AN ARCHITECTURAL MODEL OF FLAXLEY ABBEY, GLOUCESTERSHIRE 20TH CENTURYBY OLIVER MESSELShowing the principle elevations and immediate grounds Mounted on a pine board 79cm wide, 52cm deep Provenance:Made by Oliver Messel for Frederick and Phyllis Watkins Oliver Messel initiated and was almost unique in his technique of scale model making to instruct set builders. These would work less like an accurate architectural plan but more as an object to express colour and atmosphere of the proposed set deigns to his clients and the craftsmen who would eventually be tasked with making them. With such an exacting eye, many craftsmen were at first scared to work with Messel, often being asked to re-create details and sometimes entire sets multiple times until he felt that they captured his vision.The present lot is a Model of Flaxley Abbey made by Messel in 1960. He was firstly commissioned to remodel the Morning Room and Dining Room however this commission and his mantra of romanticism would eventually expand throughout the entire house and gardens. It was a project which he would come back to multiples times from 1960 until his death in 1973. The detailed model was built particularly to depict the, then proposed, new Regency-style connecting wing between the main house and the orangery as well as his, now lost, design for the water gardens inspired by the gardens of Catherina Boevey and that of the Westbury Court Dutch gardens nearby. Other recognisable models of interior design projects Messel undertook include his design for Rayne shoe shop, Maddox and the Dorchester. Upon Messel's death his estate past to his nephew Anthony Armstrong-Jones, Earl of Snowdon and the contents of his studio were moved to the Kensington Palace stables. Upon the instigation of Princess Margaret and Lord Snowdon, the majority of his theatrical and interior design models are now stored at the Victoria and Albert Museum.Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Looks to have been constructed on a laminate base with plaster or composition foundation. The model has never been covered and therefore exposed to atmosphere and is dirty with dust, bird mess etc. The foundation has reacted to damp and heat and lifted and buckled resulting in tears and losses to covering. Sunlight has bleached back colours overall and caused decorative elements (detailing, paper and laminates) to dry up and detach resulting in loss throughout.As with any house- will greatly benefit from conservation, preservation and restoration throughoutPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
We found 35023 price guide item(s) matching your search
There are 35023 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
35023 item(s)/page
ONE BOX OF EARLY EPHEMERA to include The Practical Exemplar of Architecture Third Series by Mervyn E Macarthy - measured drawings and photographs of examples of architectural details, with around one hundred architectural plates in an olive green portfolio kept closed with black ribbons (Wear to front cover and edges of pages), a November 1941 group photo of RAF School
TWO MANTEL CLOCKS, comprising a Victorian black slate and marble mantel clock, the case of architectural form with gilt details, the black dial having gilt Roman numerals, and brocot escapement, personalised plaque on front of base reading 'Presented to F S Marsh by the managing director, officials and employees, of the Birch Coppice Colliery on the occasion of his marriage August 25th 1885', height 49cm x width 34cm x depth 15.5cm, with pendulum and key, together with an Edwardian inlaid domed top mantle clock, the white dial having black Arabic numerals and painted with floral garlands (some cracking), height 26cm x width 18cm x depth 12cm, with pendulum and key (2 + 1 envelope) (Condition report: both mechanisms may need some work, running intermittently and chiming, the slate clock strikes the hour on the half hour and vice versa, some chips to slate and veneer, marble columns and some slate parts have moved)
A Victorian carved oak barometer, having an architectural pediment with central urn form finial over a dentil moulded frieze and two Ionic fluted columns, enclosing the thermometer scale, the lower section with circular barometer dial marked J Lizars Optician Glasgow, within foliate carved spandrels withacanthus carved base section below 101CM.
Erik Nitsche (Swiss, 1908 - 1998) "Amoreiras Towers in Portugal" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Portugal Europa 1987 Modern Art - Architecture stamp issued May 5, 1987. From mountain rivers rushing toward the Atlantic coast in northern Portugal ... to lush vineyards and cork groves flourishing among the mountain valleys, there is a balance between the various elements of Portugal's landscape and its architectural legacy. Just as the traditional architecture is in harmony with the natural landscape of Portugal, the modern architecture is in keeping with the busy cities of contemporary times. This artwork features the Amoreiras Towers (Torres das Amoreiras). Located in the capitol city of Lisbon, the building is made up of housing, offices and a shopping mall. The architect of the "Torres das Amoreiras" is Tom?s Taveria. Born in Lisbon, Taveira taught architecture at the University of Lisbon and practiced architecture in Portugal, South Arabia, Arab Emirates, Macao, Angola, and Cabo Verde. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10983)
KAMINGARNITUR IM LOUIS XVI-STIL Paris, E. Vittoz, 1870-1890, teilw. feuervergoldete Bronze mit feiner Ziselierung, architektonisches Gehäuse, Bronzedarstellung von Amor und Psyche in dunkelbrauner Patinierung, Sockel mit Alabastereinlage und -füßen, weißes Emailzifferblatt mit schwarzen, arabischen sowie römischen Ziffern, ausgesägten Louis XV.-Zeigern und sign. "VITTOZ A PARIS" Pariser Werk mit 1/2 Stundenschlag auf Glocke, Girandolen mit Putto auf zylindrischem Postament mit Marmorsockel auf stilisierten Füssen, Pendule, HxB: 35/55 cm., Girandole, H: 45 cm. Altersspuren, Lunetteglas fehlt, Marmor teilw. best., ein Fuß eines Kerzenständers fehlt, Werk zu revidieren. | LOUIS XVI STYLE CASKET SETParis, E. Vittoz, 1870-1890, partly fire-gilt bronze with fine chasing, architectural case, bronze depiction of Cupid and Psyche in dark brown patina, base with alabaster inlay and feet, white enamel dial with black, Arabic and Roman numerals, sawn-out Louis XV. hands and sign. "VITTOZ A PARIS" Parisian movement with 1/2 hour strike on bell, girandoles with putto on cylindrical pedestal with marble base on stylised feet, pendulum, hxw: 35/55 cm., girandole, h: 45 cm. Signs of age, Lunette glass missing, marble partly damaged, work to be revised, one foot of one of the candlesticks is missing
A George III Figured Mahogany Gentleman's Wardrobe, with architectural and fretted cornice, dentil frieze under, fitted one slide and hanging rail, enclosed by pair of fielded panelled doors, the base fitted two short and three long graduated drawers, on ogee bracket feet, 50ins wide x 25ins deep x 93ins high
