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A French gilt-brass mantel clock, late 19th century, the architectural case surmounted with an eagle and decorated with masks and scrolling foliage, on bracket feet, the enamel dial with Arabic numerals, the eight day twin train movement striking a bell on the hour and half hour, with pendulum, 46cm high, 22cm wide, 22cm deep Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece. The case in good condition with only minor wear and tarnishing. The door to reverse with minor dents and does not shut properly. Some minor holes to lining to door. The backplate and bell with only minor scratches and wear. The dial with minor scratches and rubbing to numerals.

Forty volumes of Pevsner Architectural Guides

Architectural Illustrations and Descriptions of the Cathedral Church at Durham', by William Billings and two volumes, 'The Border Antiques of England and Scotland', by Walter Scott

A miscellaneous collection of ephemera to include a Liverpool Echo poster, May 1902, declaring 'The Terms of Peace' [Treaty of Vereeniging, which ended the Second Boer War]; a quantity of motor car & electric railway tickets; several late-Victorian indentures; 1920s/30s cookery booklets; a Madame Tussaud catalogue; Allen's 1897 Almanac; four late-Georgian hand-coloured aquatint etchings of topographical views; two photograph albums of architectural views, 1930s/40s; a 1939 cash book; ration books; modern photographs taken from glass slides, and several loose clippings, including late-Victorian fashion plates, the whole in one carton

Stereoscopic viewer and 155 cards depicting topographical & architectural views (UK & worldwide), people, several interesting examples such as Santa Claus, Crystal Palace Photo Exhibition, and others, housed in a wooden case

An early 20th century oak cased German bracket clock byWinterhalder & Hofmeier, the architectural case enclosing the 17cm brass and silvered dial with fast/slow indicator along with the two train movement striking on two coiled gongs, the movement stamped 'W & H', along with ivorine retailers label to the back of the clock 'Lloyd, Payne & Amiel, Manchester', 59cm high, with pendulum (case incomplete, requires restoration, at fault)

A 19th century and later oak architectural pediment timepiece, possibly from a municipal building, the substantial case with fluted and scrolled detail upon an integrated plinth, enclosing the 24cm painted white dial applied with Roman numerals and signed 'G P Jacob, Manchester' with the later associated single train fusee movement, 67cm H x 89cm W, complete with pendulum

A late 19th/early 20th century German oak cased bracket clock by Winterhalder and Hofmeier, the architectural case with simulated brick work and fluted pilasters flanking the 15cm gilt metal dial with silvered chapter ring and subsidiarity fast/slow and silent/chime indicators, enclosing the three train movement stamped 'W & H, Sch', striking on five coiled gongs, 44cm high

A Victorian architectural design slate mantel clock, the 11cm diameter Arabic dial flanked by turned columns on a plain square plinth base, with eight day movement, 28cm high, with key.

A 19thC marble clock garniture, with gilt metal highlights 11cm diameter Arabic dial with an eight day movement in architectural case, the front raised by gilt metal leaves on scroll feet, with part urns and other embellishments (a quantity AF)

Table or floor lamp, Italian manufacture, 1980s.Metal and opaline glass.The piece will be available approximately 15 days after payment has been made.Measurements: 86 x 18 x 44 cm.This lamp stands out for its truncated cone-shaped body with a narrow profile and clean lines enhanced by the opaline glass that forms the body supported by a low metal foot. Given its dimensions, it is perfect for placing on a table or chest of drawers, as well as on the floor, creating a comfortable and luminous space.During the 1980s, design became independent from architecture, taking its place in society as a tool of social function and beginning a close relationship with the world of industry.In Italy, the design field, composed of a select group of designers and companies that supported the exclusive creation of decorative elements, held the first exhibition of furniture and decorative accessories independent of architectural support. This event gave rise to the so-called New Design, where more consideration was given to the expression of the spirit of the times through its objects. Many of them were handmade, with the idea of their uniqueness and exclusivity, other pieces were made in series, but in short runs. It was during this period that there was no distinction between art and design, in fact, a large number of decorative objects were exhibited in art galleries and elevated to art objects.

