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

A Moroccan prayer rug, the ivory mehrab with supporting indigo panels, an ivory arch above, minor borders, 151 x 94cm.

A Spode part dinner and tea service decorated in the `Marble Arch black` pattern, (qty)

A pair of 20th century pine Gothic revival bookcases, the arch tops with open adjustable shelves, over a pair of panel cupboards, resting on a plinth, 81cm wide.

A 19th century walnut Duchess dressing table, the arch swing mirror over pair of jewellery drawers and frieze drawer, raised on small squat supports, united by concave platform under-tier, 87cm wide.

A 19th century style mahogany bookcase/cupboard, the plain moulded cornice over a pair of bevelled arched glazed doors, two ogee moulded drawers and a pair of arch panel cupboards, resting on a plinth, 106cm wide.

A 20th century figured walnut triple wardrobe, the moulded cornice over a trio of arch panel doors, resting on squat cabriole supports, 185cm wide.

An Eastern ebonised and mother of pearl inlaid octagonal occasional table, with Islamic arch shaped frieze, 39cm wide.

A set of eight 19th century carved oak dining chairs, of 17th century design, each with a green man carved crest rail, a panel back depicting two men in a sword fight, and a triple arch divided by turned columns, with solid seat, raised on block and turned supports, united by plain stretchers, (8).

A Charles II and later oak Wainscott chair, the high panelled back with carved arch crest, over downswept arms and solid seat, raised on turned supports, united by peripheral stretcher.

A Victorian mahogany compactum wardrobe, the angle moulded cornice over a pair of arch panelled doors, enclosing five lined trays, above two short and two long drawers, flanked by full length hanging cupboards to each side, 246cm wide.

An 18th Century and later oak dresser base, the moulded top above two frieze drawers and a pair of arched panel doors flanking a fielded arch panel, on stile feet, height approx 83cm, width approx 140cm (alterations).

A George III mahogany swing frame mirror, the moulded arch frame on a pair of block supports united by a base fitted with three drawers, on ogee bracket feet (faults).

A George III mahogany and oak crossbanded longcase clock, the painted dial signed John Blaylock, Carlisle, with subsidiary second hand dial, thirty hour movement and painted scene of a sinking ship in the arch, the hood with swan neck pediment, centred by gilt metal rosettes, arch door and columns with brass capitols, the trunk canted corners and plain door with brass bun handle raised on a stepped plinth base, 220cm high.

A First Period Worcester teacup and saucer, both black transfer printed with Classical ruins, the saucer with figures standing beside an arch with Corinthian capitals with campana shaped vase on a pedestal in the foreground, the cup with figure beside a tree alongside a ruined archway, a rural landscape verso, both with black painted rims (ILLUSTRATED)

An early 19th Century patinated and gilt brass mantel clock, the architectural domed case flanked by pilasters and centred by a lion mask over a shell raised on a plinth with applied Gothic Arch decoration on lotus cast feet, the later engine turned watch movement with Roman numerals, 28 cm high

An early 20th Century mahogany cased miniature long case clock, the hood with ornate moulded broken arch pediment with rose decoration flanked by urn finials over a scrolling foliate decorated frieze and arched glazed door flanked by turned and reeded side pilasters, the main body with slim figured door surmounted by a scrolling foliate decorated frieze and flanked by quarter cut fluted side pilasters on simulated stonework bases, the base similarly decorated raised on ogee bracket feet, the three train quarter chiming movement with brass arch dial bearing silvered medallion inscribed "Tempus Fugit" over the silvered chapter ring with Roman and Arabic numerals within pierced scrolling foliate and mask decorated spandrels, 30 cm wide x 148 cm high (ILLUSTRATED)

A Regency mahogany bookcase cabinet, the plain canted cornice above two Gothic arch astragal glazed doors enclosing two banks of adjustable shelving on a base with two plain panelled cupboard doors enclosing a single shelf raised on turned feet, 141 cm wide x 238 cm high

The dial of a long case clock, the arch well painted with hounds in moorland, twin train movement.

