We found 35023 price guide item(s) matching your search

William Gibbs, Haverfordwest, an early 19th century rosewood bracket clock, the Gothic Revival architectural case enclosing a twin fusee  movement, striking upon a bell, faced by silvered 6 3/4 inch Roman dial. 43cm high

Two prints - Architectural print of twisted columns - 'Manure de Domineer et Torser les Colomnes' and 'Chapiteau et Entablement Corinthiens', 36 x 22 cm  (2)

Two prints after Colen Campbell - Architectural print Palladian style house 'A new design of my invention' and 'Mereworth Castle, Kent', 33 x 49 cm (2)

A 19th Century French marble and brass architectural cased mantel clock

Late 19th century French slate mantel architectural timepiece, movement numbered 4120 48. Complete with pendulum and key. W26.3xD14.1xH28.9cmAlso included an carved ethnic figure with drum, height 21.5cm

An early 20th century mahogany mantel clock with eight day movement striking on a gong, the backplate stamped 'W & H Sch' (Winterhalder & Hofmeier), the square brass dial with matt centre framed by a silvered chapter ring with Roman hour numerals, the architectural case on a plinth, height 41cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An early 20th century walnut cased mantel clock with eight day movement striking on a gong, the back plate stamped 'W & H Sch' (Winterhalder & Hofmeier), the square brass dial with matt centre framed by a silvered chapter ring with Roman hour numerals, the architectural case on plinth base, height 41cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A late 19th century French brown patinated brass and porcelain mounted mantel clock with eight day movement striking on a gong, the porcelain circular dial painted with a child and flowers within a frame of black Roman hour numerals, the architectural case with Corinthian columns, the front inset with two porcelain panels, painted with a landscape and figures on a gilt ground, the plinth base with shaped apron, height 41cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A late Victorian slate mantel clock with eight day movement striking on a gong, the enamelled chapter ring with black Roman hour numerals, the architectural case with brass mounts and columns, on a pedestal base, height 33cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An early 20th century walnut mantel clock with eight day Lenzkirch movement striking on gongs, the square brass dial with matt centre, framed by a silvered chapter ring with Roman hour numerals, the architectural case on bracket feet, height 40cm, with pendulum.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Timothy Richards plaster architectural model of The Radcliffe Camera, Oxford, 27.5cm

A late 19th century German oak cased dome topped mantel clock, the silvered dial set with Arabic numerals flanked by Corinthian columns, with Carl Badische movement, height 33cm, together with an American mahogany mantel clock of architectural form, height 50cm (2).

Two Victorian slate and marble mantel clocks, the first of rectangular form with domed top, the enamel dial set with Roman numerals signed J.W. Benson, height 26cm, the second of architectural form, the enamel dial set with Arabic numerals flanked by a pair of columns, height 30cm, width 32cm, (2).

After Paul Geissler, interior of a church in Rome, 13x23cm; together with two other architectural prints, all in ornate gilt frames (3)

Property of the late Marcello Violante British 1826 Six Grand Tour Italian architectural and landscape studies Pencil on paper  Each inscribed and dated A view of the aqueduct and the Campania of RomeTivoli from Horace’s VillaFall at TivoliView of AlbanoPonte LucanoHadrian’s Villa Dimensions: (Paper) 6 in. (H) x 9 in. (W) (Frame) 12 in. (H) x 14.5 in. (W)

