at its lower edge to receive a fauld of three lames (all associated), the lowest of which is cut over the crotch with a shallow arch and pierced to either side of it with a pair of rivet-holes for the former attachment of tasset suspension-straps (the outermost hole in each case doubling as an articulation-point and accompanied to its outside of it by a later rivet), the main edges of the breastplate and its fauld formed with file-roped inward turns and its surfaces decorated with raised bands and borders burnished bright against a blackened ground (refreshed with paint) 43.0 cm; 17 in

A GERMAN 'BLACK AND WHITE' BREASTPLATE, CIRCA 1570 with a medially ridged main plate projecting forward over the belly, having a broad straight upper edge, fitted at its arm-openings with moveable gussets, and flanged outwards at its lower edge to receive a fauld of two lames, the lowest of which is cut over the crotch with a shallow arch and pierced to either side of it with two pairs of rivet- holes for the former attachment of tasset suspension-straps (the inner of the outermost pair of holes in each case doubling as an articulation-point), the main edges of the breastplate formed with file-roped inward turns and its surfaces decorated with variously raised and recessed bands and borders burnished bright against a blackened ground) 46.5 cm; 18¼ in

A CAP-A-PIE FIELD ARMOUR IN THE LATE 15TH CENTURY GERMAN 'GOTHIC' STYLE, 19TH CENTURY comprising sallet with rounded one-piece crown rising to a broad hollowed medial keel, formed at its front with a single broad stepped vision-slit and extending backwards over the nape as a broad squared 'tail'; bevor formed of a main plate shaped to the chin and fitted at its flanged lower edge with a deep gorget-plate narrowing to its lower end; collar formed of three lames front and rear; medially-ridged breastplate formed of a main plate overlapped at its lower edge by a plackart with a chevron-shaped upper edge rising to a lobate finial, and a flanged lower edge bearing a fauld of three lames, the lowest of which is cut at its centre with a shallow arch fitted internally with a skirt of mail separating a pair of short integral tassets each of two lames; backplate formed in one piece with a flanged lower edge (its centre patched); spaudlers each of three lames, the first of the right stamped at its apex with the initials 'FD', and both fitted at their lower edges with gutter-shaped upper cannons connected by means of internal leathers through one-piece winged couters open at their rears, to tubular lower cannons opening at the front; circular besagues each connected by a strap and buckle to the front edge of its spaudler; gauntlets each formed of a long pointed cuff open at its inside, an outer wrist-plate shaped to the end of the ulna, a single long metacarpal-plate, shaped knuckle and finger-plates, and scaled thumb and finger-defences; cuisses of long gutter-shaped form each embossed with a simulated side-plate and three simulated upper extension-lames, and fitted at its lower edge with a winged poleyn of six lames overlapping outwards from the third, formed with a medial keel; tubular full-length greaves opening at their outsides; and sabatons each of eight lames with pointed toe-caps and separate hinged heel-plates; all parts of the armour except for the sallet, collar, greaves and sabatons decorated with sprays of 'Gothic' flutes, and their main edges formed at numerous points with plain inward turns (the whole showing a light to medium patina overall and some small patches of active rust); mounted on a wooden stand with a square base

A PAIR OF ETCHED GREAVES AND SABATONS IN THE SOUTH GERMAN STYLE OF THE THIRD QUARTER OF THE 16TH CENTURY, LATE 19TH CENTURY each formed of tubular full-length greave well shaped to the calf and ankle, opening at the inside, cut at the heel with a vertical slit to accommodate a spur and at its front lower edge with an arch to accommodate an integral sabaton of ten lames, the last five of which are decorated with a file-roped medial rib, and the last of which forms a rounded toe-cap, the whole etched in its main bands and borders with running foliage on a blackened ground, and in its subsidiary borders with a wave pattern on a similar ground (the last three lames of the left sabaton and the last two of the right patched, and the whole lightly patinated overall) (2) 46.5 cm; 18 ¼ in

