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A group of books including Brees, S.C.; Railway Practice, published 1837, Scientific Record of the Great Exhibition 1862, Architectural Ornaments or Collection of Capitals, Friezes Roses... No.1 containing 25 plates, several pamphlets, etc.

A carved oak architectural panel, circa 1900. Carved in relief with heraldic shields amongst foliate scrolls, width 256cm, depth 25cm.

THE ARCHITECTURAL SIDE OF GOLF, H N Wethered, T Simpson, 1929, Longmans Green, cream boards, discoloured. Preface by J.C. Squire. A review copy with publisher's compliments slip. 43 numbered plates, 22 of which are in colour (Est. plus 17.5% premium)

A stained wood and wirework bird cage, 20th century, of architectural form, with a domed upper section, 81cm high, along with a collection of vintage woodworking and gardening tools to a wicker basket, 50cm wide

An architectural model of a corner shop, 20th century, constructed from plywood with strip wood and beading details, the hinged frontage opening to two floors, 32cm W x 33.5cm D x 59.5cm H CONDITION REPORT:The model shows a partial split to the left and right hand central fascia boards, approximately 9cm long and 7cm long, and a further split to the door bracket approximately 1cm long.  Some of the joints show some glue residue.  Some of the reeded and moulded details show the odd small chip and split.  The back panel shows two drilled holes, possibly for wall mounting.  The piece would benefit from cleaning.

A Victorian style stained and clear glass terrarium, of architectural form, with removable cover, raised upon a hardwood plinth base, 49cm H x 50cm W x 29cm D

A late 19th century French gilt brass mantel clock, the foliate openwork architectural case with four baluster pilasters enclosing the 8cm white enamelled dial, applied with Roman numerals and enclosing the Japy Freres two train movement striking on a saucer bell, the case raised upon four cast paw feet, 42cm high, lacking pendulum, requires assembly (at fault)

Six cast iron bollards by A.S.F (Architectural Street Furnishings), each of typical ring turned tapering form with integrated plinth base, height of bollard 98cm, including plinth 130cm (6)

Set of ten clock keys in gilded metal. With different geometric, architectural and decorative shapes.Finished in enamel and hard stones.Measurements: 4 to 7 cm.This piece belongs to the personal collection of Don Juan José Ontalva (Chinchón, 1930- Madrid, 2019), a famous watchmaker from Madrid, descendant of several family generations dedicated to the world of watches. During his career he achieved a high degree of precision and skill, becoming the master of other watchmakers. He is currently recognised for numerous works, including the commissioning and restoration of the Billeter astronomical clock, located in the Congreso de los Diputados (Congress of Deputies).

A PAIR OF PAINTED WOOD AND COLUMNS20TH CENTURYOf composite order, with acanthus capitals above fluted shafts and square section base205cm highCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,The gilt has been refreshed, this is more like gold paint, the white paint also with uneveness and distressing. This may be to simulate greater age than these truly posses. The top of one is flat, the other has a socket, these may have had an architectural function previously, but if so it is unknown, they are purely decorative at presentPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

TWO GILTWOOD AND COMPOSITION FURNITURE OR ARCHITECTURAL ELEMENTS161cm and 73cm wide respectively

A German architectural stained walnut wall clock, c1900, 69cm h Basically complete but with loss of pendulum, dirty

Victorian slate and marble mantel clock, architectural case, circular dial, French cylinder movement striking on a gong, height 37cm.

L K SHELDON, PORTRAIT OF A YOUNG WOMAN watercolour, signed with monogram and dated 1893, 65 x 77cm, with two modern architectural prints

A painted and parcel-gilt bureau bookcase,18th century, Dutch, of serpentine outline and decorated with architectural scenes,83.5cm wide46cm deep212cm highCondition ReportThe fold-out surface itself 25.5 x 64cm. The whole cabinet has a depth of 64cm when extended. Numerous flakes, chips, knocks and losses to paint, although gives it a pleasantly distressed look. Splits and repairs. Handle of fall lost. One loose part to interior. Dirt and wear to paper lining. Generally solid and sound. Drawers run smoothly. Please see photos.

