We found 35023 price guide item(s) matching your search

After Charles Ronnie MacKintosh, three modern architectural prints, with two other prints, including 'Bluebird' by Vettriano (5)

Etching by William Walcot, architectural draughtsman, known for his fine work, Berkeley Square (frame loose), frame measurements: 14 inches high by 16inches width

A German single train weight driven Vienna regulator in a walnut and mahogany case, c1880, with a full-length door flanked by turned pilasters, architectural pediment with applied carvings, blind balustrade and turned finials, with a two-part enamel dial, Roman numerals, minute track, subsidiary seconds dial and gothic steel hands, with a brass cased weight, wooden pendulum rod and spun brass bob. Dimensions: Height: 126cm  Length/Width: 38cm  Depth/Diameter: 17cm

Early 20th century architectural photograph, "Cloister in the Alhambra", 1907, framed mounted and glazed, 39cm x 26cm,

Junghans, early C20th beech cased mantel clock architectural glazed panel door opening to reveal glass dial with silvered chapter ring and applied spandrels, two train movement striking on curled gong movement no. 414 & 151, W24cm D16cm H31cm (lacking pediment)

MATTHEW NORMAN SWISS CARRIAGE CLOCK & SMITHS SMALL LANTERN CLOCK, carriage clock stamped 'Mathew Norman London, 1754', eleven jewels, in architectural case, 15cms high, lantern clock 17.5cms high (2)

A late Victorian brass desk timepiece, of classical architectural form with pediment, Corinthian columns and stepped plinth, 6.5cm silver chapter ring with Roman numerals, presentation plaque below 'Presented to F.H. Rowland by a few friends in Grays as a slight token of their appreciation of his uniform courtesy while station master at Grays, August 1887', 17.5cm high, 25cm wide

An architectural pine broken pediment, 140cm wide.

Two large architectural mirrors with arched pediments, one with metal clad finish, approx. 230 by 140cm.

Artist 18. Century,Large Painting , possibly a architectural study of a prophet in a nichte, Oil on Canvas ,framed. 185X110 cm framed

D. Fricker (20th century) Designs for the Main Facade and Clock of the Greater Manchester Exhibition, as part of the conversion from Manchester Central railway station, both signed and dated '86, architectural drawings, watercolour and pastel.34.5cm x 29.5cm (13.5in x 11.5in)Qty: 2The drawings are both in very good, original condition with strong colours and no obvious faults to report. The drawings are both framed and glazed. The frames have some minor scuffs and knocks commensurate with age.

D. Fricker (20th century) Designs for the Greater Manchester Exhibition Centre or G-Mex Centre, as part of the conversion from Manchester Central railway station, both signed and dated '82 and '86, architectural drawings, watercolour and pencil.37cm x 61cm (14.5in x 24in) and 40.5cm x 68.5cm (16in x 27inQty: 2The paintings are both in very good, original condition with strong colours and no obvious faults to report. The paintings are both framed and glazed. The frames have some minor scuffs and knocks commensurate with age.

A LARGE COLLECTION OF BOOKS VARYING IN AGES AND SUBJECTS, INCLUDING A VICTORIAN LEDGER, ARCHITECTURAL INTEREST, BOOKS AD ALBUMS OF EGYPTIAN HISTORICAL INTEREST

THE IRISH GEORGIAN SOCIETY, 26 VOLUMES, IRISH ARCHITECTURAL AND DECORATIVE STUDIES, 21 VOLUMES TOGETHER WITH A QUANTITY OF AUCTION CATALOGUES

Local Interest, Markeaton Hall and the Mundy Family - a unique archive collection, including correspondence to and from Derby's Borough Engineer & Surveyor's Department concerning the purchase of architectural features and masonry following the hall's demolition; early 19th century wallpaper fragments from the staterooms; an archive folder of local newspaper clippings relating to the hall, its future and subsequent demolition; another folder, later newspaper and magazine clippings; an amateur's ground plan of the piano nobile, blue biro on card, 16cm x 31cm; other architectural plans ; b/w photographs of the house, its interior and exterior, prior and during demolition, various sizes (22); miscellaneous typed research viz. Markeaton and the Mundy family and manuscript notebook; masonry and rubble, presumably from the demolition; etc., [collection]

