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Two 19th century black slate mantel clocks of architectural design, both dials with white enamelled chapter rings set with Arabic numerals, winding hole to the front, the smaller example marked 'Alfred Coad & Sons, London & Liverpool', height 24cm, length 21cm, height of largest 31cm, length 27cm.Qty: 2At the time of cataloguing, both clocks appear to be in going order, however this is no guarantee of working order.Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/

Late 19th/early 20th century black slate and coloured marble architectural two train mantle clock with yellow metal pillars and mounts. French brass drum movement striking on one gong. With pendulum. 43.5cm high approx. (B.P. 21% + VAT)

Late Victorian slate architectural two train mantle clock having gilded face. (B.P. 21% + VAT)

Walnut German mantel clock, of architectural form with ivorine chapter ring, twin train movement striking on a gong, 35 cm high and a slate mantel clock, 21 cm high (2)

Pair of Chinese porcelain jardinieres/ or fish bowls, Modern, decorated with panels of ladies in architectural scenes, 31cm high x 36.5cm diameter(2)

A French black slate and marble mantel clock, late 19th century, with architectural case on shaped plinth base, the white enamel dial with Roman numerals, indistinctly signed to dial by retailer John J. Peters & Co., with twin train movement, the backplate stamped with pastille for Japy Freres et cie and numbered 243 and 44, missing bell and pendulum, no key, approx. 21cm high, 29cm wide, 16.5cm deep, together with a French black slate and marble timepiece, late 19th century, the case of plinth form, the black slate dial with variegated marble dial centre and gilt Roman numerals, signed in gilt to dial by retailer WILSON & GANDAR 392 STRAND and marked FABRIQUE PARIS, with gilt spade hands, having single train movement, with pendulum, approx. 18cm high, 16.5cm wide, 11.8cm deep (2)Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece offered for sale.Please refer to department for condition report

An Edwardian oak bracket clock, the silvered face and dial with Roman hours and subsidiary Chime/Silent dial, the German movement striking on five gongs and numbered 2258, the architectural case 46cm highPlease note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece offered for sale.Please refer to department for condition report

A French gilt-bronze mounted mahogany veneered portico clock, second quarter 19th century, the architectural case with gilt-bronze floral swags to frieze above four columns with gilt-bronze capitals on plinth base with swan and scrolling floral mount, the silvered dial with Roman numerals, the twin train movement striking a bell on the hour and half hour, the backplate stamped with Pons MEDAILLE D'ARGENT 1823 pastille, having gridiron pendulum and winder, 49cm high, 25cm wide, 13.5cm deep Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece offered for sale. Case: With some wear and restoration to include warping, minor losses to veneer, including above cornice, frieze, and numerous cracks and chips to veneer at base and corners, and warping and splits to right side of base. The mounts with some wear and scratches, the columns do not sit straight. The mount to frieze slightly loose and with split underneath, possible restoration patches to centre of plinth and back right corner of cornice. Dial: With minor scratches. Movement: The backplate and bell with scratches and minor tarnishing. The pendulum suspension ring is missing, therefore the pendulum does not attach. The pendulum with mild general surface wear.

Large quantity of framed and glazed architectural prints, harbour, shipping, factory scenes, many of Liverpool

A collection of framed prints to include architectural examples, and Japanese style prints, see photos

The Beauty of Britain's Churches, a collection of thirty-six silver proof medals depicting famous Churches and Cathedrals in frosted relief with text to reverse of architectural style and notable features etc; includes All Saints Brixworth, St Mary's Wellingborough, each 44mm, 40g , Birmingham 1978/79, all in protective covers in a wooden presentation box.52 x 26cm.

A late 19th/early 20th century continental mantel clock in pierced brass architectural case, the 3” engine-turned dial inset enamelled roman numerals, with 8-day movement striking on a bell, 7½” wide x 13” high.