Property of the late Marcello Violante Giovanni Paolo Panini (1691 - 1765) The Lottery at Piazza Montecitorio, Rome Black ink, black chalk, watercolour and gouache on paper Literature: F. Arisi, Strenna Piacentina, 2003, pp. 118-221;A. di Croce in A. Lo Bianco, A. Negro, lI Settecento a Roma, exh. cat., Palazzo Venezia 2005-2006, no. 145,p. 248-9, ill. 145;The National Gallery Review, London, April 2006-March2007, р. 12;P. Fuhring in A. Grelle lusco, E. Giffi, La Raccolta di Matrici della Calcografia Romana, Rome 2009, pp. 28-9, 42-3;Chaucer Fine Arts, Gian Paolo Panini, Work in Progress, London 2010, no. 1.Exhibition: Il Settecento a Roma (2005 - 2006) Dimensions: (Canvas) 17.5 in. (H) x 28 in. (W) (Frame) 23.5 in. (H) x 34 in. (W) This spectacular drawing is one of two large, coloured presentation drawings of this subject, which Panini painted for Cardinal Domenico Orsini, Duke of Gravina (1719-1789) some time in the 1740s. These are among the most complete and highly finished drawings by Panini to have come to light so far. The painting (105 x 165 cm., National Gallery, London; Arisi 1961, p. 176, no. 173; 1986, p. 404, no.346) bears a date that has sometimes been read as 1747 but recent investigation following cleaning has found only a downward brushstroke of the last digit, also legible as 1 or 4 (The National Gallery Review 2006-7, p. 12). Our drawing is undated, but the other (341 x 543 mm., Metropolitan Museum, New York: J. L. Draper, The Lottery in Piazza Montecitorio, Master Drawings, 1969, pp.27ff; Bean/Stampfle Drawings from New York Collections The 18th Century in Italy, 1971, pp.39-40, no.55; Arisi 1986, loc. Cit) is inscribed 1743, the most attractive date as it was in February that year that the latter was begun in the Piazza Montecitorio, and moreover in September that Panini's patron, Orsini, was appointed a cardinal. The presence of a figure carrying a tablet inscribed with the date 1741 in the painting is unexplained. Panini's painting for Orsini is one of those in which he moved on from architectural capricci and scenography or views of architectural splendour tempered by scenes of everyday life, to document modern history; royal visits, receptions for foreign ambassadors and the festivals, ceremonies and public events of Rome's official calendar, of which lotteries were among the most popular with the citizenry. In both drawings and in the painting, the painter included a man seated in the left foreground, sketching or writing. He might be the artist himself, or alternatively be there to record the numbers of the winning tickets (Draper 1969, p.32). Either way he is himself attracting attention from a small group of curious admirers. Lotteries were favourite events for the Roman crowd, drawing all classes to the chance of a quick win. Although the Vatican had traditionally disapproved and even banned lotteries from the Papal States, they were reinstated by Pope Clement XII in 1725, at a time of financial hardship, to benefit good causes. At least nine draws took place each year and from 1743 they were held on the balcony of the Palazzo di Montecitorio, then the Curia Innocenziana and the seat of the papal tribunals. Panini shows the winning tickets being drawn. In both drawings the dignitaries on the balcony are unidentifiable although in the painting it is apparent that a child is drawing the tickets which float down to the eager crowd; this child seems more elegantly dressed than the poor orphans who usually performed the task in the following century.

Attributed to Niccolo Codazzi (1642 - 1693) An architectural capriccio Oil on canvas Dimensions: (Canvas) 15.5 in. (H) x 26 in. (W) (Frame) 21 in. (H) x 32 in. (W)

Property of the late Marcello Violante Attributed to Giovanni Paolo Panini (1691 - 1765) Figures admiring Roman ruins Black chalk, pen and brown and grey ink, watercolour heightened with body colour, watermark Strasburg Lily In a carved and gilded period frame Provenance: Jean MottinguerPeter J. Sharp (1930 - 1992)Christie’s London, July 8th 2008, Lot 52 ($19,758)Exhibitions: New York, National Academy of Design, European Master Drawings from the collection of Peter J. Sharp, 1994, no. 23 (as Giovanni Paolo Panini), entry by L. Wolk-Simon Dimensions (Paper) 17 in. (H) x 12 in. (W) (Frame) 26 in. (H) x 20 in. (W) In this drawing, Panini shows his debt to the tradition of architectural scenography as well as his interest in antiquities. The ruinous building, with arcades and Doric columns, its roof open to the skies and its masonry overgrown with weeds, is seen in a typically deep perspective from a low viewpoint. The figure in the centre showing off some feature of the remains to a cloaked man resting on a stick is, according to Professor Arisi, a variation of a similar one who, facing in the opposite direction, points out the statue of a warrior by Agasius in an Architectural Capriccio in the Albertina, Vienna (inv.no. 2939) signed with monogram and datable circa 1750. The Vienna drawing, from the collection of PJ. Mariette, is a more elaborate composition with a greater emphasis on sculpture, but presents a similar architectural fantasy of a ruined arcade seen from below. Panini made drawings like these as independent works, for the collector's portfolio, rather than as studies for pictures.

