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Click here to subscribeTHE HOLY BIBLE.., London, Robert Barker and Assigns of Bill, 1633, lacks title pages, Old Testament commences A2, New Testament commences YY6, bound in at front, THE BOOKE OF COMMON PRAYER, London, Robert Barker and Assigns of Bill, 1633, engraved architectural title, old calf worn, brass mounts rebacked preserving part of original spine, lacks blanks, A F Herbert 472 or 475
THE HOLY BIBLE CONTAINING THE OLD TESTAMENT AND THE NEW.., Cambridge, John Hayes, 1677, engraved architectural title by Chantry, copiously illustrated with 205 engraved plates with apocrypha bound in at end, THE WHOLE BOOK OF PSALMS, Cambridge, John Hayes, 1674, red ruled throughout, 4to, old black morocco gilt restored and recased, new end papers, Herbert 736
§ Endre Hevezi (1923-2017) Untitled Compositionsigned 'Hevezi' (lower right)mixed media assemblage on board55 x 96cmBorn in Szeged, Hungary, in 1923, painter, architect and ceramicist, Endre Hevezi remained nomadic in style, discipline and physical location throughout his career. A born artisan, Hevezi, in his own words, understood that he needed to utilise his innate artistic abilities to forge a path in a “decent occupation”. For Hevezi, this was, at least initially, architecture. Beginning his studies in 1942 at the Budapest University of Technology, Hevezi soon found himself evacuated from his homeland due to the Soviet occupation and transplanted to Halle an der Saale, Germany, where he completed his studies. As political tensions grew in Central and Western Europe, Hevezi was able to board a train to Denmark, where he spent several months in a Red Cross refugee camp. It was during his time in the camp that Hevezi began his painting practice. Initially approaching his painting career with some diffidence and largely working in portraiture, Hevezi soon expanded his practice to include post-impressionist Hungarian landscape scenes which would ultimately come to define this era of his painterly works. Although modest, Hevezi enjoyed commercial success in Scandinavia, holding several shows in Copenhagen and Stockholm and completing several important commissions, including the interior design of a new cinema in Denmark, the altarpiece of the Alderslyst Church and the murals of the Meeting Hall of Ikast.Seeking greater professional opportunities, Hevezi moved to England, settling in Stoke-on-Trent in the late 1940s. As a condition of his visa, Hevezi was required to complete a year of manual labour which he did at the ceramics factory of Booths and Colclough where he worked as a clay carrier. However, after showing his ceramics designs to a supervisor, Hevezi was soon moved to the design department of the firm. In 1951, Hevezi was appointed as the ‘designer scholar’ of the firm and was awarded a prestigious scholarship from the Federation of British Pottery Manufacturers, affording him the opportunity to spend several weeks in New York.Following his secondment in New York, Hevezi returned to England, but having grown tired of commercial ceramic work, he chose to settle in London where he completed his MA in architectural studies. Upon the completion of his Master’s degree, Hevezi secured a number of private and public commissions in bronze, stained glass, pottery and mosaic. Perhaps the most significant of these commissions is his work at the Debre Libanos Cathedral, Ethiopia, which features 100 square metres of his stained-glass designs and 80 square metres of his mosaic works. Hevezi’s painted works of this time became increasingly abstract and geometric in style, referencing his early architectural training.Although Hevezi largely withdrew from his artistic career in the late 1990s due to his wife’s ill health, his work continued to be collected and exhibited in public and private collections, including the National Gallery of Warsaw, Gdansk and Budapest, The Museum of Decorative Art of Budapest, in the Szeged, and Silkeborg museum and the Usher Gallery in Lincoln.