A 18th Century Spanish Colonial Inlaid Panelled Chest with Arched Architectural Detail to Front and Sides. Original Hand Forged Iron Hinges and Lock with Key, Fitted Interior. 58x40x45cms

Boulle style clock; France, late 19th century.Gilt bronze, ebonised wood and brass marquetry. Similar to tortoiseshell.Measurements: 51 x 30 x 18 cm.The clock has a gilt dial, with Roman numerals enamelled in cobalt blue on porcelain, and stands on a bracket decorated to match, also with marquetry. The set consists of a clock and bracket, modelled on André Charles Boulle's designs, made around 1800. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.

Boulle style clock with garniture; France, late 19th century.Gilt bronze, ebonised wood and marquetry.Measurements: 42 x 46 x 13 cm.French garniture from the end of the 19th century, formed by a table clock and two ornamental cups of the same size. The three pieces are made of ebonised wood. The clock face is round, with Roman numerals in cobalt blue on white. The clock's structure is characterised by a very characteristic moulding in which fluid, honeycombed lines predominate and follow the aesthetic pattern of the decoration on the inside of the piece. The side cups follow the same design as the central piece in terms of decoration. They are topped by cups whose typology derives from a classical aesthetic, with an absence of decoration, but showing clear and simple lines. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.

Clock; England, early 20th century.Wood.It presents faults on the sides.Measurements: 16.5 x 36 x 8 cm.English table clock, made in wood following a structure of architectural inspiration, with a base, main body and cornice in the form of an arch. The front of the clock is decorated with marquetry, in the form of fillets and mouldings and also in the form of small classicist motifs. It also has two metal columns on the sides, which relax the large volume of the piece. The dial, which occupies a large part of the front, has Roman numerals in black on a white background, and pike-type hands.

Clock; England; early 20th century.Wood.8 days. Regulating machine.Measures: 24 x 21 x 12,5 cm.English table clock, made in wood following a structure of architectural inspiration, with base, main body and cornice of auction in the shape of arch. The front of the clock is decorated with marquetry, in the form of fillets and mouldings, and also in the form of small classicist motifs. The dial, which occupies a large part of the front, has Arabic numerals enamelled in black on a gold background, and pike-type hands.

Portico clock; Napoleon III, late 19th century.Ebonised wood and marquetry.In need of repair and restoration.Loss of the pendulum.Measurements: 52 x 26.5 x 15 cm.Napoleon III period table clock of baroque inspiration, with a clearly architectural structure that combines a base, four columns of Solomonic turning and entablature with frieze, cornice and pediment with a profile of mitred curves. The sphere between the two front columns is made of bronze on the outer perimeter and has a carefully worked relief with vegetal elements in the form of a garland. The interior has Roman numerals in black on a white background and bregue-style waters. Both the base and the entablature are decorated with classicist motifs worked in classical marquetry.

Set of two Alfonsinos clocks; late 19th century.Carved wood.No key preserved.In need of repair.They show xylophagous damage and carving faults.Measurements: 55 x 31 x 16,5 cm; 124 x 38 x 18 cm.Pair of wall clocks from the Alfonsino period. Both made in wood, in spite of their differences, they have a similar structure, rectangular with a frame of architectural inspiration, and with transparent glass in the interior that allows to see the clock face and the pendulum. The two pieces have a white dial with black Roman numerals and openwork hands, although one has a black finish while the other is gilded. The pendulums also differ, one of them being notable for the presence of the initials R.A. In terms of the external structure, the two have similarities, although one of them ends in a classicist-inspired tympanum, with a crest at the top, while the other clock ends in a cornice.