VERNER PANTON (Denmark, 1926 - 1998) for VITRA Editor.Set of four cantilever chairs "Panton", design 1967.White moulded polypropylene.Vitra Editor.With Vitra die-cut stamp.Slight signs of wear.Measurements: 82/46 cm (height).In the sixties Panton began his collaboration with the firm Vitra, with which he developed his best-known design: the "Panton" chair, made from a single piece of plastic injection moulding, which was presented in 1967. Now considered a classic of 20th century design, the Panton chair is part of such prominent collections as the MoMA in New York.Considered one of the most influential personalities of late 20th century furniture design, Verner Panton created a variety of innovative and futuristic designs during his career, especially constructed in plastic and bright colours. Most of his best-known designs are still in production. Verner attended the Odense Technical School and then studied architecture at the Royal Academy of Fine Arts in Copenhagen, graduating in 1951. In the early years of his career, between 1950 and 1942, he worked in the architectural office of Arne Jacobsen. In 1955 he opened his own architecture and design studio, making a name for himself with his furniture based on geometric forms, manufactured by the company Plus-linje. In the late 1950s his chair designs, with no legs and no discernible back, became increasingly unconventional. In the 1960s Panton began a close collaboration with Vitra, which culminated in 2000 with the Panton retrospective exhibition at the Vitra Design Museum. He is currently represented at the DesignMuseum in London and the MoMA in New York, among many others.

"LE CORBUSIER"; CHARLES EDOUARD JEANNERET-GRIS (Switzerland, 1887 - France, 1965).Chaise longue LC4, numbered 0932. 1970s.Signed and numbered.Metal and leather upholstery.The upholstery, being the original of the period, is worn and delicate.Measurements: 75 x 160 x 54 cm.The LC 4 chaise longue, presented at the 1929 Salon d'Automne du Design, is the best known of Le Corbusier's furniture. It is a purist, radical design that won critical acclaim in its time and is still a classic of 20th century design today.An architectural theorist, architect, designer and painter from Switzerland and naturalised French citizen, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Exposition des Arts Décoratifs in 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Set of six chairs model 3107 'Series 7', design 1955.Chromed tubular steel frame. Recently professionally reupholstered in cognac coloured aniline leather.Fritz Hansen Publisher.Measurements: 46,5 cm (seat height).Aniline leather is made of high-quality rawhide. As a rule, the leather has a completely natural surface, on which all natural markings are visible. This helps to bring out the unique character of the leather. The aniline leather changes over time through use and the effects of light, and quickly develops a patina of great natural beauty.The FH 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form.An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Set of six chairs model 3207 'Series 7', design 1955.Chromed tubular steel frame.Recently professionally reupholstered in cognac coloured aniline leather.Fritz Hansen Publisher.Measurements: 76/46,5 cm (height).Aniline leather is made of high-quality rawhide. As a rule, the leather has a completely natural surface, on which all natural markings are visible. This helps to bring out the unique character of the leather. The aniline leather changes over time through use and the effects of light, and quickly develops a patina of great natural beauty.The FH 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form.An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.

GIANFRANCO FRATTINI (Italy, 1926 - 2004) for BERNINI.Chest of drawers-desk, model 804. Designed in 1958.Walnut. Glass top. Sliding top covered in black leather.With maker's label.Slight marks of use.Restored.Measurements: 80 x 100 x 65 cm.Chest of drawers with desk made in walnut wood, a design by Grianfranco Frattini edited by Bernini in 1958. It consists of a prismatic structure raised on six cylindrical legs, which visually lighten the design. It has drawers at the front (10 in double rows) and shelves at the back, as well as a roller shutter that houses numerous drawers and a leather-covered desk top.Gianfranco Frattini belongs to the generation of Italian designers of the fifties and sixties. He studied architecture at the Politecnico di Milano, and began his career as an industrial designer when he realised that he needed appropriate furniture and lighting for the interiors of his architectural projects. In 1956 he was one of the founders of ADI, Associazione per el Disegno Industriale. Throughout his long career, Frattini collaborated with Gio Ponti, worked for Cassina and Acerbis, and designed lamps for Artemide, as well as being a member of the Milan Triennale and designing for Knoll.