§ Ivor Abrahams RA (1935-2015), two architectural garden models, the first of a formal garden with central bench, mounted to a hardboard base 25 x 61 x 49cm the second, possibly an insertion for the first, of a ruin within shrubbery, painted papier maché, signed and dated '77 to reverse 26 x 28 x 10cm
German oak two train ting-tang mantel clock, the Lenzkirch movement no. 52/875827 striking on two gongs, the 5.5" silvered chapter ring signed John S. Jackson, Southsea enclosing a matted centre, within an architectural carved case surmounted by three turned wooden finials, 19.25" high (pendulum and key)
Oak two train ting-tang mantel clock, the W & H movement striking on two gongs, the 5.5" silvered chapter ring signed Goldsmith & Silversmith Company, 112, Regent St, London, enclosing a matted centre, within architectural stepped pillared case surmounted by a triangular pediment, 16.5" high (pendulum and keys)
An Indian rustic carved teakwood over mantle mirror with overhanging arcaded cornice above a pair of arched mirror panels flanked by figural brackets with three candle brackets below. 96 cm wide x 72 cm overall height x 19 cm deep.A private estateReplacement mirrors, probably a former architectural element.
A late grand tour patinated bronze encrier, 19th century, of two-handled form with single central covered well and four quill stands, 17 cm long x 13 cm wide x 7 cm high. Together with a gilt bronze two-section grand tour covered encrier of gothic architectural form moulded with crocketed lancet arches, on gilt leafy cluster feet, a grand tour reduction of the winged Lion of St. Mark, and the Farnese Hercules on a rouge turned marble base. (4)
Trevor Chamberlain, (b.1933) British, "Tranquillity River Lea" watercolour titled verso, framed and glazed 43cm x 36.5cm dated on verso 1983 in pencil. Chamberlain Painter, born in Hertford, who was self-taught. Apart from National Service in the Army, 1953–5, until 1964 Chamberlain worked as an architectural assistant, then painted full-time. He liked to paint his pictures of the sea, riverscapes, townscapes and landscapes in one session on the spot, which gave them great spontaneity. Chamberlain was elected a member of NS in 1968, RSMA in 1970 and ROI in 1972, also being a member of Chelsea Art Society and Wapping Group of Artists. Among awards won were Lord Mayor of London’s Art Award, 1976; James Bourlet Prize at ROI, 1980; Chris Beetles Watercolour Award at RWS Open, 1987; and Llewellyn Alexander Award at ROI, 1991. Solo shows included Ash Barn Gallery, Petersfield, 1971–83, and Inspirations of Armenia and Persia, Piano Nobile Fine Paintings, 2002.
PAIR OF OAK AND MARQUETRY WAINSCOT ARMCHAIRS 19TH CENTURY the arched panel backs carved with foliate scrolls and a central architectural niche enclosing a stylised flowering vase, above wide seats flanked by down scrolled arms, above a carved seat rail raised on turned and tapered legs, with original horsehair loose seat pads in later coversDimensions:56cm wide, 112cm high, 36cm deep
GOTHIC STYLE OAK TABERNACLE AND STAND LATE 18TH CENTURY INCORPORATING SOME EARLIER COMPONENTS the ogee arch pediment with a foliate finial, crockets and cluster column pinnacles surmounted by gryphons, above a pointed arch moulded door with fenestrage carved panels, the spandrel carved with two roundels containing a cardinal's galero and the initials H A , flanked by leaf carved columns with architectural niches containing figures of saints, opening to a void shelf interior; the stand with a frieze dated 1797 and with a pair of angels holding a cartouche, above a drawer carved with flower roundels, raised on chip-carved square legs joined by an undertierDimensions:66cm wide, 207cm high, 35cm deep
FRENCH PORCELAIN AND GILT BRONZE MANTEL CLOCK GARNITURE, PHILLIPE MOUREY, PARIS 19TH CENTURY in the Louis XVI style, the porcelain dial with Roman numerals, in an architectural case framed by scrolling supports surmounted with an urn with a putto finial, on an inverted breakfront base mounted with a central oval floral roundel and frieze panels, raised on toupie feet, the back bracket stamped '10 PH MOUREY 62', the twin train movement with outside count wheel striking a bell, together with a pair of ewers with blue celeste porcelain bodies painted with song birds, the bases also stamped 'PH MOUREY'Dimensions:the clock 28cm wide, 37cm high, 11cm deep
FRENCH GILT BRONZE AND BRASS MANTEL CLOCK LATE 19TH/ EARLY 20TH CENTURY the circular gilt dial with painted Arabic numerals and gilt filigree mask, in a rectangular architectural case flanked by two columns, mounted with a floral garland and topped with a finial, on a stepped base with gilt frieze and toupie feet, the twin-train brass movement striking a bell, with a giltwood stand and ebonised base with glass domeDimensions:the clock 20cm wide, 31cm high, 14cm deep
A box of architectural plans and related ephemera regarding plans to rebuild the House Of Commons in the mid to late 1940s. Includes a copy of an account of the opening ceremony signed by the then speaker of the house Douglas Clifton Brown. Also comes with other architectural plans and books.