A 19th century cork architectural diorama, 30cm x 38cm, mahogany frame

A Middle Eastern/Caucasian textile panel, possibly Uzbek, centred by an architectural vignette, 39cm x 59cm, framed, 64cm x 84.5cm

A BOX OF ASSORTED ENGRAVINGS - MAINLY 19TH CENTURY AND LATER, to include figurative, architectural and animals. also a small sketch album dated 1917

AN UNUSUAL JAPANESE / ARTS AND CRAFTS STYLE INLAID BRASS VESSEL/ INCENSE BURNER, the brass body with wooden inlay depicting cranes in flight, raised on three applied architectural type feet, one being hollow, rim Dia. 9.6 cm, overall Dia. 11 cm

A portfolio of architectural factory and other plans on cardboard for The Church of Saint Mary's of The Assumption, Bowness, West Lothian

Attributed to Norbert Bittner (1786-1851) USA, architectural sketches, pen and ink on paper, 47 cm x 38 cm framed and glazed.From the collection of John La Rose (1927-2006) and Sarah Swinburne White (d.2022), founders of New Beacon Books: https://en.wikipedia.org/wiki/John_La_Rose

A Chinese heavily carved walnut architectural panel, possibly a door lintel, Qing Dynasty, 19th century. With deeply carved with browsing bird and flowering lotus. 111 cm long x 27 cm high x 12 cm deep.Some damages to the carvingA section rather than a complete element