Clock; Genoese work, first quarter of the 18th century.Ebonised wood and bronze applications.It has French Jean Vaillaus machinery.Measurements: 70 x 46 x 17 cm.Table clock made of ebonised wood with a design based on an architectural structure. The piece is supported on eight gilded bronze chamfered ball legs, which give way to a moulded base with incoming and outgoing edges. This area is notable for the gilt-bronze appliqués that represent small cartouches, with the one in the centre standing out. The rectangular body is located in the upper area, flanked by two warped finials topped by pinnacles. The central area has a hinged door with glass, which allows a view of the inside of the piece where the clock face is located. Ornamented with reserved areas in the corners where a vegetal pattern can be seen, the centre is dominated by a dial in which black contrasts with gold, on which the Roman numerals are arranged. Finally, the piece ends with an upper cornice and a tympanum in the form of a split arch with a large crest.

Chapel clock, circa 1700.Ebonised wood.Preserves key.Measurements: 50 x 38 x 17 cm.Chapel clock made of ebonised wood with an architectural structure. Arranged on four chamfered ball feet. The base presents a mixtilinear profile of incoming and outgoing edges that generate a great dynamism, and in the centre it is ornamented with a gilded vegetal ornament, which stands out against the dark wood finish. This area has a drawer. The rectangular-shaped body houses the case with its gilt dial, black Roman numerals and openworked hands. The upper part of the case is finished with a moulded top, the corners of which are decorated with gold-plated cups.

Office clock; 19th century.Carved wooden box.Preserves key.Presents illegible signature.Measurements: 16 x 12 x 8 cm.Desk clock made of wood. The piece has an architectural conception, with a base, central body and upper cornice. The rectangular base is joined to the central body by means of a black moulding, on which the central glazed area is set. The glass allows a view of the interior, which is decorated with a large white dial with black Roman numerals and openwork hands.

Edwardian Bracket Clock; late 19th century.Ebonised wood. Gilt bronze appliques.Eight-day movement.Measurements: 51 x 25 x 16 cm.English bracket clock with ionised wood case and gilt metal applications in the form of tracery on the sides. The structure is architectural, with a semicircular arched façade and a convex truncated pyramid-shaped dome, topped with a bronze ball, a motif that is replicated on the pinnacles and the feet. The numbering is Roman numerals. Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 17th century in the 1960s, when the pendulum was applied to the clock to replace the previous foliot regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

AN AMERICAN ANSONIA MANTEL CLOCK IN ARCHITECTURAL CASE

TWO LARGE FOLIOS CONTAINING VARIOUS ARCHITECTURAL PLANS

ARCHITECTURAL WALL MIRRORS, a pair, 135cm x 92cm

Victorian oak baroque revival mantle clock/barometer. With decorative carved pediment above an enamel dial with Roman numerals and second segments. Flanked by two tazza's above a circular barometer set within an architectural form and raised on a base with bracket supports and shaped skirt, H54cm

A Victorian colour engraving depicting the crucifixion and other biblical scenes through a cathedral window, 97x53cm, in architectural oak frameSee extra images

A late Victorian black slate mantel Clock, of architectural form, the Ansonia Clock Co. 8-day twin-barrel movement striking on a coiled gong, 53cm high x 48cm wide, together with another Victorian black slate mantel clock (2)

A folio of architectural plans/drawings by Albert Nelson Bromley (1850-1934), mostly Nottingham School designs

LARGE BELGIAN SLATE & MAINE RED MARBLE ARCHITECTURAL MANTEL CLOCK, late 19th Century, with gilt Roman dial, the standard movement striking at a coiled gong, base with presentation plaque engraved to Reverend David Jones B.A., and date 1885, 51h x 43w x 15cmsComments: two finials broken and loose, two missing

19TH CENTURY OAK COFFER / BLANKET CHEST, having a three panelled front with architectural carving and lunette carved frieze, on stile feet, 127cms wide

WILLIAM FLEETWOOD VARLEY (1785-1856) St Mary's Church Truro Architectural pencil on paper Labelled verso Framed Picture size 32 x 47cm Overall size 51.7 x 66.5cm

Architectural - A pair of white painted reconstituted stone corbels with scrolling acanthus decoration, height 36cm.