Arch Webb, Heavy Horses Pulling a Cart, watercolour and bodycolour, and a 19th century print of South Down Mutton

A Harrison of Stockton barometer and thermometer, the aesthetic design oak frame with turned finials and balustrade with flanking columns, the 19cm (7 1/2in) dial over tracery arch, overall 56cm (22in) high

Late nineteenth century French mantel clock in the classical Empire style with eight day movement and external countwheel, striking on a bell. Large floral decorated pendulum. White enamel dial with blue numerals, pierced gilt hands and decorative bezel signed Le Roy à Paris in an ebonised case in the form of a triumphal arch with four brass inlaid pillars, gilded capitals on a rectangular base with four bun feet, 49cm overall Further images and condition reports available at www.reemandansie.com

Early nineteenth century eight day longcase clock with a painted arch dial with lunar phase and subsidiary seconds and calendar aperture, in a mahogany swan neck pediment with turned columns - by William Hinkley of Newcastle Further images and condition reports available at www.reemandansie.com

A Collection of O Gauge Model Railway Toys Inc Marklin LMS Three Rail Locomotive 7860 with Tender and Three Carriages, Coal Wagon, Brimtoy Platform, Footbridge, Street Lamp, Double Arch Bridge, Signal, Hornby Buffer, Bing Transformer and Quantity of Three Rail Track.

A Coalport Two Handled Cabinet Plate in Gilt and Pale Blue Enamels with Hand Painted Cartouche Depicting Stancally Arch, 22 cm x 20 cm.

A Late 17th Century William and Mary Oak Side Chair with Scalloped Arch Crest Rail over Solid Panelled Back with Solid Seat and Turned Stretcher.

Eight day long case clock by Little, Annan, the 14-inch dial painted with buildings and figure in the arch, in oak case with fluted corner columns and scroll cresting.

Three cast iron door Knockers, lions head, Egyptian head and the other in form of an arch.

Blacket Wallace, a late 18th/early 19th century oak long case clock, having an arch dial supporting eight day movement above half length door, box base and bracket feet.

A magnificent George III musical bracket clock circa 1820, by the noted maker Santiago James Moore French, of 15 Sweetings Alley, Royal Exchange, London, the eight day striking movement with quarter chiming and cylinder playing six musical airs on twelve bells, the backplate signed `French Royal Exchange London` within an oval cartouche, the arched white enamelled Roman dial similarly signed, with painted floral spandrels and arch cartouche, pierced brass hands, beneath paired chime/not chime and musical air subsidiary dials, the airs titled `O Dolce Concento`, `The Tank`, `Roast Beef`, `Russian Dance`, `The Padlock` and `Tekeli`, in an ebonised case with gilt bronze mounts, the caddy top surmounted by a detachable flambé finial with storage compartment beneath, over a pierced floral lattice frieze flanked by four smaller flambé finials, above an arched glazed door with pierced ormolu spandrels and an arched rear pierced grille door, both flanked by canted corners with swagged musical trophy mounts, the sides with floral latticework panels and gilt bronze carrying handles, raised on a plinth with central ormolu battle trophy mount, on four ormolu foliate scroll feet, 35½in. (90cm.) high, 16¼in. (41cm.) wide.

An Edwardian mahogany grandmother longcase clock with musical movement the silvered foliate engraved Roman dial signed `John Byrne & Son Ltd., Liverpool`, with subsidiary seconds dial, pierced steel hands and gilt brass floral spandrels, chime/silent dial to arch, the eight day movement striking on five tubular bells, the case with arched hood with gilt mounted fluted columns, panelled door to the trunk and a conforming panel to the plinth base, 67¼in. (171cm.) high.

An Erwin Sattler mahogany moon phase mantel clock late 20th century, the brass arched dial signed `Erwin Sattler`, with silvered Roman chapter ring and moon phase to the arch, with a brass Keininger three train musical movement, the arched mahogany case with pierced fretwork grilles to the sides, 12in. (30.5cm.) high.

A Nicolas Blondel Channel Islands longcase clock the brass arched Roman dial with matted centre with subsidiary seconds, painted pierced steel hands, date aperture and gilt brass acanthus spandrels, with painted moon phase to the arch, eight day movement striking on a bell, signed to a plate on dial `Nicolas Blondel a Guernesey`, housed in a later mahogany case, c.1800, 81¾in. (208cm.) high.

An 18th century style brass and cast iron fire basket probably early 20th century, the raised, arched cast iron back decorated with a classical figure within a swagged arch, the serpentine basket flanked by engraved brass panels and brass finials over a pierced brass apron decorated with a wheatsheaf and mythical beasts, on engraved tapering brass front supports, 30in. (76cm.) wide, 34in. (86.5cm.) high.