Apollonio Facchinetti, genannt „Domenichini“, tätig 1740 Venedig – um 1770 DER MARKUSPLATZ GEGEN OSTEN Öl auf Leinwand. 71 x 120,5 cm. Ungerahmt.Beigegeben eine schriftliche Stellungnahme von Dario Succi von Juni 2020, in Kopie. Die hier gezeigte Ansicht von sehr hoher Qualität verleiht dem Markusdom und seinem Campanile, der von den architektonischen Flügeln der Procuratie Nuove umrahmt wird, eine durch die perspektivische Anordnung begünstigte Größe. Eine erste Version der Ansicht könnte ein Werk von Canaletto aus der Zeit um 1723 sein (William George Constable, Canaletto. Giovanni Antonio Canal. 1697-1768, hrsg. J. G. Links, Oxford 1976, Bd. 1, Tafeln 11-14), von dem der Wissenschaft mehrere Versionen bekannt sind, die sich alle durch unterschiedliche Beleuchtung auszeichnen. Auf der Piazza ist das neue Pflaster aus dem Jahr 1723 zu sehen, das bereits von Canaletto selbst dargestellt wurde. Die Gebäude sind mit großer Aufmerksamkeit für die Wiedergabe der Architektur und des Farbenspiels gestaltet, wie z.B. die Säulen am Eingang, die in einem Spiel von Schatten und Licht die graublauen und polychromen Marmorbereiche hervorheben, das Leuchten in der Ferne des Goldes der Mosaike, sogar auf den Lünetten. Die Palette zeichnet sich durch weiche, zarte Farben aus, die gut mit dem klaren Himmel harmonieren, der hier und da von ein paar Wolken durchzogen ist. Der große Platz wird durch die vielen Menschen belebt, die in kleinen, gut austarierten Gruppen flanieren und sich unterhalten, was ihm eine ruhige Alltagsatmosphäre verleiht. Langgestreckte, elegante Figuren werden in detailreich beschriebener Kleidung dargestellt. Es ist eine ähnliche Version des Gemäldes bekannt, mit leicht abweichenden Maßen (83,5 x 113 cm), die bei Sotheby‘s versteigert wurde (Auktion in London am 5. Dezember 2019, Lot 188), mit wärmeren und bernsteinfarbenen Tönen, aber demselben raffinierten Geschmack bei der Darstellung der Architektur. Apollonio Facchinetti wurde auch „Domenichini“ oder „Menichino“ genannt und war der wichtigste Künstler der in Venedig ansässigen Familie Apollonio. Hinweise zum Leben des Künstlers sind relativ rar. Vermutlich war er ein Schüler Luca Carlevaris (1663/65-1729/31), Francesco Albottos (1721/22-1757), oder Michele Giovanni Marieschis (1696/1710-1743) und scheint ab etwa 1740 als unabhängiger Künstler tätig gewesen zu sein. Als Vedutist widmete sich Apollonio wohl ausschließlich der Stadt Venedig. Der Zeitraum zwischen 1740 und 1750, in dem Canaletto (1697-1768) sich in England aufhielt, kam Apollonio zugute, war er nun, bei den Reisenden der Grand Tour mit seinen Veduten äußerst beliebt. Bei etlichen Ausstellungen wurde die Anerkennung der im Stilvergleich stehenden Werke an Apollonio immer präziser. Die von ihm stammende zusammengehörige Werkgruppe von 13 Veduten in der namensgebenden Stiftung Langmatt in Baden in der Schweiz hat man aufgrund architektonischer Details in das Jahr 1744 datiert. Die Veduten führten nach Vorschlag von Dario Succi zu einer Benennung des Malers. Sein Name wurde entdeckt durch die Korrespondenz zwischen dem britischen Minister Sir John Strange und dem venezianischen Gemäldeagenten Maria Sasso. Sein Werk ist mit dem Schaffen von Michele Giovanni Marieschi (1696/1710-1743) und Francesco Albotto (1721/22-1757) in Verbindung gebracht worden. Es ist auch mit Arbeiten von Francesco Tironi (um 1745-1797), in der Manier Giovanni Antonio Canal (1697-1768), vergleichbar.  (†)Literatur: Vgl. Gertrude Borghero (Hrsg.), Mythos Venedig. Venezianische Veduten des 18. Jahrhunderts, Mailand 1994. Vgl. Federica Spadotto, Io sono ‘700. L‘anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018. (1320122) (13)Apollonio Facchinetti, also known as “Domenichini”,active 1740 Venice – ca. 1770SAINT MARK'S SQUARE TO THE EAST Oil on canvas.71 x 120.5 cm.Accompanied by a written statement by Dario Succi dated June 2020 (copy enclosed).The high-quality veduta depicted here shows St Mark’s Basilica and its campanile, framed by the architectural wings of the Procuratie Nuove, a size favoured by the perspective arrangement. A first version may be a work by Canaletto from ca. 1723 (W.G. Constable, Canaletto, edited by J.G. Links, Oxford 1976, vol. 1, plates 11-14), of which several versions are known to scholars, all characterized by different lighting. The piazza shows the new pavement dating to 1723, which was already depicted by Canaletto. The buildings are painted with great attention to architectural detail and the play of colours, for example the columns at the entrance that, in a play of shadow and light, accentuate the greyish-blue and polychrome marble areas, the distant glow of the gold mosaics, even on the lunettes. The soft and delicate colour palette harmonizes well with the clear sky with just a few scattered clouds. The large square is animated by many people strolling and chatting in small, well-balanced groups conveying a tranquil, everyday atmosphere. Elongated, elegant figures are depicted in detailed clothing. A similar version of the painting, with slightly different dimensions (83.5 x 113 cm), is known to have been sold at Sotheby’s (London auction on 5 December 2019, lot 188), with warmer and amber hues but the same refined taste in the representation of architecture. (†)Literature: cf. Gertrude Borghero (ed.), Mythos Venedig. Venezianische Veduten des 18. Jahrhunderts, Milan 1994.cf. Federica Spadotto, Io sono ´700. L´anima di Venezia tra pittori, mercanti e bottegheri da quadri, Sommacampagna 2018.