A late 19th Century black Belgian marble mantel clock of Architectural form with skeleton escapement, damage to case

An architectural pencil drawing of St. Johns, Smith Square, Westminster, 1:50 scale, framed, 78cm x 116cm image size

Calvin (John) A Commentarie upon S. Paules Epistles to the Corinthians, translated by Thomas Tymme, first edition in English, mostly black letter, title within woodcut architectural border, woodcut initials, title rather soiled, trimmed and laid down with repaired tear, ¶2 - A2 (9 leaves) with repairs and restoration to lower margin, G7 with small hole to text affecting a few letters, occasional worming to margins with some straying into text, R4 cropped at head, affecting some text, R4-6 (The Table) with repairs and restoration to corners with loss to some text, closely trimmed, affecting the odd headline or printed side-note, pencil ownership inscription to endpaper, 20th century mottled calf, chipping to head of spine, [STC 4400], small 4to, for John Harison and George Byshop, 1577.⁂ Provenance: Henry Layard Smith (1869-1949, author and Evelyn scholar; pencil inscription).

NO RESERVE Binding.- Bible, English. The Holy Bible. Containing the Old Testament and the New, 2 parts in 1 vol., engraved architectural title, light foxing and browning, occasional damp-staining, bookplate to endpaper, ink note of provenance loosely inserted, handsome contemporary black morocco elaborately tooled in gilt with a cottage-roof design, leafy sprays surmounted by tulip and floral heads, red and orange morocco onlays depicting tulips, acorns and floral designs, spine rubbed and faded, corners and spine ends a little worn, extremities rubbed, g.e., [Herbert 697; Wing B2277], 4to, Cambridge, John Field, 1668.⁂ Provenance: Henry Salt (bookplate with statement "Given by Harriet Black from the Library at No. 9 Russell Square"); Revd. Canon Maynard Smith (loosely inserted note, stating "in Remembrance of Janet Sarah Salt").

*** Please note, the description of this lot has changed ***NO RESERVE Florio (John) A Worlde of Wordes, or, Most copious, and exact dictionarie in Italian and English, first edition, title within woodcut architectural border, woodcut initials and tail-piece, lacking initial and final blanks and K3&4, title a little soiled and with ink ownership inscription to head, first gathering with repair and restoration to lower corner, b1 with tear to corner running into text, light damp-staining, worming to lower margin, ink names to endpapers, 19th century half calf, covers mottled, extremities a little rubbed, [STC 11098], small folio, by Arnold Hatfield for Edward Blount, 1598.⁂ The first comprehensive Italian-English dictionary, notable for containing one of the earliest printed references to cricket. On p. 370, 'Sgrillare' is explained as "to make a noise as a cricket, to play cricket-a-wicket, and be merry".Provenance: John Bayman; Henry Layard Smith (1869-1949, author and Evelyn scholar; ink inscriptions).

NO RESERVE World.- Heylyn (Peter) Mikrokosmos [graece]. A Little Description of the Great World, third edition, title within architectural woodcut border, woodcut initials, head- and tail-pieces, folding table, table (2¶1-2*2) misbound at end, title creased, ink names to rear endpapers, contemporary calf, chip to lower joint, light marking, a very good, clean copy, [STC 13278; Sabin 31636], small 4to, Oxford, 1627.⁂ One of many quarto and folio editions of this popular early geography, the most commonly used source of information about the rest of the world used in England at the time. Heylyn (1600-62) , a "bluster-master" according to his enemy John Hacket, annoyed King James I by saying in the first edition of this work that 'France is the greater and more famous Kingdom than England'; 'is' was a misprint for 'was' he claimed, and the passage referred to the time of Edward III, but he wisely removed it from later editions.Provenance: William ?Prime; William James Canter (ink inscriptions).