THREE BELIEVED SWANSEA EARTHENWARE SILVER LUSTRE ITEMS comprising half-moon bulb pot of architectural form on three bun-feet, lustre decorated all over including three arched panels of grapes, 21cms wide, the two jugs with floral / foliate decorationComments: bulb put with chips and cracks, jugs with cracks and stress lines to baseProvenance: private collection Swansea
A PINK SANDSTONE ARCHITECTURAL CORNER ELEMENT WITH TWO MANIFESTATIONS OF SHIVA, CHANDELLA PERIODNorthern India, Rajasthan, mid-11th century. The corner piece carved with two figures, each a different form of Shiva. The figure on the left resembling Bhairava, holding a head of Brahma in his left hand, a twisted serpent writhing around his neck, the headdress formed from sinuous snakes, the face with an unusually serene expression. The figure on the right resembling Shiva in his pure Mahadeva (great god) form, elegantly dressed, the hair arranged in a chignon secured by a crown, with pearls and flowers around his forehead.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72.5 cmEach figure stands in tribhanga, the relaxed triple-angled pose adopted by gods as they attend to their devotees. They have round faces, the god resembling Bhairava frowns slightly, but his Mahadeva-like companion looks benignly, confidently downwards. Both faces are stylized, but not in the exaggerated way that one sees increasingly towards the end of the 11th century. The sculpture is fashioned in pink sandstone which suggests that it comes from the western part of the Chandella kingdom, probably the southern region of Rajasthan.The fine, smooth texture of this specific pink sandstone made it the ideal raw material, both for architectural purposes and detailed sculptural work.The present sculpture is an architectural cornerstone element that would have been placed high on the wall of a Shaivite temple, so the devotees looked up at it. Consequently, the two gods look down as they encounter the visitor. The narrow ledge on which they stand is emphasized by the position of their feet, only just able to rest securely. Likewise, as they are sculpted in high relief, they seem to press their hips against the backing block. This of course was shaped to form part of the temple wall.Various stylistic elements indicate that the sculpture dates from the 11th century. The long straight legs and slender body of each figure are indicative of this date and well illustrate the elegance of the mature Chandella style. In the 10th century, both male and female figures tend to appear shorter and plumper.In northern India during the 8th to 13th centuries, numerous princely states coexisted. This was a period marked by warfare, rivalries and political alliances, taking place against a backdrop of an elegant courtly culture. Regardless of their status amongst their peers, the various rulers aimed to emulate the atmosphere of the 4th - 6th century Gupta Empire, which had been a time of literary and artistic achievement.The Chandella dynasty became a great power in northern India in the 10th century. Thereafter successive rulers built magnificent temples at Khajuraho and elsewhere in their realm, to commemorate their military victories. As their influence expanded, their exquisite architectural style became admired across much of northern India, as indeed, it is now around the world. Chandella kings commissioned some of the finest temples in northern India. The best known of these today are in Khajuraho, Madhya Pradesh, now a village but once the Chandella capital. Other temples, no longer standing, were located throughout their realm.Expert's note: For a detailed commentary on the present lot, elaborating on the meaning of the stupa vedika and showing many further comparisons to examples in both public and private collections, please refer to the department to receive a PDF copy of this academic dossier, please refer to the department.Auction result comparison: Type: Related Auction: Christie's New York, 27 March 2003, lot 34 Price: USD 71,700 or approx. EUR 113,000 converted and adjusted for inflation at the time of writing Description: A buff sandstone stele of Shiva and Parvati, India, Uttar Pradesh or Rajasthan, 11th century Expert remark: Note the size (80.5 cm)Auction result comparison: Type: Related Auction: Christie's Mumbai, 18 December 2016, lot 63 Price: INR 1,500,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A pink sandstone figure of Shiva, India, Rajasthan or Madhya Pradesh, circa 12th centuryExpert remark: Note the size (66 cm)13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
A PINK SANDSTONE GOPURAM FRAGMENT, INDIA, 11TH - 12TH CENTURYThe architectural fragment most likely comes from a temple entrance gate (Gopuram). It shows a central three-headed deity seated in dhyanasana on a stepped base, originally with four arms, holding in one hand prayer beads and in another a mace, adorned with beaded jewelry and sacred thread, the face with a fine expression marked by almond-shaped eyes, gently arched brows, and a subtle smile. The deity is surrounded by smaller figures of attendants and worshippers, as well as a fierce yali to his right.Provenance: From the personal collection of Mohamed Makiya and thence by descent. Mohamed Makiya (1914-2015) was an architect noted for establishing Iraq's first department of architecture at the University of Baghdad. He is best known for his extension to the Khulafa Mosque in Baghdad. In the early 1970s, Makiya and his family relocated to London where he established the Kufa Gallery for Islamic and Arab art. In 2016, Iraq honored Mohamed Makiya with a 1,000 Dinar postage stamp.Condition: Good condition, fully commensurate with age. Extensive wear, losses, signs of weathering and erosion, few structural cracks.Weight: 8,381 g (incl. stand)Dimensions: Height 38 cm (excl. stand) and 41.5 cm (incl. stand)Mounted on an associated metal stand. (2)
Virgilius Maro (Publius) Codex antiquissimus a Rufio Turcio Aproniano V.C. distinctus et emendatus qui nunc Florentiae in Bibliotheca Mediceo-Laurentiana..., additional engraved architectural title, half-title, printed in red & black capital letters, engraved title vignette portrait, head- & tail-pieces and initial, half-title lightly marked, small and neat hole repairs to pp.457-459, with final page (blank recto) laid down to endpaper, contemporary calf, ruled in bright gilt, joints rubbed with lower joint cracked but holding firm, one or two scuff marks, still an excellent copy overall, 4to, Florence, Manni, 1741.⁂ Type-facsimile of the 4th century Virgil manuscript in the Bibliotheca Laurenziana, edited by P.F.Foggini, later librarian of the Vatican Library. The edition, printed by Manni in Florence, was printed with types imitating the uncial script of the original, in red and black. By combining different sizes of types, the printer was also able to include the annotations and emendations of Asterius and Laetus. "A curious piece of Italian typography, very characteristic of the eighteenth century." Updike, Printing Types I p.171.