A SWISS STAINED PINE COFFERWith architectural mouldings to the triple panel front70cm high, 197cm wide, 70cm deepProvenance: Hotel Seeburg, Luzern, SwitzerlandHotel Seeburg, Luzern, Switzerland was purchased for the touring association of the Regent Street Polytechnic in 1898. The Regent Street Polytechnic (now the University of Westminster) was founded by Quintin Hogg in 1881. Hotel Seeburg passed to his grandson, the Hon. William Neil Hogg and then to his two nephews: Douglas Hogg, 3rd Viscount Hailsham and The Hon James Hogg, Wherwell Priory, Hampshire. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,This appears to be stained pine to simulate walnut, the interior is stripped and 'yellow' in colour, there is an internal candleboxSome joints opening up70cm high, 197cm wide, 70cm deepPlease refer to additional images for visual reference to condition Condition Report Disclaimer
Circa 1st century B.C. A carved marble herm boundary marker carved in the round as the bust of an adult male wearing a conical cap and with a full beard; dorsal pillar terminating behind the head. 7.3 kg, 31.5 cm high (12 3/8 in.). French collection, 1960s-early 2000s.From an important Paris gallery, France. Possibly an architectural element or herm: herma (Ancient Greek: ?????, usually called a 'herm' in English), is a sculptured stone block with a head and often a chest above an undecorated lower section on which male genitals may additionally be carved. From the Neolithic period onwards, in parts of Europe, divinities were worshipped in the form of either a heap of stones (cairn) or a wooden column. Piles of stones were created beside roads and at the borders of fields as they were cleared of pebbles, and religious respect was shown through the custom of each passer-by throwing a stone on the heap or offering a libation. In due course, the addition of a carved head (and phallus) to the column encouraged the belief that these monuments were especially favoured by divinities. A video of this lot is available to view on Timeline Auctions Website.]
15th-16th century A.D. A gilt silver chalice with bowl decorated with repoussé arcading, fluting and entwined motifs, balustered stem with ovoid centre adorned with pseud-architectural and leaf detailing, fluting below splaying out onto a circular foot bearing an applied oval armorial cartouche; interior base with foliate roundel in raised relief; dated 1589 in Roman numerals incised on the base. 309 grams, 13.5 cm high (5 1/4 in.). English private collection.
George III mahogany stick barometer, architectural pediment, herringbone case, turned cisterm cover with boxwood and ebont stringing, silvered chart signed L Donegan & Co., London, 98cm.Condition report:The item is sold as untested. The cirular cover to the base has am old crack to the side. Otherwise the wood parts are good. The glass is good. The metal face is a bit tarnished with age.
A French gilt-brass repeating carriage clock, late 19th century, the architectural case with corner Corinthian columns on plinth base and bracket feet, having bevelled glass panels and swing handle, the white enamel dial with blue Roman and red Arabic numerals, with subsidiary hours dial below six, with engine turned silvered dial surround, the twin-train spring driven movement with platform lever escapement, striking a gong on the hour and half hour, the backplate numbered 7119, 16cm high excluding handle, 20cm high with handled extendedPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece.Condition Report: Case: With scratches, tarnishing and losses to gilt, including to repeater button and around it. There is tarnishing to top, base, columns and heavy scratches to underside. There is minor scratching to glass panels and very minor scratches to backplate. Dial: The dial and subsidiary dial with dirt and minor wear.Movement: The clock is overwound. There is no winder included with this clock.