NO RESERVE Middle East.- Sandys (George) A Relation of a Journey... Containing a Description of the Turkish Empire of Aegypt, of the Holy Land, of the Remote Parts of Italy, and Islands Adjoyning, third edition, title within engraved architectural border, folding engraved view and numerous illustrations, lacking engraved map and final blank, minor worming to upper margin, ink ownership inscription to foot of title, contemporary calf rebacked, rubbed, later endpapers, [STC 21728], for Ro. Allot, 1627.⁂ Provenance: Tho. ?Baynton (ink inscription).

NO RESERVE Ackermann (Rudolph) The Repository of Arts, Literature, Fashions, Manufactures, &c., Second Series, vol. 3-5 in 2, numerous engraved and aquatint plates, most hand-coloured, occasional light foxing or offsetting, non-uniform contemporary half calf, joints cracked, 1 cover detached, rubbed, 8vo, 1817-18; sold as a periodical and not subject to return. ⁂ Includes architectural and costume designs, Rowlandson caricatures, views and scenery and playing card designs.

A LARGE AND ORNATE BIRD CAGE IN THE FORM OF A GRAND HOTELEARLY 20TH CENTURY With cream and gilt detailing to the architectural frame and details, dated 1905 MAGE 1908 to lower doors, inscribed paperwork suggesting that this is the Grand Hotel Pupp Karlsbad approximately 123.5cm wide, 129cm high, 64cm deepProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The paperwork that accompanies this would seem to be slightly misleading as a comparison with the Hotel Pupp, through the years, doesn't really show a matching building. Certainly it would seem to be a stylised interpretation of a grand Edwardian hotel- probably continental but of a form seen on the 'English Riviera' as well. The surface paint has rippled and dried up making some of the doors to the ground level impossible to open. The paintwork has been touched up in areas- possibly overpainting its original paint scheme and we would suggest that the gilded detailing is refreshed throughout. There are also small extremity details which have been lost (scroll details to domes, small edges, door handles etc)The three lowest lift up 'doors' (marked 1905 MAGES and 1908) lift to reveal feeding points- the reverse to the cage has wirework doors for access and three pull out trays to the base for removal of cage detritus. There are no perches to the interior,The side basement doors are mostly stuck. Each of the 4 corner domes and the central dome lifts off- and each has had some remedial restorations. The roof generally looks to have later paint. Overall it may benefit from a light clean and remedial loosening of doors etcPlease see numerous 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. Condition Report Disclaimer

AN EDWARDIAN OAK QUARTER-CHIMING EIGHT-DAY LONGCASE CLOCKRETAILED BY MAPLE & CO., LONDON, EARLY 20TH CENTURYWith triple train movement and square brass dial applied with a silvered Roman numeral chapter ring and cast spandrels, in an architectural case surmounted by a triangular pediment230cm high, 58cm wide, 34cm deepProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: The oak case with marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and lossesNo reason to suggest the movement and case do not belong togetherThe movement and chiming elements havn't been set up whilst on view, the tubular bells are present, there are two weights present and a winding key, the pendulum also hasn't been inserted, this as brown tape wrapping it up - Dreweatts have not tested the movement and cannot make any guarantees or comments as to accuracy or if the movement is working we suggest getting the clock appraised by a professional clock restorer prior to use. Please refer to additional images for visual reference to conditionCondition Report Disclaimer

A LATE VICTORIAN SLATE MANTEL CLOCK the architectural case with a relief carved frieze over the brass dial, flanked by sets of fluted columns, on a stepped pedestal base, 39cm high x 40cm wide x 17cm deep

A LATE VICTORIAN SLATE MANTEL CLOCK of architectural form, with an embossed copper frieze depicting charioteers, over a central dial, highlighted with gilt roman numerals, flanked by brass columns with composite capitals, 52cm high x 39cm wide x 22.5cm deep

THOMAS HOSMER SHEPHERD (1793-1864), A GROUP OF FIVE ARCHITECTURAL ENGRAVINGS each mounted in giltwood frames, each c.12cm x 16cm (5)

A VINTAGE LEAD AND GLASS TERRARIUM of architectural form, with a stained wood moulded base, 51cm high x 67cm wide x 37cm deepProvenance: The Keith Walton collection.