**A COMPOSITE SOUTH GERMAN FIELD ARMOUR, PARTLY NUREMBERG, CIRCA 1550-60 comprising burgonet with one-piece skull boxed in six vertical panels and rising to an acute central point, fitted at its brow with a broad rounded peak attached by pivots (replaced) having radially-fluted domed heads, at its flanged rear edge with an obtusely-pointed neck-guard (associated) formed of one lame embossed to simulate two, and at each side with a hinged cheek-piece fastened to its mate at the chin by a pierced stud and swivel-hook (the latter replaced), decorated at its centre with a six-sided pyramidal boss enclosed within a circle of ventilation-holes, and flanged outwards at its lower edge (patched in the case of the right one) to receive a neck-guard matching that at the rear; collar of four lames front and rear opening at the right of the neck, the lowest rear lame fitted at each side with a hinged stud for the attachment of a pauldron, and the lower edge of the front edge struck with two dots between an 'X' and an inverted 'V'; breastplate with a medially-ridged main plate projecting forward over the belly, struck just below the centre of its shallow neck-opening, between an 'X' and a 'V', with a maker's mark consisting of an escutcheon containing the initials 'CL' over a plane leaf, and fitted at each arm-opening with a moveable gusset, at the right of the chest with a folding lance-rest attached by two screws inserted internally, and its lower edge with an upward-overlapping waist-lame flanged outwards at its lower edge to receive an associated fauld of three lames suspended on a later pair of hasps, and cut at the centre of the lowest of them (associated) with a shallow arch separating a pair of tassets each of four lames; matching backplate struck at the centre of its broad nearly straight neck-opening with the same marks as recorded on the breastplate, and flanged outwards at its lower edge to receive a culet of two lames; spaudlers each of eight lames (the first two associated and reworked) that extend down to the elbow where they connect by means of internal leather to a large couter, shaped to the point of the elbow and open at its rear, and a tubular lower cannon (associated) with a medially-ridged outer plate; besagues of circular form (restored) each rising at its centre to a six-sided pyramidal boss issuing from a low-relief trefoil; fingered gauntlets, medially-ridged and boxed at each side, each formed of a moderately long flared and pointed cuff struck with the quality-control mark of the city of Nuremberg and fitted with a separate hinged inner plate, six metacarpal-plates, a knuckle-plate decorated with a roped transverse rib, a shaped finger-plated and scaled finger and thumb-defences, the latter attached to the inner end of the last metacarpal-plate by a lateral hinge; cuisses, each formed of a long gutter-shaped main plate, medially ridged and boxed at each side, and fitted at its convex upper end with an extension-plate, and at its lower end with a winged poleyn of four lames; and greaves each of full-length tubular form (composite and patched at some points), made of two plates opening at their outside, the rear one cut at the heel with a large slot to accommodate a spur, and the front one cut at its lower edge with an arch to accommodate a round-toed sabaton of ten lames (restored using old metal); the main edges of the armour formed with roped inward turns largely accompanied by recessed borders blackened with modern black paint, and the left of the breastplate and the front of the collar etched in modern times with a coat of arms surmounted by a crested pair of barred helms; the whole accompanied by an assortment of mail gussets; a pair of modern spurs with rowels of six point; a modern crest of wood and simulated leather in the form of griffin painted red, black and gold Provenance American Art Association, 23-24 November 1923, part of lot 251, purchased by The Metropolitan Museum of Art, New York, acc. no. 23.270.1, deaccesioned to Denver Art Museum, 1953

A CAP-A-PIE FIELD ARMOUR IN THE LATE 15TH CENTURY GERMAN 'GOTHIC' STYLE, 19TH CENTURY comprising sallet with medially-ridged one-piece crown fitted at its front with a pivoted demi-visor and at its rear with a backwards-projecting pointed 'tail' of four lames beneath a tapering tubular plume-holder; bevor formed of a main plate shaped to the chin and fitted at its flanged lower edge with a deep gorget-plate narrowing to its lower end; medially-ridged one-piece breastplate embossed to simulate a separate main plate and plackart, and flanged outward at its lower edge to receive a fauld of three lames, the lowest of which is cut at its centre with a shallow arch fitted internally with a skirt of mail separating a pair of pendent one-piece scutiform tassets; backplate formed in one piece embossed to simulate a separate main plate and pair of lower plates, and flanged outwards at its lower edge to receive a culet of three lames; spaudlers each of three lames connected by a turner to a vambrace formed of a tubular upper and lower cannon linked to one another by means of internal leathers through a large winged couter open at its rear; circular besagues each suspended by a strap from the arm-opening of the breastplate; gauntlets each formed of a flared and pointed tubular cuff closed at its inside by an overlapped join, a wrist-plate, five metacarpal-plates, a shaped knuckle-plate, and scaled thumb and finger-defences (the first scale of the right thumb-defence detached); cuisses of gutter-shaped form each narrowing to their upper ends and fitted at their lower ends with medially-ridged winged poleyns of five lames overlapping outwards from the third; tubular ankle-length greaves opening at their outsides and connected by two lames front and rear to sabatons each of thirteen lames with pointed toe-caps and separate hinged heel-plates each of six lames; all parts of the armour except for the sallet, cannons and sabatons decorated with sprays of 'Gothic' flutes, their subsidiary edges extensively cusped, and their surfaces with a heat-blued finish (in part worn and oxidised)