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Armchair "The Swan", original model 3320, design 1957-58.Upholstered in "Elegance" leather.Four-spoke aluminium swivel base."Brown label 2021.Serial number engraved on the frame.Slight marks of use.Measurements: 78/40 cm (height).The Swan chair was designed in 1957-58 by Arne Jacobsen to decorate the Royal Hotel in Copenhagen. It was edited by the Danish firm Fritz Hansen. It soon became a symbol of modern design. Among Arne Jacobsen's other designs for the SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design all over the world.The Danish architect was one of the pioneers of the time in using new methods in furniture design, the Egg Armchair being a clear example of this. The iconic sofa consists of a one-piece, concave moulded polyurethane shell with fibreglass reinforcement, which has been covered with an elegant upholstery. The shell has an adjustable tilt mechanism, which can be adjusted to the weight of the individual user. The tilt mechanism is made of steel, while the adjustment handle is made of polished stainless steel. The result, a distinguished, pointed and unique timeless design that will stand the test of time.Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.

MARCO BOGA (Italy, 1961) for BUSNELLI.Two-seater sofa "Piumotto".Leather upholstery.With Busnelli publisher's stamp.It shows signs of use and light stains.Measurements: 70 x 210 x 105 cm.The Piumotto sofa is the re-edition of a classic piece of Italian design signed by Arrigo Arrigoni in 1973 under the direction of Bstudio. It is a sofa with a completely invisible metal structure. The body, with closed sides and soft, warm cushions on the seat, backrest and sides, has rounded shapes, reduced to its essence. It is, therefore, a functional and comfortable piece of furniture that does not renounce formal elegance.Trained in Architecture at the Politecnico di Milano, Marco Boga began his own architectural research in the studio of his father, Eugenio Boga, who specialised in furniture design and interior decoration. He currently designs for major publishers such as Busnelli, Casamilano, Tisettanta, Halifax, Fratelli Longhi, Axil and Merati.The Italian firm Busnelli has been dedicated to the manufacture of designer seating furniture for half a century. Its pieces are distinguished by the modernity of their forms, freed from tradition, which have made Busnelli one of the architects of the birth and consolidation of Italian design. In 1972 the firm moved to Misinto, in Crianza, where it built a factory that was the first example of its kind, and which continues to this day to be a model of reference for its production systems and technological advances. In fact, research has always been one of Busnelli's cornerstones, through its Centro Studi & Richerche. Always at the forefront of its sector, the firm is committed to the production of high quality and design upholstered furniture, marked by its silver emblem.

WARREN PLATNER (Baltimore, 1919 - Connecticut, 2006) for KNOLL.Lounge Chair model 1725A, design 1966.Nickel-plated steel frame and black velvet upholstery.Literature: Charlotte and Peter Fiell. "1000 Chairs" p. 400-401.Unused. In original packaging.Measurements: 78/50 cm (height) x 95 x 70 cm. 83 x 86 x 72 cm (original packaging).Warren Platner is considered one of the most outstanding designers of the 60's with his furniture pieces and his interiors that renewed the vision of the American aesthetics. In his pieces, Platner used the steel wire rod to create the collection of sculptural furniture that is presented here and that would become a design icon. Behind each of his works, there was always a clear architectural concept, as demonstrated in the interior of the Windows on the Word or the restaurant in New York's North Tower.In 1966, Platner designed an innovative concept for the American publishing house Knoll: to create a chair without legs, a rational yet aesthetic design. The Platner chair, the main element of the collection, was conceived to envelop and complement the person sitting in it. The pieces in the Platner collection, which is distributed by Knoll, are made up of hundreds of individual welds, all of which are hand-welded using traditional processes to achieve the delicacy and purity of the piece.Warren Platner studied at Cornell University, graduating in 1941 with a degree in architecture. He worked with legendary architects Raymond Loewy, Eero Saarinen and I. M. Pei before opening his own studio. Notable contributions throughout his career in architecture include the Georg Jensen Design Center and the Windows on the World restaurant at the World Trade Center, both in New York.It was the collection of furniture designed for the Knoll brand that brought Platner worldwide recognition. The collection in question, named after its designer, is an icon of modern furniture. Platner personally formulated production techniques for each chair, which feature more than a hundred steel rods.