*** Please note, the description of this lot has changed ***Hardyng (John) The chronicle of Ihon Hardyng, from the firste begynnyng of Englande, vnto the reigne of kyng Edward the fourth wher he made an end of his chronicle, 2 parts in 1, black letter, title to part 2 within woodcut architectural border, woodcut decorative initials, some criblé, final verso with woodcut printer's device (with early ink inscriptions around it), contemporary ink note to lower margin of G6v, lacking title to part 1 (supplied in good facsimile), Oo4 torn and repaired, with loss of text, a few ff. with marginal repairs, occasionally affecting the odd letter, some staining / water-staining and spotting, lightly browned, 19th century ornately blind-stamped calf over boards, rebacked in 20th century calf in compartments with red morocco label, corners worn, covers rubbed, g.e., [STC 12767], 8vo, Richard Grafton, January, 1543.⁂ Grafton appended a continuation in prose taken from work by Sir Thomas More and Polydore Vergil to cover English history between 1461 and 1509. There is another edition with the same date (cf. STC 12766.7).Provenance: 'Quaritch 1930 £57-10-0' (pencil note to front free endpaper).
Bible, English.- The Bible. That is the Holy Scriptures conteined in the Olde and Newe Testament, titles with woodcut illustration, general title with first two words of title within woodcut entablature, woodcut initials and numerous illustrations in text, double page woodcut plan depicting the temple at Jerusalem, double-page woodcut map of the Holy Land, general title mounted on stub with some restoration to inner margin, [Herbert 144, STC 2118], Christopher Barker, 1576 bound with The Whole Booke of Psalmes, collected into englishe by Thomas Sternh, title within architectural woodcut border, musical notation, final f. creased, [STC 2446], John Day, 1576 together 2 works in 1 vol., double column, ruled in red, the odd chip or tear to margin, occasionally straying into text but without significant loss, occasional light foxing or soiling, ink family notes to endpapers dating from the early 18th century, later morocco, gilt, fillet and roll borders, central decoration with ornamental thistles, neatly and sympathetically rebacked, retaining original backstrip, some rubbing, g.e., folio.⁂ A very good, complete copy of an early folio edition of the Geneva Bible, either the first or second to be printed in England.
Hitler (Adolf).- Busch (Wilhelm) Samtliche Werke, vol. 1 only, signed presentation inscription from Hitler to Gerdy Troost dated 13th September 1944 to sheet laid onto endpaper, illustrations, copy of letter from Troost tipped in at rear, photograph showing Troost with Hitler loosely inserted, original calf, rubbed, t.e.g., 8vo, Munich, 1943.⁂ Inscribed to the architect and interior designer Gerdy Troost (1904-2003). Troost became acquainted with Hitler through her husband and joined the Nazi Party in 1932. Troost was an architectural and design consultant to the Fuhrer, and was allegedly one of the very few people who was permitted to openly disagree with Hitler without fear of arrest or reprisal. In her note she states that she was gifted the book as a parting gift by Hitler.
Dickes (William, English illustrator, engraver, printmaker and lithographer, 1815-1892), and others. Five sketchbooks with landscapes, figural and animal studies, and drawings after other designs, with over 160 album leaves including drawings after Fuseli and his contemporaries, studies of birds, small animals, landscapes of Windsor Castle, Brighton, Dover, Sevenoaks and elsewhere, some pages of text description and general notes, architectural and maritime studies, pencil, watercolours, inks, numerous inscriptions, dates and monograms throughout, various sizes but each album leaf approx. 130 x 180 mm (5 1/8 x 7 1/8 in), scattered surface dirt throughout, original boards, some marbled covers, worn, oblong 8vo, [circa 1830-1888] (5)
Metalwork.- Welldon (W. and J.) The Smith's Right Hand, or A Complete Guide to the Various Branches of all Sorts of Iron Work, 3 parts in 1, each part with separate title, 55 engraved plates, part 1 title with small repaired loss to upper corner, not affecting text, for Henry Webley, 1765, bound with Designs for Gates. Ornamental Iron Work, or Designs in the Present Taste, engraved title and 18 plates only (of 20), for J. & J. Taylor, at the Architectural Library, [c.1773], bound with Middleton (Charles) Designs for Gates and Rails suitable to Parks, Pleasure Grounds, Balconys &c, engraved title and 26 plates, 12pp. publisher's catalogue at end, J. Taylor, at the Architectural Library, [c.1800], together 3 works in 1 vol., various ink ownership inscriptions of "Messrs Gibson & Walker Iron founders Walmgate York" throughout, occasional blind stamp of Walker Iron Foundry, some plates trimmed at head and fore-edge, occasionally just within platemark with loss to imprint, some light spotting or finger-soiling, a few leaves browned, later black roan, "Ancient Wrought Iron Work. W.Walker. Victoria Foundry York" stamped in gilt to upper cover, rubbed, small loss to spine ends, 8vo.