A Late Victorian French Black Slate and Marble Mantel Clock of Architectural Form, Movement Now Replaced with battery, 34.5cms High

An early 19th century giltwood over-mantel mirror of architectural form, arched pediment, elaborate foliate scroll and swag relief decoration, 139cm high, 102cm wideProvenance: Norfolk private collection

A collection of pottery tiles,predominately in the Iznik palette, to include a shaped architectural example, 30cm high, a similar fragment, 32cm wide, a Qajar style relief tile, 28.5cm wide, six similar tiles with various foliate decoration, 15cm square, a larger example decorated with saz leaves, 21cm square, another decorated with a stylised deer, 12.5cm square, and a set of four with a foliate design, 13cm square (15)Condition ReportThe four matched examples are mounted to a panel, with one loose, and a corner cracked off but present. The shaped Iznik tile with cracks and losses to the glaze. All chipped and filed down.

A set of four grey painted wood architectural mounts,late 19th century, each with a gesso moulded Lion mask, 31.5cm wide7.5cm deep33cm high (4)Condition ReportPaint is inconsistent and been retouched in areas.

Group of three Limited Edition hand coloured prints architectural street facades of High Street St Giles and theatre in Broad Street, all Oxford, indistinctly signed in pencil by the artist, 16cms x 15cms each approximately

Late 19th Century mantel clock in an architectural metal mounted case

Late 19th Century mantel clock in inlaid architectural form case

Late 19th Century mantel clock with oak and brass mounted architectural case

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Large Period Antique Palm Design Carved Wooden Mould for Plaster Architectural Detail

*Period Antique Carved Wooden Mould for Plaster Architectural Detail

*Large Architectural Plaster Wall Plaque Cherubs and a Lion 24” length

Ca. 1-300 AD. A bronze herm pendant of a quadrangular post narrowing downwards, and at the top ending with a bust of a man with his hair swept back and a large loop protruding from the top of his head. His face bears simplified features and his unworked body is marked only with genitals. A herm is an architectural decorative element with a head and a plain torso with only genitals carved. Such sculptures were placed along roads, on street corners, at gates, in gymnasiums, on property borders, etc.Size: L:117mm / W:25.6mm ; 80.06gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1980s;

Ca. 200 BC. A stunning gold ring composed of a D-shaped hoop with its arms terminating in architectural form with a hinged mechanism. The raised bezel features a large cell with a garnet cabochon inset. For similar examples, see F. H. Marshall, M.A., Catalogue of the Finger Rings, Greek, Etruscan, and Roman in the Departments of Antiquities, British Museum, London, 1907, Pl. XXI, 843-844. (ex Collection & bequest: Franks from 1897).Size: D: 17.12mm / US: 6 3/4 / UK: N; 8gProvenance: Property of a London collector; formerly acquired in Japan in the 1990s.

ARCHITECTURAL GARDEN SWING BENCH, 250cm W, weathered.

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

ARCHITECTURAL WALL MIRRORS, a pair, 162cm high, 51cm wide, Art Deco style, distressed metal frames. (2)

ARCHITECTURAL WALL MIRRORS, a pair, with overlaid frame detail, 50cm W x 100cm H x 25cm. (2)

Original vintage advertising poster for Exhibition of Architectural Works From the collections of the Basel Commercial Museum / Gewerbe-Museums Basel, featuring a photograph of an embroidered cloth, book bindings, and a glass visible through large GM letters set over black background. Good condition, creasing, tears, pinholes, small paper losses, staining. Country of issue: Germany, designer: A. Hofmann, size (cm): 127x91, year of printing: 1960s.

Augusta Mary Warren: graphite study of an architectural plaster rose feature (Kensington School of Art, 1870's).

A Swiss Pine Coffer, with architectural mouldings, 147cm by 67cm by 67cm Provenance: Hotel Seeburg, Lucerne

Architectural Salvage: A Steel Fire Surround with a marble hearth (a/f)We believe this is incomplete. It appears to have one marble upstand lacking.