[Hunt, William Holman]. The Decorator's Assistant, 4 volumes in 2, London: W. Gibbs, 1847-48, illustrated titles, numerous illustrations, occasional light spotting and offsetting, blindstamps of Derek Gair Gibson (1936-2021, eminent cardiologist and architectural book collector) to front endpaper, original cloth, a little rubbed with a few small stains, 8voQTY: (2)NOTE:Provenance: William Holman Hunt's copy, his signature to front endpapers. Derek Gibson's architectural library was sold by Forum on 20 October 2022.

Paine (James). Plans, Elevations and Sections, of Noblemen and Gentlemen’s Houses, and also of stabling, bridges, public and private, temples and other garden buildings; executed In the counties of Derby, Durham, Middlesex, Northumberland, Nottingham, and York. By James Paine, Architect, One of the Directors of the Society of Artists of Great-Britain. Part the first. Illustrated by seventy-four large folio plates, London: Printed for the author, and sold by Mr. Davies, in Russel-Street, Covent-Garden; Mr. Dodsley, Pall-Mall; Mr. Brotherton, Cornhill; Mr. Webley, near Chancery-Lane, Holborn; and at the author’s house, Salisbury-Street, Strand, 1767, 55 engraved plates numbered I-LXXIV (complete, comprising 36 single-page and 19 double-page which are given 2 numbers each), list of subscribers, bookplates of Richard Henry Roundell & John Currer de Kildwick Arm to front pastedown, occasional light spotting & offsetting, hinges cracked, contemporary speckled calf gilt, red morocco title label, spine separated into 8 compartments by raised bands, 7 compartments with elaborate gilt foliate decoration, some wear, folioQTY: (1)NOTE:ESTC T135969; Archer 243.1; Fowler 207; Harris 664.The first edition of architectural designs by James Paine (1717-1789), including Chatsworth, Sandbeck, and Axwell Park. Volume two appeared in 1783, accompanied by the second edition of volume one.

A vintage Brioni skirt, sarong wrap effect with architectural pockets, 100% wool (very soft) and lined, a purple shantung effect shell top with side zip and magenta 'hair' by El corte Ingles, a black knitted dolman cardigan with hood and fur trim, a jacket with fox fur collar and a silk devore stole by Elana Miro (5)

FRANK D WOOD; TWO PENCIL DRAWINGS OF COASTAL SCENES TOGETHER WITH GOOD QUALITY ARCHITECTURAL DRAWINGS & OTHER SKETCHES [14], LARGEST 11” X 14”

AUGUSTUS JOHN CUTHBERT HARE, PENCIL & SEPIA WASH DRAWING OF AN ARCHITECTURAL VIEW IN MILAN WITH INTERESTING AND INFORMATIVE LABEL TO REVERSE 13” X 15”

Flemish school of the second third of the 17th century."Rachel at the well".Oil on copper.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 70 x 87,5 cm.This painting is inscribed in a tradition of religious genre that was detached from the devotional works, because in it the biblical theme was only an excuse to explore pictorially the genres of the landscape and, above all, the genre of manners, being this one especially in vogue in the 17th century. This painting depicts with great narrative richness an episode from Genesis: the meeting of Jacob and Rachel at a well where Esau's brother fell in love with her, who was his cousin. He had gone to the well to water the cattle. Enamoured, he would ask Laban, Rachel's father, for permission to take her as his wife, offering her in return to work for seven years in his service for no fee.The image focuses attention on the central figures, Jacob and Rachel, who is bringing an amphora to the protagonist. Alongside them, a prolific ensemble completes the scene, with characters and animals that reflect the artist's skill, including several camels, thus adding a note of exoticism to the image. The work, which is notable for the sumptuousness of both the figures and their clothing, shows a classically inspired architecture, particularly in the fountain, which is crowned by the figure of a little love represented with the attributes of Neptune. The landscape, conceived in depth, also ends with an architectural ensemble.