A pair of late 19th century Gothic Revival giltwood and gesso wall mirrors of arched architectural form, with incised foliate panels, bevelled glass and spiral cluster columns, height 70cm, width 35cm (some faults). Note: from the contents of Runnymede Park, Surrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

STEINGRUBER J.D. - ARCHITECTURAL ALPHABET 1773, Geo, Braziller, New York, 1975, 4to, bound in full morocco, black and tan in colour, full morocco dentelles, design of architectural plan as if seen through a window of nine panes - back and front, "Highly Commended" at the 1979 Designer Bookbinders Competition

Albert Moore (1841 - 1893), photogravure, the lovers, circa 1890, image 20cm x 17cm, a German architectural lithograph, circa 1905, framed, and an unsigned etching (3)Good condition

An 8-day slate-cased architectural mantel clock, with carved Classical decoration, 52cm x 42cm x 14cm

A framed and glazed coloured lithographic print depicting dogs, flowers and architectural details, indistinctly signed. H.73 W.54cm.

Andras Kaldor (Hungarian 1938-2022), 'Regent Street', 1989, signed lower right, and another, two architectural lithographs. H.56 W.90cm. (largest)

Gothic Christ, 15th century.Carved and polychrome wood.Measurements: 154 cm (height) x 148 cm (width).Round figure carved in wood and polychrome, representing a crucified Christ, already dead, with closed eyelids and half-open lips. The tilted head draws a diagonal with respect to the legs slightly tilted to the opposite side, so that the body is harmonious in anatomy and proportions. There is a restrained drama in the treatment of the traces of suffering, especially in the chest with its marked ribs, and the thinness that gives a glimpse of muscles and tendons, as if the tension of pain were still palpitating in the inert body. The purity cloth is gathered at the side, favouring a play of naturalistic drapery. All these characteristics are typical of the late Gothic period: the naturalism imprinted on the canvases, which differs from the greater angularity of the early Gothic, as well as the study of chiaroscuro and the realistic intention in the anatomical description.During the Gothic period, free-standing sculpture, independent of the architectural framework, considerably increased its repertoire, both in typology and iconography. However, the figure of Christ crucified respects the tradition of the Romanesque period, although the Christ dressed in a tunic disappears and the cloth of purity is maintained. From the Gothic period onwards, Christ was depicted dressed only in a cloth of purity. In the Romanesque it always appeared with four nails, but in the Gothic period the model of three nails became more and more frequent, with only one for the feet, as we see here. As the Gothic period progressed, the cloth of purity became shorter, until the knees were exposed.The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour was not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the Passion, provoking commiseration.Crucified Crucifixions can be found in Spain as early as the 11th century, at least, and it was precisely the trend towards naturalism that was already evident in the Proto-Gothic period that led to the generalisation and popularity of the theme. Throughout the three centuries of the historical Gothic period, the theme evolved, starting from Romanesque models but introducing significant changes from the outset. Thus, the head is inclined towards the shoulder, as we see here, and the face, if Christ is alive, appears impassive, with closed or half-open eyes and a generally closed mouth. The anatomy evolves from Byzantine-type geometric schemes to an increasingly naturalistic modelling which, from the 14th century onwards, is mixed with a sense of pain and an emphasis on the pathetic, leading to distortion of the figure and often to abundant blood. The legs are placed in a forced position, the right leg on the left and the feet joined by a single nail. There is also a certain movement of external rotation, often resulting in the heel crossing in front of the opposite foot. As the style progresses, a greater lightness and movement in the composition will be appreciated, reflected mainly in the advancement of the knee, with the belly depressed and the shoulders forward, as can be seen in this piece.

A black slate mantle clock, of architectural form with an enamel dial and Roman numerals

THREE CARVED OAK PANELS DEPICTING KINGS OF ANTIQUITY 16TH/17TH CENTURY Depicting King Ninus, King Latin and King Robert, each within architectural settings largest 41 x 20cm Provenance: Barnwell Manor, Northamptonshire Windsor House Antiques