A Corner Cabinet:18th/19th century, mahogany, the glazed doors opening to reveal a carved arch shape pilaster above two panel doors, the back of dome shape on wide bracket feet.H 206cm

A 19th century silvered metal mounted ebonised bracket clock, 15cm arched dial inscribed with Roman and subsidiary Arabic numerals, Slow/Fast setting dial to arch, twin-winding holes, Winterhalder & Hofmeier movement striking on a gong, the pagoda top case with bud finials, canted angles applied with herms, skirted base, 43cm high, c.1890

A large Victorian gilt metal mounted ebonised musical repeating bracket clock, in George II style, 19cm arched brass dial with silvered chapter ring inscribed John Moore & Sons, 15290, Clockmakers to Her Majesty the Queen, Roman and Arabic numerals, Strike/Silent and Slow/Fast setting dials to arch, 8-day movement, pagoda case surmounted by flaming finials, female herms to angles, scroll feet, 79cm high, c.1860 Condition Report: Appears fairly complete. No obvious damage. Some mounts re-gilded. see additional photographs

A George II oak longcase clock, 33cm arched brass dial with silvered chapter ring, inscribed Andrew Dickie, Edinburgh, the arch now with a portrait profile roundel, subsidiary seconds dial, date aperture, twin-winding holes, 8-day movement striking on a bell, the hood with outswept pediment and reeded columns, arched rectangular door to waist, plinth base, 215cm high

A George III longcase clock dial and movement, 30.5cm arched brass dial, inscribed Benjamin Lockwood/Swaffham, Roman and Arabic chapter, strike/silent to arch, subsidiary seconds dial, twin winding holes, 8-day movement striking on a bell, 42.5cm high, c.1765Benjamin Lockwood was born in Norfolk in 1738, was apprenticed in London to Peter Hay of St. James, Clerkenwell, in 1753 and set up in Swaffham in 1760, being married to Mary Browne there in February 1766. and is recorded as working until 1795. He died in Swaffham 3rd November 1822

A 19th century icon, in the Gothic taste, depicting the Madonna and Child within an arch, the frame painted in tones of red, blue and gilt, 49cm high, 26cm wide, 19th century

A vintage S.S. Stewart arch top acoustic guitar. model 4008, sunburst and faux flame finish, black pickguard affixed to the bridge top, stylized F-hole cutouts to each side. the fretboard is painted with shaped position markers, serial No 2422, complete with hard shell case. c.1940 Condition Report: condition generally ok additional photographs available

A pair of Arch, St. Ives, studio pottery 3 footed dishes. Painted with fish decoration. Each approx 12x10cm, and 7cm tall.

Late 19th Century French arch topped mantel clock with loop handle, enamel face with Roman and Arabic numerals and French brass back winding movement, together with a Schatz eight day alarm clock and an early 20th Century Staffordshire Pottery mantel clock with printed and gilded decoration in Art Nouveau style. (3)(B.P. 24% incl. VAT)

Collection of assorted, mainly brassware, to include two similar tray top folding tables, arch shaped fire screen, two handled tray etc. (5)(B.P. 24% incl. VAT)

A George II/III walnut cased 8-day longcase clock, by Ambrose Vowell of London (1719-1770), the brass dial with applied chapter ring broken arch with 'Tempus Fugit' boss above secondary dial at 6 o'clock, 249cm high

A 19th CENTURY SCRIMSHAW TOOTH mounted upon an oak base, the front decorated with an arch of stars with the sun over, an American Eagle with twin stars and stripes below, crossed telescopes and anchor motif, the reverse with a three masted whaling ship, 12 cms high the tooth, the base 11 cms square maximum