Frame; circa 1815.Walnut root and brass appliques.Provenance: private collection conceived from the 1970s between London and Madrid.Measurements: 41,5 x 30,3 x 1,2 cm.Empire style mirror frame made of walnut root wood with brass elements. It follows a style inspired by the classicism of the 19th century, basing its decoration mainly on mouldings and vegetal elements. It has a rigorously geometric frame, the lines of which are enhanced at the top and bottom by staggered mouldings on which different gilt metal applications are arranged. The frame follows a clearly architectural structure, with clean, refined and markedly geometric lines, typical of the Empire aesthetic.

17th century Dutch school."Marina".Oil on canvas.Presents tasting of cleaning.It shows label on the back with old attribution to the artist Simon Jacobsz de Vlieger (Rotterdam, 1601- Holland, 1653).Possesses an early 20th century frame.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 96 x 139 cm; 109 x 155 cm (frame).In this canvas is reproduced, in detail, a naval scene with three big ships placed in the different planes. Two of the ships are placed parallel to each other, and the third in the foreground. To accentuate the drama of the scene, the painter plunges the foreground into darkness, giving the waters of the sea a dark, ominous tone, which lightens in the background, reinforcing the construction of space in depth in a scene that lacks spatial references, given that it is the open sea delimited by the coast. The masts, sails and flags of the boats in the foregrounds also contribute to this construction of the scene, which follow one after the other in depth, worked in a precise, draughtsmanlike style. In fact, the scene in general is treated with a descriptive and highly narrative language. This is due to the genre itself, as the main purpose of this type of painting is to relate a historical event rather than to depict the beauty of nature.Landscape painting acquired considerable importance in the Netherlands from the second half of the 17th century and throughout the 18th and 19th centuries. During this period artists produced both urban views or architectural interiors where the human presence was non-existent or entirely secondary, as well as rural or country landscapes and seascapes. The pure seascapes were a reflection of Holland's extremely powerful foreign trade and large naval fleet. In marine painting, artists very often opted for turbulent views, dominated by grey, stormy skies and ships confronting the elements.

French school of the last quarter of the 18th century."Architectural perspective".Ink, graphite and gouache on paper glued to cardboard,Provenance: private collection conceived since the 1970s between London and Madrid.Size: 48 x 38 cm; 54 x 43,5 cm (cardboard).Image representing an interior dominated by perspective and by an aesthetic of evident classical inspiration. The author introduces the spectator into a room of which only a section can be appreciated, in such a way that the great column, the pilasters, the arch and the balustrade take on a great relevance. Although it is worth noting that despite being in the background, the central position of the sculpture and the frieze carved in the upper part of the sculpture indicate its prominence in the scene.

Brontë sisters (Charlotte, Emily & Anne): 'The Shakespeare Head Bronte', Oxford, printed by the Shakespeare Head Press and Published for the Press by Basil Blackwell, 1931, limited edition (1000), 11 volumes, the complete novels comprising Jane Eyre; Shirley; Villette; The Professor; Wuthering Heights; Agnes grey; The Tenant of Wildfell Hall, illustrated by Jack Hewer with 20 plates of architectural and landscape views complete, original orange cloth gilt (11)

H. Inigo Triggs: 'Formal Gardens in England and Scotland - Their Planning and Arrangement, Architectural and Ornamental Features', London, Batsford, 1902, six page list of subscribers, 125 plates as called for (of which 72 from drawings by Trigg and L. Rome Guthrie, and 53 from photographs by Charles Latham), xxiv,63,[1]pp, elephant folio, original half green morocco gilt over olive cloth (slightly worn), all edges gilt. An impressive work illustrative of estates and their gardens produced during the turn of the century revival of interest in the formal garden by Henry Inigo Triggs (1876-1923), one of the foremost proponents of formal garden design and country house architecture of the period.