Giovanni Battista Cimaroli, um 1687 Saló – um 1753 Venedig, zug.ANSICHT VON DOLO AM BRENTA Öl auf Leinwand. 39,4 x 56,2 cm.Dieses reizvolle Gemälde ist ein exquisites Beispiel für Cimarolis von Zuccarelli inspirierte fantasievolle Lagunenlandschaften. Es zeigt eine eindrucksvolle Ansicht des Flusses Brenta auf der Höhe des Städtchens Dolo, einer lieblichen Stadt am Kanal Brenta auf halbem Weg zwischen Padua und Venedig, damals einer der wichtigsten Anlaufhäfen für den Handel, aber auch ein wichtiges landwirtschaftliches Zentrum, auch ein wichtiger Ort für Reisende. Der Kanal wird aus einem ungewöhnlichen Blickwinkel gezeigt, nämlich mit Blick auf die große Pfarrkirche San Rocco von 1570, die sich über das Wasser erhebt und sich in ebendiesem spiegelt. In den von Cimaroli und anderen Vedutisten gemalten Ansichten von Dolo erscheint die Kirche gemeinhin (Andria Derstine, Views of Dolo by Canaletto, Bellotto, Cimaroli and Guardi, in: The Burlington Magazine, CXLVI, 1219, 2004, S. 675-682). Das Werk gehört zu Cimarolis reifem Schaffen zwischen den 1750er-Jahren und dem Beginn des folgenden Jahrzehnts, als sich der Maler der Darstellung von Orten an dem Brenta widmete (Federica Spadotto, Un artista dimenticato. Giovan Battista Cimaroli, in: Saggi e Memorie di Storia dell'Arte, Bd. 23, 1999, S. 131-187). Kritiker haben es nun geschafft, die Figur dieses Malers zu isolieren und ihn von Canaletto und seiner Schule abzugrenzen, sodass im Kontext der venezianischen Kunstszene des 18. Jahrhunderts seine verdiente Rolle als „Maler von Uferszenen an der Brenta par excellence“ unterstrichen werden kann (Bonzena Anna Kowalczyk, in: Bernardo Bellotto and the capitals of Europe, Ausstellungskatalog, hrsg. Edgar Peters Bowron, New Haven 2001, S. 80). Der Stil von Cimaroli ist in diesem Gemälde klar definiert, auch wenn der starke Einfluss von Canaletto offensichtlich ist. Er ist erkennbar an der fröhlichen, leuchtenden Farbgebung, den virtuosen Drehungen und Wendungen des Himmels, der getreuen Wiedergabe jedes Details, entsprechend der beschreibenden Haltung, die seine Kunst auszeichnet, der subtilen, akribischen Linie, mit der die Bäume definiert werden, der Prägnanz der architektonischen Profile, der abgerundeten Typologie der Figuren und der diffusen Leuchtkraft, die die Szene durchdringt. (†)Literatur: Consuelo Lollobrigida und Marzia Moschetta, Tesori di pittura italiana del XVII e XVIII secolo, Rom 2008, S. 30. (1320123) (13)Giovanni Battista Cimaroli,ca. 1687 Saló – after 1753 Venice, attributedVIEW OF DOLO ON THE BRENTA Oil on canvas.39.4 x 56.2 cm.This delightful painting is an exquisite example of Cimaroli’s imaginative lagoon landscapes inspired by Zuccarelli. It depicts an evocative view of the Brenta River from Dolo, a lovely town on the Brenta Canal halfway between Padua and Venice. At the time it was one of the most important commercial ports of call, an important agricultural centre as well as being popular with travellers. The canal is shown from an unusual angle, with a view of the large parish church of San Rocco dating to 1570, rising high above the water and reflecting in it. The church commonly appears in views of Dolo painted by Cimaroli and other veduta painters (Andria Derstine, Views of Dolo by Canaletto, Bellotto, Cimaroli and Guardi, in: The Burlington Magazine, CXLIV, 1219, 2004, pp. 675-682).The painting can be regarded as Cimaroli's late work, created in the 1750s and the beginning of the following decade, when the painter devoted himself to depicting places on the Brenta (Frederica Spadotto, Un artista dimenticato: Giovan Battista Cimaroli, in: Saggi e Memorie di Storia dell'Arte, vol. 23, 1999, pp. 131-187). Critics have now succeeded in isolating this painter and distinguishing him from Canaletto and his school. In the context of the 18th century Venetian art scene his deserved title as “painter of Brenta riverside scenes par excellence” can thus be emphasized (Bonzena Anna Kowalczyk, in: Bernardo Bellotto and the capitals of Europe, exhibition catalogue, edited by Edgar Peters Bowron, New Haven-London, ed. Milan 2001, p. 80).Cimaroli's own style is clearly defined in this painting, although the strong influence of Canaletto is evident. He is recognizable by the bright, luminous colouration, the masterly twists and turns of the sky, the accurate rendition of every detail corresponding with the descriptive approach typical for his art, the subtle and meticulous line used to define the trees, the conciseness of the architectural profiles, the rounded typology of the figures and the diffuse luminosity that permeates the scene. (†)Literature:Consuelo Lollobrigida and Maria Moschetta, Tesori di pittura italiana del XVII e XVIII secolo, Rome 2008, p. 30.