A 17th century and later oak credence table, the demi lune three plank top over a single frieze drawer fitted with a later brass drop handle, between canted sides, the triple arch apron over an open shelf support on bobbin turned front and back supports over plain stretchers on pear turned feet, 98cm wide, 75cm high, 47cm deep

An arch top gilt framed overmantel mirror

A Victorian mahogany arch top dressing table mirror; a carved 3-tier plant stand; a dwarf serpentine front 3 height chest of drawers

A Mid 19th Century Watercolour Of An Officer of the IXth QueenÍs Royal Lancers (Delhi Spearmen), three-quarter length, inscribed and dated ïIXth Ls 1851Í, arch top, 21cm x 16cm, in a gilt frame Indian Mutiny The Lancers were first posted to India during the Gwalior Campaign of 1843. They subsequently took part in the First Anglo-Sikh War of 1845-46 and the Second Anglo-Sikh War of 1848-49 where they were often led by Sir Hope Grant and were the first recipients of the Bronze Star Medal. During the Indian mutiny of 1857, the 9th Lancers earned the name the Delhi Spearmen, a name which is believed to have been given to them by the mutineers themselves. 9th Lancers was present in all three of the most notable events associated with the Indian mutiny, namely, the siege of Delhi, the siege of Lucknow and the relief of Lucknow. For their actions the Lancers were awarded twelve Victoria Crosses, more than any other cavalry regiment. They were described by an ally as:- ñThe beau ideal of all that British Cavalry ought to be in Oriental countriesî.

A Great War French Bronze Memorial Plaque ïNurse Edith CavellÍ, a fine example by V. Peter, mounted on a green velvet backing, depicting on the left, a German officer wearing a pickelhaube and clutching a pistol in his right hand, his left holds an oval portrait of Miss Cavell within a chained border, to the right, a classical naked maiden reaches above the portrait to snatch away the mask, inscribed ïKultureÍ, from the officerÍs face. The German officer stands amid debris, beneath his jack boots, a brush and palette and a tablet inscribed ïDroit, Justice, Traites, the background with ruins of a cathedral and a vampire bat, conversely the maiden treads upon bundles of tied corn with rising sun and swift, the rised arch to top of plaque is inscribed ïA Miss Edith Cavell, Victime De La Barbarie Allemande 1915Í Nurse Edith Cavell was head of the nursing staff at the Berkendael Institute in Brussels, who hid numerous Allied soldiers in occupied Belgium and assisted many across the Dutch border to safety. On the 5th of August 1915 she was arrested by Otto Mayer, of the German Secret Police, she was tried by a military court, found guilty and sentenced to death. She was shot at dawn on the 11th of October 1915, and became a martyr to German brutality, her last words to the English chaplain were to become famous ïI know now that patriotism is not enough, I must have no hatred and no bitterness towards anyoneÍ.

A two section white marble and gold painted Gothic style window arch

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A Victorian carved oak church pew, the ends with foliate and arch decoration in the Gothic Revival taste (used in the circa 1865 renovation of The Church of St. John Baptist, Cirencester, overseen by the renowned Architect Sir George Gilbert Scott) (EXAMPLE ILLUSTRATED)

A VICTORIAN OAK LONGCASE CLOCK signed on the breakarched and painted dial Tho Hallam Nottingham, with date sector, roman chapters and spandrels of young women emblematic of the Seasons, lunar work to the arch, having thirty hour movement in crossbanded and line inlaid case with swan neck pediment, 210cm h ++Overhauled and cleaned some years ago

Five lever arch files containing numerous book plates/engravings, some pamphlets, all unmounted

* Thomas Rowlandson, British 1756-1827- "The Apostate Jack R the Political Rat catcher NB Rats taken Alive!", publ by W Humphrey N 227 Strand; hand-coloured etching, 23x35cm: Thomas Rowlandson, British 1756-1827- "The Covent Garden Night Mare", publ by H Humphrey No 27 Strand; etching, 24x34cm: George Cruikshank, British 1792-1878- "Twelfth Night or What you Will!", publ jan 1815 by H Humphrey St James`s Street; etching, 23.5x34cm: James Sayers, British 1748-1823- "The Last Scene of the Managers Farce", publ 8th May 1795 by H Humphrey New Bond Street; etching, 38.7x28cm: C Tilt, Publ Fleet St 1830- "The Connoisseur", after G Spratt; hand-coloured etching, 26x19.8cm: Edward Topham, British 1751-1820- "The Union...Whom__has join`d let no Man put asunder!", publ by Elizabeth Darchery, James Street March 11 1783; hand-coloured etching, 17x23cm: George Cruikshank, British 1792-1878- "Radical Parliament!!"; hand-coloured aquatint, 13x21cm: Thomas Rowlandson, British 1756-1827- The Prince of Wales, from `A Man of Fashion`s Journal`, publ May 1 1802 by R Ackerman Strand; etching, 19x24cm: James Gillray, British 1757-1815- "The Arch-Duke", after Lieut Swarts, publ by H Humphrey, New Bond Street Nov 15th 1796; etching, 35.5x25cm: William Davison, British, late 18th century- "Spaniard Lousing"; engraving, 23.5x16cm: William Davison, British, late 18th century- "The Frenchmen in Billingsgate"; engraving, 16.5x23.5cm: Anthony Cardon, British 1772-1813- William Pitt, after Henry Eldridge, 1801; stipple engraving, 33x23.5cm: together with a lithograph of The Duke of York and a further cartoon titled `Always go Systematically to work- first get a house then a Wife- & then a Child...", various sizes, (14) (unframed)

A 20th century mahogany and brass mounted bed, the broken arch pediment leading to brass finals upon turned, reeded and inset columns, raised on turned feet, 129 x 210 x 144 cm.