A late 19th century/early 20th century dolls house, painted wooden construction with lithographed paper exterior, faux front door, glazed windows with architectural detail, pitched orange roof with faux attic window, the front opening to reveal a collection of later dolls house furniture, accessories and curios, 53.5cm high, 30cm wide, 22cm deep

A Mahogany architectural spiral staircase model

PAIR OF WOOD ARCHITECTURAL ITEMS

A Victorian black slate and marble architectural mantel clock, 38cm wide

A relief moulded portrait bust, Ralph Waldo Emerson, in architectural frame, 37cms wide x 58.5cms high, including frame

A NINETEENTH CENTURY BLACK SLATE MANTEL CLOCK, of architectural form, the case having six columns, figural frieze and dome above, the cream dial having black Arabic numerals, FMS movement, with key and pendulum, height 36cm x width 42.5cm x depth 13cm (1 + key + pendulum) (Condition Report: appears generally ok, chips and losses to case, does not currently run or chime)

TWO VICTORIAN BLACK SLATE MANTEL CLOCKS, comprising a large black slate mantel clock, eight day, striking bell movement, enamel chapter ring, Roman numerals, height 31cm x width 50cm together with a Victorian black slate and mottled green marble mantel clock of architectural form, carved foliate detail, eight day movement, enamel face, Roman numerals (2) (Condition report: missing keys, one has damage to enamel face, chips to edges and corners)

Tom Mellor (Local 1914-1994) watercolours, The Sleep Walker, surrealist architectural landscape with lone figure, monogram lower left, within a stepped card mount and moulded frame, under glass 27cm x 35cm & 45cm x 54cm

ARCHITECTURAL WALL MIRROR, 120cm high, 70cm wide, segmented plate, gilt stud detail.

ARCHITECTURAL WALL MIRROR, rectangular, with oval panels, silvered frame, 168cm H x 48cm W.

A quantity of assorted prints, including unmounted coloured engravings of fish, also a folio of architectural prints (a lot)

A Swedish painted longcase clock, the circular dial signed J.Mortensen, 1864, in an architectural case, with later gilt lining, two train movement, 200cm high

A late 19th century French ormolu and bronze Gothic Cathedral architectural mantel clock, bell strike, movement engraved "Richond a Paris", width at base 18.2cm x height 52.5cm.Condition note: pendulum as found, further image added.

A George III style carved pine architectural library bookcase, 227cms h, 140cms w, 38cms d

A set of six Victorian pine architectural columns

A 19th Century French marble and brass architectural cased mantel clock

A late 19th century Bohemian overlaid and cut glass fruit bowl, with deer in landscape and architectural decoration, 21.5cm in diameter

A majolica wet drug jar, hand painted floral, and architectural panel, 23cm high / There are a few cracks to the rim, one goes in about 1” or so & spreads a little either way, there are blemishes & glaze loss in places, can’t identity any restoration

AFTER JOSEPH MALLORD WILLIAM TURNER (9)Grand Canal, Venice; The Agrippa, Ancient Rome, a set of two, reproduction colour prints, one 19 x 29, the other 22 x 26cm, together with two prints of young girls; two hunting prints; an architectural print; a print of a sculpture; and a mirror, (9)

A PAIR OF TERRACOTTA CARTOUCHE ARCHITECTURAL ELEMENTS (4)36cm wide; 51cm high, and two terracotta architectural elements

Architectural 19th c. wrought iron railings or garden border edging

A.C. Richard & Cie, Paris, a late 19th century French gilt brass mantel clock, architectural case, the movement striking on a gong, numbered 1582, 48, matching pendulum, key, 34cm.