A JAIN WHITE MARBLE BUST OF THE CHILD KRISHNA, 14TH-15TH CENTURYIndia, Rajasthan. Well carved, the face with large almond-shaped eyes below thick arched brows, full lips forming a subtle smile, the hair tied in a simple bun on top of the head and flanked by two ears suspending heavy circular earrings.Provenance: Doris Wiener, New York, USA. A private collection in New York, acquired from the above. The stand with an old label of the Doris Wiener Gallery with inventory number 'R521-4'.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, a minor structural crack at the shoulder, losses and dents.Weight: 3,478 g (incl. stand) Dimensions: Height 26.3 cm (incl. stand), 18.6 cm (excl. stand)Mounted on an associated wood base.Jainism flourished in Western India between the 10th and 12th centuries, with many temples commissioned under the Solanki and Later Pratihara dynasties. The apex of craftsmanship is embodied in the most famous Dilwara temples, five buildings constructed between the 11th and 16th centuries, famous for their masterful, intricate carvings of white marble on Mount Abu itself. The present white marble bust is carved in a particular style found only in a small number of Rajasthani temples, including Dilwara.The account of infant Krishna, rescued from his uncle after a prophecy of his death, tells how he was secretly sent away and raised in the village of Gokula as a cowherd. According to the legend, Krishna delighted in the indulgence of milk and would stealthily try to steel butterballs, or navanita. Upon his triumph, he would dance joyfully and gleefully at his prize.Literature comparison: Compare two related architectural marble sculptures, also attributed to Rajasthan, dated 13th-14th century and circa 1450, respectively, in the Los Angeles County Museum of Art, accession numbers M.71.73.132 and M.80.62. Note the similar manner of carving to the faces with large almond-shaped eyes and thick arched brows, as well as the heavy circular earrings.Auction result comparison:Type: RelatedAuction: Christie's New York, 19 March 2014, lot 1087Price: USD 11,875 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A black marble figure of Krishna Venugopala, India, Gujarat, circa 15th centuryExpert remark: Compare the related manner of carving with similar facial features, hair, and earrings. Note the size of the full figure (66 cm).
A SANDSTONE FIGURE OF A DVARAPALA, KOH KER STYLE, ANGKOR PERIODKhmer Empire, early 10th century. Superbly carved, standing in a wide-legged dancing stance, his back slightly arched and his legs strong and taut. His chest is full, his right shoulder is slightly raised and in keeping with the preferred style of the period, he is stoutly built with a rounded stomach. The position of the upper arms suggests that his hands were placed in namaskara mudra (respectfully greeting) in front of his body and the disc shape on the chest marks an area originally covered by the two thumbs. His head is tilted slightly to the left side, his expression is serene and distinctly confident, given further emphasis by his full lips and broad smile, the hair drawn into a conical chignon secured with a foliate tiara.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, some nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72 cm (excl. stand) and 78 cm (incl. stand)The dvarapala wears a short garment with a curving upper edge that adds emphasis to the massive strength of his body. The fine pleats and delicate curve at the edge of the fabric seem to defy the nature of the stone. A long scarf falls between the legs and would originally have extended to the ankles. Its sway further indicates the sense of movement contained within the figure.Mounted on an associated metal stand. (2)A dvarapala is a temple guardian. In India, where the concept originated, two giant figures, sculpted in high relief, are often found flanking the principal temple entrance. One is formidable, to scare away those of ill intent while the other is seductively handsome, in order to lure the faithful past the portal. In Cambodia the form evolved separately because the temples were built to different plans. There, a succession of courtyards contained secondary buildings and the principal one was only accessible to a limited number of ritual participants. In the 10th century dvarapala were freestanding statues, still sculpted in pairs but resting within the precinct. Although they observed approaching visitors, their essential role was that of bodyguards, protecting the deity lodged within the temple.This latter role appears to have become increasingly dominant in the Koh Ker period when the supremacy of the kings of Angkor was challenged by a powerful royal claimant who established another court to the north of the Kulen mountains, from where he imposed martial rule on much of the kingdom. The achievement of this alternative court is reflected in some of the finest works of art to emanate from Cambodia during the Angkor period. The sculptures are notable for their spontaneous appearance, strong personalities and sense of inner, spiritual energy. Even when the subject is not a recognizable deity, the suggestion of individual personality is always present. This image of a dvarapala exemplifies the style of the period, full of confident swagger but maintaining a deeply serious purpose in his guardian role.Benign dvarapalas can often be found flanking doorways or protruding from corner brackets, while apsaras are ubiquitous to the temples of Angkor. Dvarapalas became integral to temple sculpture in India as early as the 5th century and appear in Cambodia in the earliest of the Angkor Empire's temples, the Roulos group, constructed around the turn of the 10th century. The Shaivite temples at Koh Ker are similar to these in their iconographical programs and architectural structures.Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form.Expert's note: For a detailed commentary on the present lot, elaborating on the history and architecture of the Khmer Empire, the Koh Ker style, and the sculpture itself and showing many further comparisons to examples in both public and private collections, please see the lot description on www.zacke.at. To receive a PDF of this academic dossier, please refer to the department.Literature comparison: Compare two closely related larger Koh Ker sandstone figures, 236 cm and 234 cm high, in the collection of the National Museum of Cambodia, inventory numbers NMC.149 and NMC.150. Compare a related Koh Ker sandstone figure of a female dancing deity in the Musee Guimet, illustrated by Helen Jessup and Thierry Zephir in Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Paris, 1997, cat. no. 43.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2009, lot 1428 Price: USD 146,500 or approx. EUR 198,000 converted and adjusted for inflation at the time of writing Description: A monumental gray sandstone figure of a Dvarapala, Khmer, Koh Ker Style, 10th century Expert remark: Note the significantly larger size (129.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A WILLIAM IV EGYPTIAN REVIVAL MAHOGANY BRACKET CLOCK the 19.5cm silvered dial with seconds dial inscribed 'Widenham London', the triple fusee movement striking on eight bells, the back plate also inscribed 'Widenham London', in an architectural mahogany case with brass string inlay and sphinx finial, 58cm high
An impressive white-painted and carved composition Baroque console table and wall mirror with a profusion of winged putto and florid leafy scrollwork. The table with a shaped serpentine faux marble top and seated on a concave architectural moulded foot. 93 cm wide x 38 cm deep (the table) 79 cm wide x 108 cm high (the mirror)
A George III and later rectangular mahogany silver table, possibly Irish, with a pseudo-Oriental pierced gallery above a cross-grain veneered frieze; supported by hipped square tapering legs with architectural block feet.78 cm wide x 53 cm deep x 72 cm overall height.The top has a crack and some damage to the later corner brackets.I am unsure if this gallery is totally original as the timber differs slightly from end-to-side sectionsBasically late 18th century with later replacements
A pair of decorative Edwardian architectural three-panel mahogany and parcel gilt library doors fitted six heavy-duty brass "Bank" ball bearing (?) hinges. 219 cm overall height x 56 cm overall width per door x 4.5 cm thickness.The doors are in good structural order and currently have a mortice catch but could be fitted with a mortice lock probably expanding on the housing that the catch currently occupiesThe doors have no sapwood and no signs of insect damage
Eugene Atget (French, 1857-1927). Group of 31 architectural photographs of Paris and France. Many heavily annotated in French along the verso in ink.(Matted) Unframed; height ranges from 7 in to 9 in; width ranges from 7 in to 9 in. Matted; height ranges from 14 in to 18 in; width ranges from 14 in to 18 in. (Un-matted) height ranges from 9 in to 11 1/2 in; width ranges from 8 1/4 in to 11 1/2 in.