‡ Ⓜ AN UNUSUAL INDIAN OR NEPALESE SHORTSWORD, 19TH CENTURYwith recurved s-shaped blade of wootz steel, formed with a bifurcated ~Dhu~l-Faqar~ tip, and a kukri-like notch at the base, iron hilt of talwar form, chased with expanded flowerheads within an architectural framework, including a pair of short quillons, shallow cup-shaped pommel and integral grip51.5 cm; 20 1/4 in bladePart proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

Mixed pictures to include framed architectural prints, signed limited edition 'The Lady of The Stream' print and othersLocation:

ARCHITECTURAL GARDEN ORNAMENTS INCLUDING; A CARVED LIMESTONE PILASTER CAPITAL ANGLO-INDIAN, 19TH CENTURY 62cm wide, 58cm high, 23cm deepA LIMESTONE PILLAR120cm high, the top 22.5cm diameterAND A SINGLE CARVED GRITSTONE ROOFTOP MONKEY ORNAMENT53cm wide, 54cm high, 42cm deepProvenance: Private Collection, Oxfordshire

A PAIR OF PLASTER MASK PANELS POSSIBLY ITALIAN, EARLY 20TH CENTURY In the form of architectural mascarons each 65 x 56cmProvenance: Property from the Kingshott CollectionCondition Report: Fairly modern and showing signs of weathering to surface- generally giving the pieces a greater suggestion of age. Both with rubbing and some surface losses to noses and edges with some loss. Probably plaster layers on fibreglass structural basesPlease 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

A PINE BREAKFRONT BOOKCASE IN GEORGE II STYLE 20TH CENTURY with an architectural pediment and Vetruvian scroll mouldings, the astragal doors enclosing shelves above fielded cupboard panels 222.3cm high, 170cm wide, 43.5cm deep

A CARVED WALNUT PANEL 16TH CENTURY decorated with a central urn of flowers flanked by cypress trees, tulips and architectural buildings, possibly Solomon's temple, formerly the front panel of a coffer 40 x 103.2cm

λ A NORTH ITALIAN CEDAR POKER AND PENWORK TABLE CABINET 17TH CENTURY AND LATER with a pair of doors, decorated with a fort and tents, with a port with sailing ships in a bay, the reverse with courtly figures, the interior with an arrangement of eight drawers with ivory handels around a central architectural cupboard, the sides decorated with cavaliers 45.5cm high, 47.7cm wide, 28.5cm deep* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.TSZ9K62T

19th Century Machzor,prayer book for the Sukkot, Passover and Shavuot, pub. Vilnius 1865 and printed in Hebrew at the prestigious Rom family's printing house, with architectural title pages, contemporary marbled calfskin endboards with blind-stamped rococo design, marbled and papers owners signature for (Bella Sherski d.23rd October 1954, Belfast), 4to. vols 1 & 2, plus three other Hebrew volumes (5)