Planchon, Paris, an impressive French late 19th century gilt brass and white marble clock garniture, the architectural case with a pair of love birds on a pedestal, behind a seated lady with a winged cherub, flanked by urns, the clock flanked by floral trusses, floral vase surmount, the signed and numbered 7034 eight day movement striking on a bell, the pendulum with a pair of love birds, numbered 7034, 53cm, flanked by a matching pair of two light candelabra with seated cherub amongst roses, 36cm, pendulum, key.Mathieu Planchon was apprenticed to his father, served several years with other clockmakers including Robert-Houdin and then went into business for himself eventually opening his shop at the Palais Royal in 1890.In overall very good condition, showing little to no wear, only very slight rubbing to the gilt surfaces primarily the cherubs.No visual damage or repair.Please note the front floral vase surmount to the right side does not match that on the left (shorter) unsure it should be or not?The clock winds, sets and is ticking

A 19th Century Victorian double sized brass bed. Headboard and footboard present with cylindrical sides and central architectural panels to the centres with overlapping geometric panels. Measures approx; 141cm x 154cm.

A 19th Century Victorian cast iron stick stand in the manner of Coalbrookdale . Architectural form with scrollwork raised on demilune tray base. Measures approx; 65cm x 40cm x 26cm.

Hall (Joseph) Epistles, The First Volume: Containing two Decads, lacking initial and final blank of first gathering (A1 & A8), [STC 12662] bound with Epistles the Second Volume: Containing two Decads, [STC 12663.2], together 2 vol. in 1, titles within woodcut architectural borders, slightly trimmed, woodcut head-, tail-pieces and initials, a little light browning and some minor damp-stains, outer margins slightly trimmed affecting side-notes with minor loss to some ff., nineteenth century calf-backed boards, by A.H. for Eleazar Edgar and Samuel Marcham, 1608; and 10 others similar 18th and 19th century, sermons and Quakerism, 8vo (11)

Shaw (Richard Norman) Architectural Sketches from the Continent, first edition, lithographed title and 100 plates, contemporary half roan, upper cover and spine faded, joints split at head, [1858] § Campbell (Alexander) A Journey from Edinburgh through parts of North Britain, 2 vol., new edition, 44 aquatint plates, offsetting, both vol. with front free endpaper detached, contemporary marbled calf, lower joints split at foot, [Abbey, Scenery 485], 1811 § Ovid. Elegies, translated by Christopher Marlowe..., one of 625 copies, wood-engraved illustrations by John Nash, ink gift inscription to Bishop Loveday to front free endpaper, endpapers toned, original cloth-backed boards, uncut, a few patches of soiling, 1925, some light foxing, rubbed, all but last worn at extremities; and others, most 19th century literature, v.s. (c.65)

Britain.- Winkles (Henry & Benjamin) Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, 3 vol., additional engraved titles, 176 engraved plates, previous owner's ink signature to additional titles, scattered spotting and staining, contemporary half-calf, rubbed, bumping to corners and extremities, 1836-42 § Capper (Benjamin Pitt) Topographical Dictionary of the United Kingdom ..., loss to title head affecting text, 46 engraved maps only (of 47), 7 linen-backed and folding, scattered spotting and staining, occasional short marginal tear or small marginal loss, contemporary calf, rebacked, rubbed and worn, 1825 § Evershed (Arthur) An Etcher's Rambles. 1st Series, The Thames, 12 mounted etching, one becoming loose, faint marginal spotting, loose as issued, housed in original defective portfolio, rubbed and worn, covers detached, n.d.; previous owner's discreet blind-stamp at end, and others similar, v.s. (25)

A late Victorian black slate mantle clock of architectural form with black dial and Roman numerals, two train movement surmounted by a lion figurine, 35 x 35 x 13cm

A collection of 18th Century Delft tiles, to include five with polychrome decorated tiles with birds, a blue and white example with flowers, two architectural examples and four with polychrome painted flowers, ( 12)

A 15th/16th century carved oak architectural pediment, circa 1500 and later In two parts, the frieze carved with fruiting vine, centred by two figures, probably making wine, atop finely carved tracery-filled lancet arches, centred by a hound sejant,  214cm wide, 32cm deep