A collection of various wood engraving blocks and printing plates showing mainly classical and architectural scenes

Fabyan (Robert) The Chronicle of Fabian, whiche he nameth the concordaunce of histories, newly perused. And continued from the beginnyng of Kyng Henry the seuenth, to thende of Queene Mary, 2 vol. in 1, double column, black letter, titles within woodcut historiated architectural borders, woodcut historiated and decorative initials, occasional contemporary ink marginalia, vol.1 lacking C1, vol.2 lacking 3B3-6 (the last blank), vol.1 title cropped (with loss of upper vignette and first word 'The' and part of first two letters of 'Chronicle'), soiled and laid down, extensive marginal repairs to first 20 and last 13 ff., or so, occasional marginal repairs elsewhere, a few tears, water-stained, some spotting or staining (including ink to vol.1 i5&6), lightly browned, new endpapers, 17th century mottled calf, sympathetically rebacked, spine in compartments and with burgundy morocco label, head of spine and corners worn, rubbed and marked, [STC 10663], folio, John Kingston, 1559.⁂ The most complete edition of Fabyan's celebrated chronicle. Provenance: Robert Sockett (17th century ink name to lower margin of 2d4r).

Dering (Edward) XXVII. lectures, or readings, vpon part of the Epistle written to the Hebrues, title and printer's device within engraved architectural border, woodcut head- and tail-pieces and decorative initials, extensive contemporary ink marginalia to a few ff., lacking P8, provided in facsimile, title with a few small repairs (affecting border) and mounted on stub, some worming in text, mostly in first quarter, diminishing in size as proceeds, last few ff. with small marginal worm traces, some spotting or light staining, lightly browned, modern calf, spine in compartments and with burgundy leather label, [STC 6727], small 4to, Imprinted by [H. Middleton for] Lucas Harison, 1577.⁂ Exceedingly rare at auction, with the only copy traced sold by Bangs & Co. of New York in 1897. Dering (c.1540-1576) was an English priest and classical scholar, controversialist, supporter of Thomas Cartwright, and vehement preacher against his fellow clergy.

Camerarius (Joachim) The Liuing librarie, or, Meditations and obseruations historical, natural, moral, political, and poetical, translated by John Molle, first edition in English, title within ornate engraved architectural border, woodcut head- and tail-pieces and decorative initials, final f. blank, lacking initial blank, short tear to upper inner margin of title, 2B4 tear at foot within text, with minor loss, but not to sense, some spotting or staining, lightly browned, contemporary mottled calf, sympathetically rebacked, spine in compartments and with morocco label, corners worn, rubbed, [STC 4529], small folio, Printed by Adam Islip, 1621. ⁂ 'A translation of a French version by Simon Goulart of book 1 of: Operae horarum subcisivarum' (ESTC). Provenance: Ink presentation inscription from Robert Hakewill to Hugo Losse dated 1663 to title.

Hall (Joseph) The Balme of Gilead: or, Comforts for the Distressed, both Morall and Divine, first edition, title within woodcut architectural border, R1 with chip to margin affecting printed sidenote, light marginal staining, [Wing H365], by M. Flesher, for Nat Buttler, 1646 bound with Christ Mysticall: or, The Blessed Union of Christ with His Members, first edition, with initial blank, some light spotting, [Wing H374], for M. Flesher, 1647, together 2 works in 1 vol., ink name to front free endpaper, bookplate of Basil G. Wood to front pastedown, contemporary calf, chipping to spine, gouge to front cover, a little rubbed, 12mo.⁂ A rare pair of devotional works by Hall, we can trace no examples of the first and only one example of the second at auction in the last 50 years.