A late 18th Century Mahogany and Boxwood inlaid Wheel Barometer, Josh Corti, the case the broken arch pediment over a balustered neck, set with a single scale silvered alcohol thermometer to a cast brass concave bezel enclosing an 8” silvered dial with scale of 28-31, height 38”

A late 19th Century American Ebonised Painted and Gilt Metal Mounted Mantel Clock, Gilbert Clock Co “Curfew”, the shaped breakfront case surmounted by a bell arch and bell, to waisted side pieces and stepped plinth base, and raised on cast and applied splayed feet, to a pressed brass bezel, enclosing a 5 ½” embossed brass dial with composite Arabic numerals and blued steel fleur-de-lys type hands, to a twin spring driven movement and anchor escapement, strike on a bell, height 17”

A 20th Century Wall Mounted Wall Clock, the painted wooden dial set to the arch with sailing vessels and a windmill, over applied Roman numerals and painted floral decoration, with cast brass hands to a wooden twin weight-driven movement, height 18 ½”

A late 19th/early 20th Century Mahogany cased 8 Day Long Case Clock, Wm Dalrymple of Netherton Holm, Kilmarnock, the hood with swan neck pediment over dentil moulded and plain frieze panels, to freestanding barley twist columns, to a moulded throat and further barley twist quarter columns, flanking a long trunk door centred with a stylised rosette motif, and raised on a plinth base, to a 14” arched brass dial signed to the arch over engraved plate spandrels, enclosing a Roman and Arabic chapter ring with outside minute track and further engraved centre, also containing subsidiary seconds and date with blued steel pierced hands, to a movement with plates united by four knopped pillars with anchor escapement and strike on a bell (associated), height 90”

A mid-18th Century Oak Cased 8 Day Long Case Clock, Nathl Hedge of Colchester, the later carved and stained oak case with arched hood and plain frieze over brass capped ¾ columns, to an ogee throat and shaped long trunk door with glazed lentical, to a further plinth base, to a 12” arched brass dial, signed to a silvered boss in the arch with cast and applied “C” scroll and foliate spandrels enclosing a silvered Roman and Arabic chapter ring, to a matted centre with sunk subsidiary seconds and date sector, with blued steel pierced hands, to a movement with plates united by five knopped pillars, with anchor escapement and strike on a bell (associated), height 88 ½”

A Triple Weight Driven Long Case Clock, the green and gilt highlighted case with arched pediment surmounted by three globe and spike finials, over ¾ columns to a moulded throat and long trunk door, raised on a plinth base, to a 12” arched brass dial with subsidiary for chimes/silent to the arch, and cast spandrels to a Roman and Arabic chapter ring and matted centre with applied nameplate engraved “William Reade – Chester”, to a triple weight-driven movement with anchor escapement and strike on six rods, height 91”

A late 18th Century Oak Case 30 Hour Long Case Clock, Wenham – Dereham, the oak case with overhanging cornice and shaped pediment with giltwood finials over ¾ columns to a moulded throat and long arch trunk door on plinth base, to an 11” painted 1st period dial, with gilt and gesso floral spandrels enclosing a Roman and Arabic chapter ring and with date sector to the centre with pierced steel hands, to a movement with plates united by four knopped pillars and with anchor escapement (bell, hammer and fly lacking), height 85”

A 2nd quarter of the 19th Century Oak, Mahogany and Boxwood Inlaid 8 Day Long Case Clock, W Rogers – Dudley, the hood with swan neck pediment over panelled frieze with herringbone borders, to an arched door and moulded throat, to further panelled trunk with short and shaped trunk door, flanked by quarter reeded columns, on a plinth base, to a 14” arched 3rd period painted dial, decorated to the arch with a bowl of fruit and a parrot, over further painted rose spandrels, enclosing a Roman chapter ring with subsidiary seconds and date sector, with pierced and stamped brass hands, to a movement with signed falseplate and plated united by four knopped pillars with anchor escapement and strike on a bell, height 91”

J. Thorn, oil on card, `On the River Mole` with figure on a bridge, signed, mounted in a Gothic arch and gilt framed