A longcase clock,the case later veneered in walnut marquetry, the 12in arched brass dial with rocking Old Father Time in the arch, 'Tempus Fugit' and an unusual painted face with moving eyes and ringed winding holes, inscribed 'J N Reynolds, Hagbourne', 211cm high

A cast iron framed garden mirror with arch top. H-180cm, W-75cm

WALLIS BARNES: (1887-1979) English Scientist & Inventor of the bouncing bomb used in Operation Chastise (The Dambusters Raid), 16th May 1943. T.L.S., Barnes Wallis, with holograph salutation, one page, 4to, Effingham, Surrey, 16th May 1973, to W. Thomas. Wallis thanks his correspondent for the photographs, slides and journal (no longer present), continuing, in part, 'I find all this information absolutely quite fascinating, particularly the article on St. Ouen at Rouen… I must confess that I am not acquainted with the term “Petrie polygons”, and should be grateful if you could tell me that is the meaning of this expression?' further adding, 'I am particularly grateful for your permission to keep all the slides, as I do occasionally lecture on architecture in which I refer to the static determination of the Gothic Arch. It is evident that our remote ancestors had a very considerable knowledge of mathematics.' With minor age wear, otherwise VG

Aluminium BODY PANEL from 1937 London Transport F1-class trolleybus 688 containing the fleetnumber. This is the nearside panel that was situated above the wheel-arch. 688 was scrapped at Penhall Road in May 1959 where this panel was obtained. In ex-scrapyard condition. [1]

A good quality Singer sewing machine model No. EF633371 with wooden arch top case

A reproduction George II style mahogany bracket clock by Wuba, the silvered and gilded metal dial with moonphase arch, striking on a bell, the case with carrying handle and four gilt metal finials and caryatid mounts, on ogee bracket feet, 25 cm high, with key - Est £100 - £150

An 8-day long case clock, early 19th century, mahogany case with square reeded columns to trunk and hood, hood door detached, 14 inch arched painted dial with Hever Castle to the arch, signed Hugh Roberts, Llangefni, pendulum and two weights, 230 cms high Est £150 - £250

An early 20th Century Queen Anne style bookcase bureau with broken arch top, 208cm x 76cm x 44cm

Royal collection. Includes 9 Princess Diana coin covers and 14 Queen Elizabeth II covers 60th birthday specimen overprint collection. Mainly British commonwealth. Comes in white lever arch file. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95.

Princess Diana collection. Approx. 50 items. Includes FDCs unmounted stamps and miniature sheets. Mainly British commonwealth. Comes in lever arch file. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95.

A Late 19th Early 20th Century French Rectangular Wall Mirror, with a carved cresting and bevelled plate, 66 x 76 cms, together with an arch framed wall mirror

An Arch Framed Cream Painted Wall Mirror in the form of a Window, 146 x 75 cms

A bracket clock, the 17 cm arched square brass dial signed Stephen Asselin, London, the matt centre with visible pendulum and calendar aperture, the arch with Strike/Silent subsidiary dial, fitted an eight day twin fusee movement, striking on a bell, in a walnut case, 49 cm high (over brass handle) See illustration Condition report Report by RB18th century and totally restored, with pendulum and winding key.

A longcase clock, the 30 cm arch square brass dial signed Tho Linyot, Norwich to a disc in the arch, the silvered chapter ring with Roman numerals, the matt centre with a subsidiary seconds dial and calendar aperture, fitted an eight day five pillar movement, in a black lacquer case with chinoiserie style decoration, 219 cm high See illustration Condition report Movement is filthy dirty clearly not run for years, with a brass cased weight and another weight, with pendulum, winding key and later trunk door key

A longcase clock, the 32 cm arched square painted dial signed R Summerhayes Taunton, with Roman numerals, subsidiary second dial and calendar aperture, the arch painted dwellings and a bridge, fitted an eight day movement, in an inlaid mahogany case, 220 cm high (over finial) Condition report Trunk door key, winding key and two weights

A longcase clock, the 30.5 arched square brass dial with a silvered chapter ring having Roman numerals and subsidiary second dial and a CHIME/SILENT subsidiary dial to the arch, fitted an eight day three train movement, striking on two gongs, in a mahogany case, with a bar glazed trunk door, 230 cm high (over finial) See illustration Condition report Report by GHWith hood key, trunk door key, pendulum, winding key and three brass cased weights