Architecture.- Richardson (George, Scottish architectural and decorative draftsman, ca. 1738-1813) Pair of octagonal neoclassical ceiling designs, brush and ink, pen and ink, watercolour, heightened with white, some pencil under-drawing, pen and ink scale to lower section, sections numbered, on cream laid paper with watermarks of Strasbourg Lily, each sheet approx. 545 x 375 mm (21 x 14 3/4 in), minor nicks to extremities, handling creases, light browning and surface dirt, unframed, [circa 1770-1800]⁂ Probably a print study intended to be engraved for Richardson's 'A Book Of Ceilings, Composed In The Style Of The Antique Grotesque', published in 1776. The Yale Collection for British Art hold another comparable original design [see acc. no. B1975.2.674].

Holy Land.- Zuallart (Jean) Il Devotissimo Viaggio Di Giervsalemme, first edition, collation: a-b4, c2, A-Z4, Aa-Zz4, Aaa-Eee4, Fff2, lacking preliminaries b1-4 and c1-2 (including portrait of the author), first edition, engraved title in architectural border (trimmed and window-mounted with few small holes repaired), engraved maps, plans and illustrations, foxing and staining, heavier at start, ink inscriptions, early 19th century half vellum, spine darkened, a little rubbed, 4to (220 x 150mm.), Rome, Domenico Basa, 1587.⁂ Literature: Adams Z190; Blackmer 1873 (1595 edition).

A PAIR OF PAINTED PINE FLUTED ARCHITECTURAL PILASTERS 20th Century, with fluted bodies and carved Corinthian capitals, each 121cm high x 46cm deep x 22cm deep

A GROUP OF NINE CHINESE WOODEN STANDS each of architectural design, the tallest measures 30cm high x 34cm wide, the smallest 12cm high x 28cm wide (9)Provenance: The property of a deceased Estate from West Dorset.

Davy Moakes, Whitby Abbey Ruins, Morning Sun, signed, acrylic on board, 50.5cm x 40.5cm; another pair by the same artist, Whitby Abbey - Architectural wonder, and Still standing, each signed, 51.5cm x 43cm, (3).

Frank Lloyd Wright Architectural building blocks - in original packaging

Clare WHITE (1903-1997) On the Steps, Grindelwald, Switzerland Watercolour, signed, 36 x 38cm.St Ives artist Clare White studied History of Art at Lausanne in Switzerland as a young woman and returned often to visit friends and paint the beautiful mountain scenery and scenes of everyday life in the picturesque village of Grindelwald. Skilled draughtsmanship and attention to landscape and architectural detail combined with her warm watercolour palette to capture the effects of the crisp alpine air.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.

LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Moulin de la Galette.Watercolour and charcoal on paper.Signed in the lower right corner.Size: 16 x 16 cm; 32 x 32 cm (frame).Lucien Genin studied at the Ecole des Beaux-Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.

Mid-20th century architectural street scene, watercolour/pencil, unsigned, 50cm x 37cm, framed

TWO SILVER-PLATED MEAT DOMES the larger Sheffield plate cloche by A.B. Savory & Sons, London, with a foliate-capped bead handle and bead rim, engraved with a Greek Key band and an ornate architectural and foliate-surrounded oval cartouche to each side, one with a crest, the other vacant; the smaller cloche of lobed oval form with a fruiting vine handle, engraved with a crest. (2) Larger 47cm by 35.5cm

Attributed to Arthur CroftsAn architectural interior scene Watercolour84 x 61.5cm

Postcards & Ephemera - Edwardian & Later, Military, Mining, Portraiture, Humorous, topographical, Architectural, Royalty etc inc Scotland, Wales, Germany, Spain, France, Switzerland, etc, in album & loose lrg qty