Mary Martin (British, 1907-1969)Opposition signed, titled and dated 'Mary Martin '56/'Opposition'' (verso)oil with plaster relief and gouache on panel61 x 122.1 cm. (24 x 48 in.)(unframed)Footnotes:ProvenanceThe Artist, from whom acquired by John Weeks, 1962, thence by descent to the present ownerPrivate Collection, U.K.Mary Martin was an innovative Constructivist artist, part of an avant-garde group which included Victor Pasmore, Robert Adams, Adrian Heath, Anthony Hill and her husband Kenneth Martin, who she had met while studying at the Royal College of Art. Martin explored the possibilities of making constructed abstract art, often using the medium of the relief and three-dimensional shapes to do this, starting from the late 1940s and early 1950s. She is best known for her complex reliefs which used square and rectangular shapes organised in different permutations and often to dazzling effect, exploring the many combinations she could create from the repetition of one simple element, which later centred around the cube. As she herself wrote in 1957, 'the end is always to achieve simplicity'. Mary and Kenneth had two children, John and Paul, born in 1944 and 1946 respectively, and caring for their sons limited the output of Mary's work at this time. In the late 1940s her work was still quite representational and richly coloured, including Still Life with Fruit from 1948 (Private Collection), which glows with orange and yellow tones. Her first abstract work was made shortly after, and she moved quickly to a palette of mostly grey, white and black, using almost no colour at all between 1949 and 1956. Opposition, painted in 1956, is an extremely rare work by Martin. Not only is the medium very experimental – oil with plaster relief and gouache – but it shows an unexpected foray into colour too. In 1957 she commented: 'At first, in an abstract work, colour is eliminated or severely restricted in order to free it from association. Once that has been achieved and colour becomes free, one can again use as wide a range as the form demands.' (M. Martin, 'The End is Always to Achieve Simplicity', 1957, quoted in A. Grieve, Constructed Abstract Art in England After the Second World War: A Neglected Avant-Garde, Yale University Press, New Haven, 2005, p.92). In 1956 she began to experiment with colour more fully, which we can see in the present work. This makes Opposition all the more refreshing and shows an increasing confidence in this new mode of working. White still forms the basis for the work, but is joined by black, pink, red, green, brown, turquoise and pale blue. Not only does Martin's use of colour mark this work as very significant, but the medium is a departure from many of the materials she was using at that time too. Previously her constructed reliefs used mostly plywood, Perspex and stainless steel cut into square or rectangular shapes, so the shift to painting as well as soft, modelled plaster and curving lines shows a facet of her working practice that is very little-known. Opposition is therefore an unusual but important work, perhaps even unique in its medium and use of colour for this date, using a complex palette, painting and curved forms when most of her work of this time was characterised by hard-edged geometry, a slim range of colours and materials which could be cut or cast.The present lot was acquired directly from the artist by the architect John Weeks in 1962, whom Martin collaborated with on a number of occasions, including on a pavilion at the seminal This is Tomorrow exhibition in 1956 at the Whitechapel Gallery in London. The exhibition evolved from an initial idea from architect and writer Theo Crosby for an exhibition involving architects, artists, designers and theorists and was a collaboration with members of the Independent Group. The thirty-eight participants formed twelve groups, which worked towards producing one artwork, and the result was a series of interactive installations, with Mary Martin, Kenneth Martin and John Weeks forming group 9. Mary Martin also collaborated with Weeks in 1957 for a relief for Musgrave Park Hospital, Belfast. She used similar proportions for the work, titled The Waterfall, as Weeks and his partner Richard Llewelyn Davies used in the design of the hospital, also incorporating materials used in the construction of the building – including warm grey brick, white painted cement and satin-finished stainless steel. In thanks for this commission, the artist gave Weeks a relief from 1954, White Relief with Black. Weeks and Martin shared many things, not just a common aesthetic, but also a concern for art and architecture that had a social relevance, with Weeks devoting much of his architectural practice to hospitals.With unique provenance and extremely rare in its use of materials and colour, Opposition presents a fascinating insight into Martin's working practice in the mid-1950s, when she was an active member of the nearly all-male Constructivist movement. An avant-garde artist but also a working mother, not only are pieces from this period scarce but it is even more unusual to find one in this experimental style. It is an honour to present this very special work to the market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Altarpiece. Renaissance. Italy, first half of the 16th century."Nativity".Carved, polychromed and gilded wood.Polychrome back.Good state of conservation, except for two frontal cracks.Measurements: 115 x 74 x 12 cm.Renaissance altarpiece in carved, polychromed and gilded wood. The back part also showed a scene, as can be seen by the remains of the polychromy. Renaissance artists of a certain prestige were commissioned to make an altarpiece at some point in their lives, whether it was an altarpiece or a chapel altarpiece. Here we have an altarpiece of architectural form, with the Nativity theme presiding over the front. Two pilasters frame the scene and the structure is crowned, above the entablature, by a circular tympanum that contains the figure of Christ blessing, mayestàtic, an iconography inherited from the medieval period. The Manger scene combines bas-relief and high-relief in order to represent different levels of depth that place the figures of Joseph and Mary, as well as the archangel Gabriel, around the newborn baby. An ox and a donkey poke their heads out of the stable. The town of Bethlehem and the mountainous terrain have also been carved with painstaking attention to detail, echoing Renaissance concerns for giving depth and atmosphere to the space. The carving is of high quality, as can be seen in the finish of the female figure, the Virgin, with her soft features and turned hands. Except for the flesh tones and some details of the landscape, the rest of the scene features gilded wood, as well as the vegetal work on the pilasters and the coping. The ornamentation is also characteristic of the Renaissance period, freely combining elements of Greco-Roman origin. Rockery motifs and foliated fretwork complete the decoration. Designed to be placed behind or above the altars of churches, altarpieces could consist of painted panels, sculptures or both. They were intended to astound the congregation with striking images from biblical history. Those consisting of folding panels were kept closed for most of the year and were only fully revealed on special occasions such as Easter and Christmas.