Great Britain. An 1840 to 1981 mint and used collection in three lever-arch files, includes 1940 1d Black O-F, three margins, used with a black Maltese cross. Further Victorian issues to 2s6d. Range of Edward VII and George V mainly used with some duplication. George VI used with duplication. A good range of QEII mint and used. Includes some blocks, booklets, coils and traffic light blocks, M/Ss

A SMALL 17TH CENTURY OAK CARVING, two figures in an arch surrounded by scrolls. 11ins x 7.5ins.

A German brass `400 day` anniversary timepiece, circa 1950 by Kaiser Clock Company, the celestial blue dial depicting the planetary solar system, beneath a rolling moon to the arch, the blue and gilt pendulum in the form of earth, on a circular base with glass dome, total height approx 26.5cm (1/2)

A German brass `400 day` anniversary timepiece, circa 1950 by Kaiser Clock Company, the celestial blue dial depicting the planetary solar system, beneath a rolling moon to the arch, the blue and gilt pendulum in the form of earth, on a circular base with glass dome, 26.5cmH (2/2)

A four division arch toast rack 3.5” wide Lon by RP 80g

An exceptionally tall early/mid 19th Century mahogany, rosewood crossbanded and boxwood strung cased eight day Longcase Clock, the broken swan neck pediment centred with a vertical finial above a 14" broken arch painted dial with moon phase mechanism, subsidiary seconds hand and date aperture, the spandrels decorated as flowers and flanking Roman numerals and the dial signed John Spurrier, Tewkesbury, further flanked by turned columns with gilt metal capitals and above a flame mahogany door flanked by larger columns with gilded Corinthian column style capitals, raised on slightly splaying bracket style feet, approx. 258cm high (including central finial's surmounting)

A large George III oak cased eight day Longcase Clock, the dentil cornice above a 12" broken arch dial, the arch with central silvered roundel signed Francis Dorrell, London above a silvered chapter ring with Roman numerals, subsidiary seconds hand and date aperture, all flanked by columns with gilt metal capitals, the rectangular mahogany crossbanded trunk door centred with a marquetry patera, raised on bracket feet, 214 cm high

A period style arch top wall mirror in carved walnut frame, height 36"

An early 20th century oak long case clock with arch top, brass dial and triple weight driven movement

Europe mint and used, all eras in eleven Lever arch files

Cumberland & Westmorland Ant. & Arch. Society. Tracts. Nos. 1 to 6. Bound in one vol. 19th cent. cloth. London, 1882 & Kendal, 1887 to 1891. Condition Report. ex 227 310517 new est

ATTRIBUTED TO JEAN-MAXIME CLAUDE (1823-1904) Study of a gentleman in formal dress, oils on canvas?, 14.5 x 11.3cm, in a broad mahogany frame This is thought to be a study for Claudes Work 'Equestrian figures Sheltering under Constitution Arch', now held by the National Trust at Wimpole Cambridgeshire

A 19TH CENTURY OAK LONGCASE CLOCK, the painted arched dial with moon phase, secondhand and date dial, signed Birley, Birmingham, the case with break arch pediment and inlaid shell decoration, 231cm high

Collection of football club printed team autographs, most on club letter headings to include Portsmouth, Birmingham City, Wolves, Celtic, Chelsea, Burnley, Barrow, Newcastle United, plus many others. Some are 1950s, 1960s, and then more modern with a good selection of clubs. (1 Lever arch file)

A Liberty & Co Anglo-Moorish mahogany table, octagonal section, on six turned and flaring legs and Star of David stretcher, with Moorish arch undercarriage, 67cm. high, 56cm. wide. Literature Daryl Bennett Liberty's Furniture 1875-1915, Antique Collector's Club, page 34 figure 1.35 for a comparable table. Barbara Morris Liberty Design, Chartwell Books, page 106 for a comparable table illustrated. Provenance Private collection of Anglo-Moorish furniture