§ JOHN WADSWORTH (BRITISH 1879-1955) EXTENSIVE ARCHIVE OF ORIGINAL DESIGNS AND SKETCHES mixed media (pencil; pen and ink; watercolour; bodycolour) some 150 items in total, on various paper and card stocks, various dimensions, including 10 items signed by Wadsworth, the remaining material unsigned but most attributable either to Wadsworth or an associate on external evidence or stylistic grounds: 1) Signed items: a) Design for a Sun-Dial to be executed in Irish-Green Marble with Brass Fitting (watercolour; with caption); b) Design for an embroidered doyley (watercolour; with caption); c) Design for Wadsworth's personal bookplate (black and gold ink with lilac watercolour; mounted); d) Designs for decorative friezes (on a single sheet, red and black ink heightened with gold, possibly gold leaf); e) Repeating foliate design (sepia ink with pencil); f) Calligraphic Christmas card design ('With best wishes from Mr and Mrs J. W. Wadsworth, Xmas 1910' in black ink, with 'Draycott Le Moors, Stoke on Trent' in pencil); g) Cover design for an edition of Dante (black ink and pencil, annotations verso; together with another design, unsigned but near-identical); h-j) Three watercolour views (a country church; a view in the Colosseum; a crooked tree with cottages; the latter with heavy outlining and shading in black ink);2) Views (watercolours, 13 in total, including wooded landscapes, beach scenes, architectural studies, and boats moored in a harbour);3) Bookplate designs, including two for Leon V. Solon (on 20 sheets, a few containing multiple designs, together with a few printed specimens);4) Lettering specimens and copies of illuminated initials from medieval manuscripts (28 sheets, most with multiple designs);5) Pattern designs after historical fabrics (watercolours, 6 in total, annotated on verso '17th century Italian', 'Italian damask, 17th century', 'Linen, Italian, 16 century', '15 or 16th-century oriental', '16th century Renaissance', 'Velvet, Persian, 17th century');6) Exhibition catalogue or poster designs for the North Staffordshire Art Society (5 in total), together with 3 similar designs for the Catalogue of the Malvern Art Club Exhibition,1928, woodblocks differentially hand-coloured;7) Large collection of assorted designs and sketches, including various floral patterns and motifs, a vase, book illustrations and embellishments (including 4 designs for publisher's devices or colophons: 'FINIS' written within scrolling foliate cartouche; two satyrs embracing beneath text 'THE END'; large sketch of an angel and supplicant with the text 'Carl Hentschel & Co. Photo-engravers' at the head; an allegorical female figure with robe and shield beneath text 'Bemrose & Sons Ltd. Printers, Derby & London'), and numerous female figures, several sketches evidently preparatory (approx. 50 in total);8) 3 engraved Christmas cards from Leon V. Solon addressed in pencil to John Wadsworth (for 1903, 1905 and 1909, spotted); 2 photographs of works by Leon V. Solon (one of Elizabeth I, the other captioned verso 'Le bain des nymphes'), both signed in the negative, mounted and inscribed by Solon to Wadsworth in pencil on mount, heavily spotted; and 1 further engraving inscribed by Solon to Wadsworth in pencil (device for a menu at 'Uplands'?);9) Other items including: a copy of Wadsworth's Designing from Plant Forms, 1910, first edition, original cloth; 1901-2 syllabus for Macclesfield Techincal and Science School and School of Art (8vo, original decorative wrappers, front cover design signed J. W. Wadsworth); dust jackets possibly designed by Wadsworth, etc. This lot includes a typed letter to Phillips auctioneers from C. J. Hancock requesting a catalogue for the sale.Provenance:Provenance: 'The Ceramic Art and Paintings of John and Philip Wadsworth', the auction of their estate, Phillips, Knowle, 8th April 1992, various lots including 55, 89 etc.Note: Note: John William Wadsworth is best remembered as a designer of ceramics, but this extensive collection of material is an engrossing record of his interest in other fields including book decoration, bookplate design and landscape painting, and promises to reward further study. Born in Macclesfield, Wadsworth studied at Stockport School of Art and the Royal College of Art. In 1901 he was appointed assistant art director to L. V. Solon at Mintons, designing Secessionist ware, and became full art director soon after in 1905. He was art director at Royal Worcester from 1915 until returning to Mintons in 1935, where he remained until his death.