A MODEL OF A 'PENDULOUS' OSCILLATING STEAM ENGINE, ENGLISH, EARLY 20TH CENTURY,the twin heavy architectural A-frames supporting the overhead crankshaft with centrally-mounted 6-spoke flywheel, a wheel valve controls steam inlet to the single oscillating vertical cylinder, all finished in green and brightwork and bolted to cast bedplate on wood plinth, the model 10in x 6 1/2in x 8in (25.5cm x 16cm x 20cm)cased 13in x 11 1/2in x 12in (33cm x 29cm x 30.5cm) For further information on this lot please visit Bonhams.com
Attributed to Charles George Hood Kinnear (1830-1894) Album of salt prints from calotype negatives, c.1846-8 containing 120 photographic salt prints from calotype negatives, pasted onto rectos only of thick paper leaves, photograph dimensions mainly approx. 15.5 x 11.5cm or similar (leaf dimensions 27 x 22cm), many with bevelled corners, a few arch-topped or in octagonal, oval or circular form, with pencilled captions, dates and foliation, prints towards rear within brown ink frames, the album retaining two initial blanks, one with partial list of subjects, one with ownership inscription reading in part 'Letham Grange, Arbroath, the photographs comprising: 32 portraits of sitters of various social classes, including 'a poacher', 'a smith', various other tradesmen or farmhands (e.g. a man seated with horse tack, a man holding a trowel, and a man holding a log and axe), and smartly-dressed figures, several named, including 'R. Rutherford', 'Dr Burt, 'Capt Maitland R.N.', 'J. G. Murray' (this figure holding a shotgun), Robert Murray (2 portraits), 'An A.R.S.A.' (identified in list at front as J[ohn] C[rawford] Brown [Scottish painter, 1805-1867]), a young woman in a patterned dress (2 portraits), a young boy with a riding crop, a boy seen through a gate in a garden wall, and a man in top-hat posing in stone Gibbs-surround doorway; studies including a still life of game; 2 smaller prints on one mount, respectively titled 'Lacock Abbey, Wilts, from a Talbotype;' and 'Shakespeare's house from a Talbotype'; 14 prints not from life (i.e. from prints or paintings); and numerous views of Kinloch House and its grounds and outbuildings, Collessie (village in Fife), Kames House (Berwickshire), Cunnoquhie House, Falkland Palace, Inchrye Abbey, and Edinburgh (Scott Monument, St George's Church, St John's Chapel, High School, Pitt statue, gaol, and similar); together with 4 photogenic drawings of tree-leaves or grasses (these not from negatives, and in addition to the 120 mentioned). Contemporary fine-diaper cloth album, gilt-lettered 'Calotypes' on front cover, rebacked and recornered, endpapers renewed with bookplate (containing arms of the Kinnear family) reimposed to front pastedown, a few mounts stained from adhesive, a few prints with pencilled embellishments in some cases adding architectural detail, final 11 leaves detached but remaining conjugate, lacunae in foliation indicating a few leaves excised.The album is sold with an extensive collection of related material, including:1. 4 additional photograph albums:a & b) Two albums respectively containing 60 and 25 albumen prints mainly of architecture in Scotland and Northumberland, 1890 & 1892, all approx. 15 x 20cm, mounted rectos only on stiff card, and including Drygrange House and Compstone House, both designed by Kinnear's architectural firm Peddie & Kinnear (with captions to that effect, i.e. 'Drygrange House - C.G.H.K. fecit'; 'Compstone House, Kirkcudbright, C.G.H.K. fecit'), and a few family portraits and non-architectural views, pencilled captions to mounts (in a similar hand to those in the calotype album);c) Album of 52 albumen prints, 1887, including Oxford colleges, Scottish houses including Drygrange (see above), jubilee celebrations at Kinloch, a portrait Wellwood Herries Maxwell of Munches House (Liberal politician, 1817-1900; Kinnear's wife was Jessie Jane Maxwell), outdoor scenes including three figures on a wooded path (one figure identified in a later hand as 'C. M. K.', i.e. Kinnear's son Charles Maxwell), and similar, all approx. 15 x 20cm or slightly smaller, pencilled captions throughout (in a similar hand to the preceding items);d) Album of approx. 60 silver gelatin prints, c.1902, mainly Scottish views and family scenes, including the Maxwell family at Munches House, puffins on Handa Island, etc.2) Album of architectural sketches, signed and dated C. G. H. Kinnear, Genoa, 1854, approx. 30 leaves + blanks, annotated pencil sketches on rectos and versos, including studies of architectural detail (tracery, mouldings, doorways, elevations, etc.) in both Genoa and Pisa;3) Charles George Hood Kinnear's diploma of election as associate of the Royal Scottish Academy, 1893, lithographic document on vellum, signed by Queen Victoria ('Victoria R');4) A large volume of Kinnear family documents and letters, 18th-20th century, approx. 