Three boxes containing a collection of mixed tin plate, plastic, wooden, and metal construction gift sets, and associated toys to include a Master Builder No. 2 size Meccano-style construction kit, a Wenebrik set No. 3 architectural toy, a quantity of diecast and plastic aircraft together with other associated tin plate and collectable toys
Gilded, lacquered wooden chest with engraved and gilded ivory interior. Indo-Portuguese. 18th century. 22 x 30.5 x 23cm. Interesting desk that has a folding front cover. It is decorated on all its faces with black lacquer and gold powder. The two sides and the back are embellished with a section painted with floral motifs enhanced in gold. The same section is found on the upper cover, in this case it is on a small free-standing glued board. The front of the cover presents, in turn, a painted section with gold relief in which two characters with Asian features converse surrounded by a landscape of oriental vegetation. The interior is divided into eight drawers, which are covered on the front by ivory plates that have incised decoration with traces of gold, representing architectural motifs. The drawers have small, gilded bronze pendant handles. The interior of the hinged lid is also covered by ivory plates with incised decoration of two concentric rectangles with a border of leaves and four ornamental elements in each of the vertices of the interior rectangle. The chest rests on four small golden metal spheres. The missing keyhole has been replaced with a restoration that reflects the pictorial decoration of the lid. 22 x 30.5 x 23cm.
Silver pax. With the silversmith Domingo Durango's hallmark (based in Daroca and active circa 1580)13 x 11 x 5cm. WEIGHT: 321 G.In the shape of an aedicule or small Doric order temple. The base is extended at the ends by two plinths on which two balustraded columns stand, supporting a small entablature on which a curved pediment rests.On the pediment a crest is displayed based on scroll elements. The scene represented in the central section is the seated Madonna with the Child seated on her lap. The image is sheltered in a niche and is flanked by three cherubs on each side. On the pediment, God the Father gives blessing. There are two inscriptions on the shrine: on the entablature SANTA MARIA and on the base ORA PRONO (BIS) with a small cross in the centre.There is a handle on the back that functions as a stand for placing the pax on the altar and for passing it from one worshipper to another.It bears the silversmith's mark; O/DUR. This mark, according to the studies of Daroc silverware carried out by Fabián Mañas Ballestín, corresponds to the silversmith Domingo Durango, active around 1580 and with documented work in various locations such as San Martín del Río, Villahermosa del Campo, Báguena, Burbáguena, Lanzuela, Loscos, Lechago, Valdehorna and Villanueva de Jiloca.One of the objects used for worship that has fallen into disuse is the pax. It is a small piece, which can be made of different materials, such as metal, ivory, ceramic, etc., with an image or signs in relief. In the most solemn celebrations, the pax was passed from one member of the congregation to another to be kissed in a mass for peace.The origin of the pax dates back to the Middle Ages, but it was from the 15th century and especially in the 16th and 17th centuries that it reached its peak, its use declining at the end of the 19th century.The first paxes were conceived with very elaborate Gothic architecture, derived from medieval reliquaries in the form of an aedicule. It was in the second quarter of the 16th century when the typological change in the pax took place, through the introduction of Renaissance silverware models and after the Council of Trent (1545) its iconographic repertoire was enriched.From the beginning, these objects were conceived as small architectural pieces that contained a devotional image. Juan de Arfe describes the way to make a pax in his Varia Commesuracion: "Two parts make the top of a pax,and one of them forms the seat,setting itself towards the upper side,and so that this seat is capable,it is made with a stout base,and the handle is very light so it goesin such a way that it neither twists nor falls." Reference bibliography: - Sanz Serrano, María José. (1982). “Portapaces renacentistas del museo Lázaro Galdiano”. Goya: Revista de arte. Nº 167-168. pp. 258-270. - Xilocapedia. (21 de agosto de 2015). “Durango, Domingo (platero)”. https://xiloca.org/xilocapedia/index.php?title=Durango,_Domingo_(platero)