Giovanni Francesco Costa (1711-1772), Circle of.An architectural capriccioPen and brown ink with monochrome wash, on thick laid paper without watermark, sheet 194 x 250 mm (7 5/8 x 9 3/4 in), under glass, scattered spotting, minor surface dirt (framed)Provenance:With Peter Claas, London (as Gaspar van Wittel, called Vanvitelli)From whom purchased by the previous owner, June 1963 [for 150 Guineas]Private Collection, UK

An Edwardian mantel clock with striking movement in architectural walut case (no glass door)

A large Architectural carved wooden Lion, rampant, standing on hind legs roaring, space for shield/sign under front paws, height 134cm

A SET OF FOUR BRONZE LANTERNS, of octagonal tapering design. Each 77cm highProvenance: Formerly hung as street lamps on O’Connell Street, Dublin C.1960’s/70’sIn 1937 Dublin Corporation installed a new system of public lighting in the city centre of the capital. One scheme focused on the traffic route while the other was for the pedestrian throughfare. They enlisted the help of a Parisian foundry to carry out the commission. The specific demands of the footpaths required them to be hung from tall doubled armed lamp posts. Dark green in colour, they blended seamlessly into the surroundings while their height allowed for maximum illumination on the dark city streets. The new lights were erected on O’Connell St., D’Olier St., Trinity College, Nassau St., Dame St., and Westmorland St.In the 1970’s the lighting was once again changed by the corporation and these lanterns in the sale represent an important artefact of Dublin’s architectural history.

A SET OF FIVE BRONZE LANTERNS, of octagonal tapering design. 77cm highProvenance: formerly hung as street lamps on O'Connell St Dublin C.1960's/70'SIn 1937 Dublin Corporation installed a new system of public lighting in the city centre of the capital. One scheme focused on the traffic route while the other was for the pedestrian throughfare. They enlisted the help of a Parisian foundry to carry out the commission. The specific demands of the footpaths required them to be hung from tall doubled armed lamp posts. Dark green in colour, they blended seamlessly into the surroundings while their height allowed for maximum illumination on the dark city streets. The new lights were erected on O’Connell St., D’Olier St., Trinity College, Nassau St., Dame St., and Westmorland St.In the 1970’s the lighting was once again changed by the corporation and these lanterns in the sale represent an important artefact of Dublin’s architectural history.

AN IRISH GEORGE II GILTWOOD OVERMANTEL MIRROR, MID-18TH CENTURYthe triple plate within pierced scrolled frame, surmounted by a floral basket above a colonnaded architectural model with floral swags to each side. 79cm high, 144cm wide.Condition Report: Good overall country house conditionOld repairs to the frame Loss to the basket and flowers visible in the catalogue image Other minor losses and cracks in the gilding Mirror plate replaced, some age

AN IRISH 18TH CENTURY MAHOGANY CASED LONGCASE CLOCK, the hood of architectural form with pediment, above glazed hinged door, flanked by fluted columns, containing brass dial signed 'Crosthwaite', above waisted trunk with panelled door and engaged fluted columns to the corners, on panelled base, raised on bracket feet. 225cm highCondition Report: Good presentable condition The hood with replaced glazing and some minor timber splits to the left panel The door is good, no warping Lock plate inside rest or replaced Plinth good condition with old split to side panelWeights present but no pendulum Brass dial good See images for mechanism

Three assorted table lamps with shades. Including a converted oil lamp with ceramic reservoir, H78cm, and one of architectural form, H69cm

A Waterford crystal mantel clock in original box. Of architectural form, with Japanese movement, etched marks, 16cm high

Architectural Salvage - a Victorian cast iron tiled fire surround, 92cm high, 81.5cm wide, cast iron fittings; etc**Please note that some of the lots in this auction are held offsite and others may require specialist lifting equipment therefore please ensure collection arrangements are made prior to making any journey to the saleroom. Many thanks**

A set of four composition architectural caryatids, each modelled as a griffin, 49cm high**Please note that some of the lots in this auction are held offsite and others may require specialist lifting equipment therefore please ensure collection arrangements are made prior to making any journey to the saleroom. Many thanks**