200 in total, including letters from Charles's brother John Boyd Kinnear (1828-1920), Liberal politician, letter to John Boyd Kinnear from John Bright, various deeds (including sasines, on vellum), bonds, contracts, inventories, album of 15 watercolour views in France and Ireland, 1920s, scrap albums belonging to Elizabeth Anne Kinnear including a menu inscribed by ornithologist Peter Scott (1909-1989), and similarNote: Note:A highly important and newly discovered album by a pioneer of photography, dating from within a few years of Fox Talbot's invention of the calotype method and its introduction to Scotland in 1841 by Sir David Brewster.Charles George Hood Kinnear was born in 1830 at Kinloch House, near Collessie, Fife, into a wealthy banking family. In 1849 he was articled to Edinburgh architects William Burn and David Bryce. It is suggested in the Dictionary of Scottish Architects that he may have learnt photography from Bryce, though the dates in this album indicate that his photographic experiments pre-date their known professional association.Kinnear became a founding member of the Photographic Society of Scotland in 1856, and in the same year entered into partnership with Edinburgh architect John Dick Peddie. In 1857 he went on an architectural and photographic tour of northern France using a new form of camera with a conical bellows which 'set the pattern for nearly all subsequent cameras' (Schaaf & Taylor). His final public exhibition of photographs was in 1864, after which his architectural work absorbed most of his efforts; the firm of Peddie & Kinnear had become hugely successful, securing major commissions for private houses, public buildings and churches throughout Scotland which remain major landmarks to this day, including Edinburgh's Cockburn Street, and the hydropathics at Dunblane, Craiglockhart and Callander. He was elected associate of the Royal Scottish Academy in 1893, and died suddenly at his offices in Edinburgh in 1894.A full list of the contents of the main album in this lot is available on request. Lot 57 in the sale, the Kinnear family autograph album, contains letters to C. G. H. Kinnear from various figures including Fox Talbot.Further reading: Schaaf & Taylor, Impressed by Light: British Photographs from Paper Negatives, 1840-1860 (2007), p. 338.Provenance: Inherited by the vendor from Elizabeth Hay (née Kinnear, 1924-2017), descendant of C. G. H. Kinnear.
French mahogany and ormolu bracket clock, circa 1900, the case of architectural form with a brass face with silvered chapter ring and Roman numerals, twin fusee movement striking on a gong, the cased flanked with ormolu acanthus scrolls, raised on cast brass feet (with pendulum and keys), height 45cm, width 27cm, depth 18cmPlease note our special conditions of sale regarding clocks and watches
Alex Mitchel, Gorbals, Glasgow, Scottish mahogany and inlaid eight day longcase clock, having an architectural pediment over wrythen moulded columns flanking a 13'' silvered circular dial, signed, with Roman numerals, subsidiary seconds and date dials, the movement striking on a bell, the trunk with boxwood spider's web inlay within wrythen moulded quarter pilasters over a similarly inlaid box base with later bracket feet, height 208cmPlease note our special conditions of sale regarding clocks and watches
Spiele - - Allizeau. Les Métamorphoses ou Amusemens Géométriques, dédiées aux Amateurs. 15-teiliges Holzspiel und Begleitheft mit gest. Titel und 8 gest. Tafeln. Paris, Allizeau, (1817). 12°. Türkiser OPp. in OPp.-Schuber mit goldgepr. DTitel (berieben und bestoßen). Das Begleitheft enthält Tafeln mit architektonischen und geometrischen Formen und Figuren, die mithilfe der 15 beiliegenden Spielsteine aus Nussholz in einer Art Logik-Puzzle nachgelegt werden sollen. Allizeau, selbsternannter "marchand d'objets d'histoire naturelle et de curiosités", kündigt in seinem Begleittext eine zweite Lieferung mit weiteren Tafeln an, welche laut Bibliographie de la France im Jahr 1818 erschien. - Einband von Deckeln gelöst. Papierbedingt gebräunt und braunfleckig. Die Steine in tadellosem Zustand. Interessante Kuriosität des frühen 19. Jahrhunderts. Games - 15-part wooden game and accompanying booklet with engr. title and 8 engr. plates. Turquoise orig. paperback in orig. paper slipcase with gilt-stamped cover title (rubbed and bumped). - The accompanying booklet contains plates with architectural and geometrical forms and figures, which are to be reproduced in a kind of logic puzzle with the aid of the 15 enclosed walnut game pieces. Allizeau, self-proclaimed "marchand d'objets d'histoire naturelle et de curiosités", announces in his accompanying text a second delivery with further plates, which, according to the Bibliographie de la France, appeared in 1818. - Binding detached from covers. Paper browned and brown spotted. The stones in perfect condition. Interesting curiosity of the early 19th century.
Frankreich u. England - - George William Adolphus Fitz-George. Plan of the Battle of Sedan accompanied by a short Memoir. With Maps an Views. Mit 9 mont. OPhotographien (Albuminabzüge, je ca. 5,2 x 8,5 cm) u. 2 gefalt. Karten. London, Stanford, 1871. iv, 109 S. Gr.-8°. Lwd. d. Zt. mit goldgepr. DTitel (berieben, fleckig, Gelenke etw. eingerissen). Mit Ansichten von Sedan, Mouzon, Bazeilles, Chateau Bellevue. - Buchblock angebrochen, Photos tls. etwas verblasst. - Dabei: Rev. W.D. Sweeting. Historical and architectural notes on the Parish Churches in and around Peterborough. Mit 32 OPhotographien (Albuminabzüge, je ca. 7 x 7,6 cm) von William Ball u. 2 Taf. iv, 226 S. 8°. Ldr. d. Zt. mit marmor. Schnitt, Rücken-, Steh- u. Innenkantenverg., Goldfileten u. blindgepr. DVignette (berieben u. bestoßen). - Gezeigt werden Kirchen aus Marholm, Longthorpe, Peakirk, Glinton, Eye, Helpston, Whittlesey etc. - Papierbedingt leicht gebräunt, tls. etwas stockfleckig. 2 vols. as listed above. With altogether 41 mounted orig. albumen prints, 2 fold. maps, and 2 plates.