Inspired by the Cornish coast, this stunning wall art feature of 6 fused glass 12 inch fish including fixings is provided by courtesy of handmade glass designer Jo Downs. Working from her Cornish design studio and showrooms Jo's work draws on the rugged Cornish coastal landscape for inspiration, whilst advanced fusion production techniques allow creation of complex and abstract designs, each piece individual from another. With a BA Hons in glass and ceramics design and subsequent placements with established artists in the field such as Mike Davies, Galia Amsel and Rebecca Newnham, 1996 saw the opening of Jo Downs glass workshop in Muswell Hill. Introducing a popular range of handmade giftware and commissions, the range quickly expanded to wall panels and frames, joined a little later by large architectural and interiors projects, including cruise liners, churches, hotels including Forte and Hilton, as well as corporate buildings and projects including windows and mirrors for private homes commissions. Further techiques were developed whilst guest artist at Stuttgart Art Academy working alongside Professor Hewel. Further commissions for Edinburgh and Munich Hilton joined others prior to relocation to premises in Launceston in Cornwall. Jo Downs work can be acquired at The Royal Botanical Gardens at Kew, Hills House and British Maritime Museum, as well as National Trust, John Lewis and a variety of other galleries and retailers, including Jo Downs own locations in Launceston, Padstow, St Ives, Fowey and Tintagel in Cornwall, as well as Sunningdale in The Royal Borough of Windsor and Maidenhead in Berkshire.
Inspired by the Cornish coast, this striking Gwithian 9.25 inch fused glass dish is provided by courtesy of handmade glass designer Jo Downs. Working from her Cornish design studio and showrooms Jo's work draws on the rugged Cornish coastal landscape for inspiration, whilst advanced fusion production techniques allow creation of complex and abstract designs, each piece individual from another. With a BA Hons in glass and ceramics design and subsequent placements with established artists in the field such as Mike Davies, Galia Amsel and Rebecca Newnham, 1996 saw the opening of Jo Downs glass workshop in Muswell Hill. Introducing a popular range of handmade giftware and commissions, the range quickly expanded to wall panels and frames, joined a little later by large architectural and interiors projects, including cruise liners, churches, hotels including Forte and Hilton, as well as corporate buildings and projects including windows and mirrors for private homes commissions. Further techiques were developed whilst guest artist at Stuttgart Art Academy working alongside Professor Hewel. Further commissions for Edinburgh and Munich Hilton joined others prior to relocation to premises in Launceston in Cornwall. Jo Downs work can be acquired at The Royal Botanical Gardens at Kew, Hills House and British Maritime Museum, as well as National Trust, John Lewis and a variety of other galleries and retailers, including Jo Downs own locations in Launceston, Padstow, St Ives, Fowey and Tintagel in Cornwall, as well as Sunningdale in The Royal Borough of Windsor and Maidenhead in Berkshire.
Standing at an impressive 22cm in height and inspired by the Cornish coast, this striking fold design fused glass vase is provided by courtesy of handmade glass designer Jo Downs. Working from her Cornish design studio and showrooms Jo's work draws on the rugged Cornish coastal landscape for inspiration, whilst advanced fusion production techniques allow creation of complex and abstract designs, each piece individual from another. With a BA Hons in glass and ceramics design and subsequent placements with established artists in the field such as Mike Davies, Galia Amsel and Rebecca Newnham, 1996 saw the opening of Jo Downs glass workshop in Muswell Hill. Introducing a popular range of handmade giftware and commissions, the range quickly expanded to wall panels and frames, joined a little later by large architectural and interiors projects, including cruise liners, churches, hotels including Forte and Hilton, as well as corporate buildings and projects including windows and mirrors for private homes commissions. Further techiques were developed whilst guest artist at Stuttgart Art Academy working alongside Professor Hewel. Further commissions for Edinburgh and Munich Hilton joined others prior to relocation to premises in Launceston in Cornwall. Jo Downs work can be acquired at The Royal Botanical Gardens at Kew, Hills House and British Maritime Museum, as well as National Trust, John Lewis and a variety of other galleries and retailers, including Jo Downs own locations in Launceston, Padstow, St Ives, Fowey and Tintagel in Cornwall, as well as Sunningdale in The Royal Borough of Windsor and Maidenhead in Berkshire.
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