Architectural salvage - a pair of cast metal dragon-form wall mounted lamps, etc. height 64cm width 16cm**Please note that some of the lots in this auction are held offsite and others may require specialist lifting equipment therefore please ensure collection arrangements are made prior to making any journey to the saleroom. Many thanks**

Distressed painted mirror in blue/grey, with pointed architectural top, pair of split pilasters, plinth base, 52cm x 51cm 

A selection of Staffordshire architectural money banks; together with a Staffordshire architectural spill vase; three cow creamers; and others.

Regency mahogany and cut brass inlaid bracket clock, the architectural case with a circular painted dial, Roman numerals and two train fusee movement striking on a bell, 18.25ins high

18th Century leather bound large folio, titled ' Theatre de L'Hermitage de sa Majeste L'imperatrice de Toutes Les Russies St Petersburg 1787 ', complete with original architectural engraving plates, the frontispiece bearing various stamps and inscription, 25.5ins high x 18.5ins wide

An old oak ornamental architectural double panel with scroll decoration, 147cm wide x 84cm highRemoved from part of a larger screen. With marks and very minor damages overall, otherwise good condition.

A mahogany overmantle mirror of architectural form, the frieze centrally decorated with an animal mask and with floral swags to either side above scrolling ornament to each lower corner, 144cm wide x 14cm deep x 90cm high overall Minor marks, dents and scratches due to age and use. Good condition.

A Winterhalder & Hofmeier oak bracket or table clock, the rectangular brass dial with silvered Roman chapter ring, Arabic five minute track with slow/fast and chime on eight bells/chime on four gongs, subsidiary dials to the top corners, matted centre and Rococo spandrels, the triple train chain fusee movement striking on a separate gong with pull repeat. The architectural case with applied foliate carved mounts, silk lined fretwork side doors and brass grill rear door upon an inverted break front plinth base, 43.5cm highDial good with some light staining to the matted centre and tarnishing. Movement fairly dirty, would benefit from a good clean and overhaul. Case veneer lifting slightly on the top. Central finial moulding potentially missing. Could do with a good clean and polish.

AN EDWARDIAN STAINED OAK AND BRASS DINNER GONG AND BEATER, of architectural form, surmounted by fleur de lis brass finial, raised on trestle frame. 114cm high, 76.5cm wide

TWO MANTEL CLOCKS BOTH WITH KEYS AND PENDULUMS, comprising an Art Deco style wooden and chrome cased mantel clock by Smiths of Enfield, height 19cm x width 23cm, a Victorian eight day black slate mantel clock made by Ansonia Clock Co.- New York - USA of architectural form, enamelled chapter ring, Roman numerals flanked by two reeded columns, engraved foliate decoration (2) (Condition report: both appear to be overwound)

A 19th century German architectural beech and walnut wall clock,100 cms high,

ARCHITECTURAL GARDEN MIRRORS, a set of three, 160cm high, 67cm wide, arched aged metal frames with overlaid detail. (3)

ARCHITECTURAL GARDEN MIRRORS, a pair, Gothic style painted metal frames with overlaid detail, 154x60.

Collection of architectural prints to include Wales Cathedral and the Houses of Parliament

An early 20th century Vienna regulator style wall clock, with floral decorated architectural case, 66cm high, together with a walnut cased Elliott mantel clock, 15cm high, and an oak framed 'Patent Rapid Indicating' aneroid barometer, 25cm diameter (3)

Garden statuary: a vintage caved stone architectural Capitol, 56cm diameter x 28cm high, together with a vintage architectural stone column, 22cm wide x 60cm high (2)

Graham M Pentelow (1954-): Parable of The Prodigal Son, A Stained and Leaded Glass Panel, mouthblown glass, 61cm wide 66cm high (excluding ebonised frame)This panel was inspired by the 13th Century stained glass Parable of The Prodigal Son window in the North Transept of Chartres Cathedral, France.Graham Pentelow trained in Architectural Glass at Swansea College of Art 1976-1979, the majority of Graham's work is painted and leaded traditional stained glass. Made using English antique mouthblown glass. Examples of Graham's work may be found at Chesterfield Parish Church, Derbyshire; St Andrew's Church, Kettering and St Mary's Church, Bishopstone, Wiltshire. Graham Pentelow has now retired.