AN IMPORTANT IRISH SILVER CEREMONIAL TROWEL FOR THE LAYING OF THE FOUNDATION STONE OF THE GEORGE IV ARCH AT HOLYHEAD, ANGLESEY very finely engraved by Charles Maguire, signed and inscribed Dublin, with the Arch and lighthouse, figures and shipping, the underside with armorials and inscribed "With this trowel at the request of the Committee of Management on Wednesday 7th of August 1822 Holland Griffith of Carreglwyd Esquire laid the Foundation Stone of the Triumphal Memorial on Holyhead Pier in honor of the most gracious visit of His Majesty George the Fourth to the Principality of Wales on Friday the 7th day of August 1821/Thos Harrison Esq of Chester Architect, Mr James Sparrow Secretary", Hourglass pattern handle, blade 21cm l, by James Le Bass, also marked for Edward Twycross, Dublin 1822 Provenance: Holland Griffith (1756-1839) thence by descent. ++In good condition

AN INDIAN IVORY, SANDALWOOD AND SADELI MODEL OF AN ARCH, MID 19TH C 29cm h, on ebonised wood base beneath glass dome ++Some slight loss but no substantial damage, no repairs

A RARE GEORGE III SILVER AND RED LEATHER DOG BRACE LEASH with steel buckles, inscribed William Wynne Sparrow Red Hill Beaumaris Carnarvon Hunt 1817, 87cm l, by George Lowe I, Chester 1816 Provenance: W W Sparrow served as High Sheriff of Anglesey in 1822 and was five times Mayor of Beaumaris between 1819 and 1832. A kinsman, James Sparrow, was Secretary of the management committee which oversaw the building of the Triumphal Arch on Holyhead pier designed by Thomas Harrison of Chester to commemorate the visit of George IV in 1821 (see lot 71). Redhill House is the seat of the Bulkeley Williams family and was acquired on the bankruptcy of the then Sparrow occupier, around 1850. George Lowe I (1768-1841) registered his mark at the Chester Assay Office in 1791, shortly after having done so in London. He enjoyed a long connection with the Bateman family of silversmiths for whom he acted as their agent in Chester. He served as Warden and for a time Assay Master at Chester and catered to an illustrious local clientele. ++A rare and interesting object complete and in fine condition with some natural fraying and wear to the leather consistent with the age but acceptable

AN OAK, MAHOGANY AND INLAID EIGHT DAY LONGCASE CLOCK, EDWARD MATTHEWS WELCHPOOL, MID 19TH C the painted dial with date sector and subsidiary seconds dial, lunar work to the arch, having Continents spandrels and Faith and Hope above, the case with swan neck pediment and fluted pillars, the base with inlaid gothic niche, 224cm h ++Dirty but in reasonable good and complete unrestored condition. Dial not repainted, grubby with oil stains, one hand bent with weights and pendulum, vertical shrinkage crack in base of case

A Georgian style ebonised bracket clock, brass break arch dial with cherub's head spandrels, silvered chapter ring bearing Roman numerals, slow/fast dial, thirty hour movement, 26cm x 15cm x 40cm, (AF).

A Tabriz prayer rug, decorated with vases of flowers and birds within a column arch, 155cm x 87cm.

British Tokens, Seventeenth Century Tokens, Kent, Hawkhurst, Walter Quaife, halfpenny, arch (W.351); Lydd, Tho Waters, farthing (W.378), the first fair, the second with die flaw otherwise good fine, both extremely rare (2)

British Coins, Henry VII (1485-1509), groats (2), class IIIb, London mint, mm. escallop, crowned bust facing, crown with two jewelled arches, rev. long cross and pellets (S.2198A; N.1705b), surface oxidisation in places, otherwise very fine; class IIIc, mm. greyhound’s head, crown with one plain and one jewelled arch, rev. long cross and pellets (S.2199; N.1704c), struck off-centre, light even tone, nearly very fine (2) *ex Baldwin’s vault

British Coins, Henry VII (1485-1509), halfpennies (3), Canterbury (1), class III, facing bust, crown with single arch, saltires at neck, rev. cross and pellets, M at centre (S.2247; N1736/1), good fine, very rare; London, (2), class II, double arched crown, saltires at neck (S.2243; N.1733), good portrait, nearly very fine; class IIIa, single arched crown (S.2244; N.1734), good fine; Edward VI (1547-1553), in name of Henry VIII, penny, London, facing bust, Roman letters (S.2426; N.1889), about fine (4) *ex Baldwin’s vault