Art Déco - - Sites et paysages (Manuskript Titel).Mit gezeichneter Titelseite und 45 großformatigen Zeichnungen. o.O, o.J. Frankreich um 1920/25. Quer.-Kl.-4. Lwd.-Album. Eindrucksvolle Sammlung von Art Déco Zeichnungen, teils ausgeführt als kraftvolles Capriccio in Feder, Buntstift und Gouache aus imaginären pastoralen Landschaften und Architekturansichten im schönem Kolorit, eingerahmt von einer überwältigenden Vielfalt an vom späten Jugendstil aber vor allem vom Art Déco inspirierten Bordüren und prachtvollen ausladenden Rahmungen, welche sich wirkungsvoll mit geometrischen, floralen und zoomorphen Elementen amalgamieren. Gezeigt werden Ansichten und Szenerien meist aus Frankreich, einige Arbeiten sind betitelt oder eindeutig identifizierbar, wie Schloss Kew in Kew Gardens, Stowe Garden (beide England), Mereville (Frankreich), Arquà Petrarca (Italien), Akropolis in Athen (Griechenland). Der unbekannte Künstler setzt bei dieser Tour de Force ein besonderes Augenmerk auf die avantgardistische Art Déco Rahmung welche die traditionelle Bildauffassung mit großer Divergenz aufwendig rahmt. With drawn title page and 45 large format drawings. Impressive collection of Art Deco drawings, partly executed as a powerful capriccio in pen, crayon and gouache of imaginary pastoral landscapes and architectural views in a beautiful colouring, framed by an overwhelming variety of late Art Nouveau but especially Art Deco inspired borders and splendidly projecting frames, which effectively amalgamate with geometric, floral and zoomorphic elements. On display are views and sceneries mostly from France, some works are titled or clearly identifiable, such as Kew Castle in Kew Gardens, Stowe Garden (both England), Mereville (France), Arquà Petrarca (Italy), Acropolis in Athens (Greece). In this tour de force, the unknown artist pays special attention to the avant-garde Art Deco framing, which frames the traditional pictorial concept with great divergence.
Russland - - Jean-François Thomas de Thomon u.a.. Sammlung von neun russischen Architekturzeichnungen mir Darstellungen von Palästen. Um 1800-1830. Je Feder, Tusche und Aquarelle auf Papier. Blattmaße von 24,5 x 33 cm bis 43,5 x 79,5 cm. Die Sammlung enthält ein signiertes Blatt des russisch-französischen Architekten Jean-François Thomas de Thomon (1760-1813), welches das Erste Theater in Odessa (heutige Ukraine) darstellt. Das Gebäude im klassizistischen Stil wurde 1809 von ihm errichtet und brannte 1879 nieder. Eine weitere Zeichnung mit späterer hs. Bezeichnung in Graphit in italienischer Sprache: "Orangerie della casa Vorouzof". Gemeint ist wohl der Woronzow-Palast, ebenfalls in Odessa. Die prächtigste Zeichnung der Sammlung zeigt die nördliche Fassade des Alexanderpalastes in Zarskoje Selo (heutige Stadt Puschkin), der von Katharina der Großen für ihren Enkel und zukünftigen Kaiser Alexander I. zu dessen Hochzeit mit Louise von Baden in direkter Nachbarschaft zum Katharinenpalast erbaut wurde. Der klassizistische Flügelbau mit seinen charakteristischen, imposanten Säulen und Statuen wurde zwischen 1792-96 von dem berühmten italienischen Architekten Giacomo Quarenghi (1744-1817) errichtet, welcher in Russland ansässig war. Desweiteren enthält die Sammlung Zeichnungen mit Fassadenansichten von nicht identifizierten Palästen, davon einer zusätzlich mit Grundrissen der Etagen, sowie ein Palast im Stil der italienischen Renaissance. Die Zeichnung des Woronzow-Palastes mit Klappteil. - Meist mit Maßstab und teils mit hs. Beschriftungen in russischer oder französischer Sprache. - Meist mit Falzen und kl. Randläsuren sowie etwas angeschmutzt und knitterig. 1 Bl. mit hinterlegtem Einriss. Die Zeichnung des Theaters etwas wasserfleckig. Farben gut erhalten. Hochinteressante Sammlung zu russischer Architektur zur Zeit des Kaiserreichs. Russia - Collection of nine Russian architectural drawings depicting palaces. Around 1800-1830, each with pen, ink and watercolours on paper. - The collection contains a signed sheet by the Russian-French architect Jean-François Thomas de Thomon (1760-1813), depicting the First Theatre in Odessa (today's Ukraine). The building in the classicist style was erected by him in 1809 and burned down in 1879. Another drawing with later handwr. inscription in graphite in Italian: "Orangerie della casa Vorouzof". Certainly the Vorontsov Palace in Odessa. The most magnificent drawing in the collection shows the northern façade of the Alexander Palace in Tsarskoye Selo (today's city of Pushkin), which was built by Catherine the Great for her grandson and future Emperor Alexander I for his wedding to Louise von Baden in the direct vicinity of the Catherine Palace. The neo-classical wing building with its characteristic imposing columns and statues was built between 1792-96 by the famous Italian architect Giacomo Quarenghi (1744-1817), who was based in Russia. Furthermore, the collection contains drawings with facade views of unidentified palaces, one of them additionally with floor plans, as well as a palace in the style of the Italian Renaissance. One drawing with folding part. - Mostly with scale and partly with handwritten inscriptions in Russian or French. - Mostly with folds and small marginal defects as well as somewhat soiled and creased. One sheet with backed tear. The drawing of the theatre somewhat waterstained. Colours well preserved. Highly interesting collection on Russian architecture at the time of Empire.
A fine late 19th Century French gilt brass and porcelain three piece Mantle Clock Garniture, comprising an architectural style Clock with porcelain urn finial above a circular porcelain dial decorated with birds and Roman numerals, and a landscape below flanked with four baluster shaped porcelain columns to each corner on an inverted breakfront plinth 41cms x 31cms (16" x 12"); together with a pair of matching Urns, 29cms (11 1/2"). (3)
Loading...-
35023 item(s)/page