Micro Models cut-out card kits of architectural subject and Micro Model instruction book (24)

Manner of Oswaldo Guayasamin (Ecuadorian, 1919-1999), Unidentified portrait, signed 'Peter G' lower right and a second work in the manner of Paul Emmet Costelloe (British, Contemporary), Architectural interest, unidentified church between two chimneys, work appears unsigned. Both FramedQty: 1

A Victorian slate mantle clock of architectural form, the arched pediment over frieze with Romo-Grecian imagery, above fluted Corinthian columns raised on a stepped square base, the dial with gilt Roman numeral chapter ring framed within egg and dart moulding and glazed bezel, eight day movement striking hammer on a coiled gong, H35cm, W42cm, D17cm

A late 19th century mantel clock in wooden architectural case with painted glass panel of a street scene pendulum present.

λ HAROLD WOOD (BRITISH 1918-2004) SUNSET, BEETHAM, WESTMORELAND Oil on panel Signed and dated 71 (lower right) signed and inscribed to label and dated 10 May 1971 to various labels (verso) 20.5 x 30.7cm (8 x 12 in.) Born in 1918, in Lancashire, Wood studied Drawing and Painting at the Harris School of Art, Preston. In 1935 he trained as a Decorative Artist with 'Leyland Paint Co.' Between1939 and 1946 Harold was in War Service in North Africa, Abyssinia and Europe. After the War he worked in London as an illustrator and model maker. He began painting full time in 1953, doing mainly one-man shows in London where he did various mural commissions. In 1947 he was commissioned to illustrate the life of Abdul Aziz al Saud, the first King of Saudi Arabia, a total of 58 paintings in watercolour, completed in 1977. Captured by the middle east Wood went on to work for the Sultan of Oman producing paintings of his Arabian horses. With a total of 285 paintings to date for the two patrons, Harold became known as 'Painter of the Arab World'. In 1980 Harold came to live in Kinsale, Ireland and later to Ballinhassig. In 1993 he discovered Connemara and, in between the Arabian commissions, fell in love with the mountains and landscape, in contrast to the endless heat and dust of the desert which occupied a great deal of his working life for over 26 years.   Versatile and colourful artist, born in Preston, Lancashire, where he studied part-time at Harris Art School, 1935-9. He claimed to be "self-taught in painting"; however, in the five years to World War II he "learned much technical expertise" while working in the decorative art department at Leyland Paint & Varnish. After over six years' wartime service in the Army, including a period in Germany, Wood worked as an illustrator in London. He learned etching for two terms at the Central School of Arts and Crafts, but otherwise "spent all my spare time in the National Gallery". The early Italian masters, Oskar Kokoschka whom he met in 1954, and the writings of John Berger were key influences. For a time Wood was involved in town planning, architectural drawing and model-making, including work for Lancashire County Council, Peterlee New Town and George Wimpey.      

A MID 19TH CENTURY OAK CASED BRACKET CLOCK. the 7 3/4" dial signed H. Lemmon, Grays Inn Road, London, on a brass eight day twin fusee movement striking the quarters to two bells, the architectural form case carved with crested shields and scrolling floral decorations, with pendulum and key, height 47cm; together with an oak bracket, 20cm x 34cm *Provenance: formerly owned by William Vizard, a 19th century English lawyer known for his role in the 1820 trial of Queen Caroline. * The case with various knocks, staining and small losses, the dial with losses, wear and repairs/alterations, bracket with small losses, untested and not currently working but winds OK and strikes well. **BP 22.5% inc VAT + Lot Fee of £8

Six large architectural plans, "An Assembly Room", drawn by an architecture student, 1952-3, pencil and sepia wash

A Late XIX Century Ormolu Mantle Clock, with inset porcelain panels (one missing and one loose), of architectural form cast with figures and spires between chains, raised on a spreading rectangular base with six feet, the multi-coloured enamels with blue Roman numerals, 50cm high, pendulum present.

Decorative element. Gothic, 14th century.Stone carving.Measurements: 35 x 37 x 16 cm.Carved stone forming organic growths typical of the architectural decoration of the Gothic period, in the manner of intertwined, synthesised climbing plants, surrounding a ribbed section or shaft. It could have come from the cloister of a monastery, but also from a noble room in an important residence.

Gothic fleuron, 14th century.In stone.Measurements: 44 x 40 x 40 cm.On a circular base, this attractive Gothic fleuron has been carved forming four big corollas of fleshy petals arranged around a central tulip. The latter is the one that directed its body towards the floor of the room from the vault on which it rested. The quality of the carving and the type of sculptural design are characteristic of the Gothic period, the period in which this architectural element acquired the greatest prominence. Having appeared at the end of the Romanesque period, or at the beginning of the Gothic period, in the 13th and 14th centuries they were fully developed, forming flowery bodies and foliage radii. In the Renaissance period, they were replaced by prismatic stems.

Catalan or Aragonese school; 13th century.Carved and polychromed wood.It presents important faults in the carving and polychromy.Measurements: 48.2 x 20 x 14 cm.Image of a half-bulk carved in wood, polychromed, representing Mary seated, with the Child on her lap. It follows the Marian model of the "Sede Sapientae", dressed in tunic and mantle, welcoming the Child but without establishing a maternal relationship between them. Parallel folds and v-shaped pleats, typically Romanesque, mark a regular rhythm in the drapery of the cloak, whose golden patterns on the red of the Passion give a luminous substance to the Marian figure. Within Romanesque sculpture we distinguish two categories: that which is inscribed in the architectural framework and that which is free-standing. In the latter category, the iconography is not yet very extensive, since the pantheon of saints is still brief. The most common will be the representation of Christ crucified and, in even greater numbers, the Virgin conceived as the throne of God ("Sedes Sapientiae"), a category to which the carving presented here belongs. In Romanesque art, the Virgin Mary is merely the seat of divinity; she is not presented as the mother of God, so there is no affective relationship between her and the Child. In fact, at this time the Virgin is not yet an important figure in the Church. These Romanesque Virgin Thrones of God were always made in a size of between 50 and 100 cm in height, mainly in carved wood, and in them the Child is always the protagonist, despite the difference in size with his mother. Jesus always appears as we see him here, facing the viewer, and normally in the centre, although here he is slightly off to one side, in a more natural position which indicates a clear formal advance within the Romanesque style. As we have said, there is no affective relationship between Mary and Jesus, but rather they turn their backs to each other and look directly in front of the viewer.

Pantocrator; France, 15th century.Stone.One of the hands is missing.Measurements: 70 x 42 x 23 cm.Delicate stone carving representing the image of Christ as Salvator Mundi. The artist represents the long bust of a bearded Jesus crowned as the prince of Christianity. The figure is inscribed in a radiated mandorla, representing the rays of glory that emerge from Christ's body, thus evidencing his holiness. As for the gesture of Jesus, it is evident to mention that the lack of the hand probably shows the gesture of blessing, while with the other one we can see how he holds the orb that represents his dominion over humanity. As for the carving, the finesse in the finishes typical of the French school is evident, in addition to the folds of the tunic, the detail of the ornamental collar, the crown and the work of the trepano of the beard, show us the mastery of the sculptor. The back of the piece has a smooth finish, which indicates that it is a decorative sculptural element that was probably part of a large architectural complex.The representation of 'Salvator Mundi' is an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge at the Last Judgement and his character as Redeemer. It is characterised by Christ raising his right hand in blessing, while holding with his left hand an orb symbolising the universe, crowned by a cross, emphasising the universal nature of Christian doctrine and Christ's redemptive act. As we can see here, the most common in this iconography is for Christ to appear half-length in a strictly frontal position, reflecting the traditional hieratic nature of this theme of Byzantine heritage.

A VINTAGE BIRDCAGE early 20th century, of architectural form, 75cm high x 74cm wide x 45cm deepProvenance: The Richard Pratley Collection of English Furniture, Naïve and Folk Art.