A SANDSTONE HEAD OF SHIVA, CHAM PERIODVietnam, 10th century. The serene face with almond-shaped eyes, elegantly curved brows, a broad nose, and full lips. The finely incised hair is pulled up into a topknot decorated with a floral emblem.Provenance: From an old French private collection.Condition: Good condition, commensurate with age. Extensive wear, losses, minor nicks and scratches, signs of weathering and erosion.Weight: 5,680 g (incl. base)Dimensions: Height 24 cm (excl. base) and 31.5 cm (incl. base)Mounted on an old associated wood base. (2)Cham art is an absolute pillar of Vietnamese culture. In its glorious days, the ensemble of Champa territories used to run from the North of Quang Binh all the way to the edge of the Saigon region, showcasing the most outstanding sculptures and architectural jewels. Rediscovered by French scholars, what was once a great civilization managed to survive centuries of vicissitudes, abandonment, and wars. In its origin, Cham art demonstrates how an Austronesian population, probably from Borneo in the 4th century, chose to adopt and integrate Indian ideology deeply into its local customs, successfully creating a whole statuary art, as imposing as its competitor from Khmer.Auction result comparison: Compare a related stone head of a deity, 45 cm high, dated 11th-12th century, at Christie's Hong Kong, 29 May 2016, lot 335, sold for HKD 150,000.

A mid 20th century neo-classical simulated marble coffee table, the composite slab top raised upon Grecian style architectural fluted columns, with simulated damage to the top and horizontal column, 40cm H x 145cm W x 77cm DCondition reportMinor chips to the table top edge, commensurate wear only, no major visible faults or damage 

A 19th century French onyx and gilt metal mantel clock, the architectural green onyx clock case surmounted with a bronzed spelter figure 'Heliotrope' after Causse, above the 8cm ceramic dial applied with foliate swags and Arabic numerals, enclosing the two train movement stamped Marti, striking on a coiled gong, 56cm high, along with a pair of bronzed spelter figures each mounted on a later wooden plinth, 40cm high (3)

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN."Ant Chair", design 1951.Moulded plywood with dark oak veneer. Chromed steel base.Features Fritz Hauser label. Edition 2006.It has slight wear marks and a small scratch on the seat.Measurements: 78 x 42 x 39 cm.The Ant chair, hormiga in Spanish, was designed in 1951 by Arne Jacobsen for use in the dining room of the Danish pharmaceutical company Novo Industries. It received its name because of its approximate resemblance to the outline of an ant with its head raised.Architect and designer, Arne Jacobsen (Denmark, 1902 - 1971) 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.

Silver chalice. Silver and gilded silver in the sub-cup. Shaft with architectural style knot. Circular base with lobed foot.Marks and contrasts on the base.Weight: 638 g.Measurements: 26 x 16 cm.

ACHILLE CASTIGLIONI (Milan, 1918 - 2002), and PIER GIACOMO CASTIGLIONI (Milan, 1913 - 1968)."Arco lamp", design 1962.Stainless steel and marble base.With Flos label. Edition 2000.Slight marks of use on the lampshade.Measurements: 240 x 220 cm; 32 cm (lampshade diameter).The design of the Arco lamp was created in 1962 by the architects Achille and Pier Guiacomo Castiglioni, who were trying to create a floor lamp that could be used as a ceiling lamp. The lamp became an icon of the 1960s, inspired by a street lamp. Castiglioni studied architecture at the Politecnico di Milano and graduated in 1937. In that year he began an architectural design internship with his brother Livio and Luigi Caccia Dominioni. After World War II, he and Livio worked with his younger brother Achille, who had graduated in architecture in 1944. Much of their work focused on product and exhibition design, but they also undertook a number of architectural projects, including the 1952-1953 reconstruction of the Palazzo della Permanente.

Empire style pedestal; France, ca. 1900Mahogany, bronze and gilt metal.It shows signs of use.Measurements: 121 x 36,5 x 35 cm.French late Empire period pedestal, dated around 1810-30. It is made of mahogany wood, with applied elements and columns in bronze and gilt metal. It follows a typical Empire architectural structure of rounded volumes and sharp edges, with a four-legged base, four stylised columns raised on pedestals, with fragments of friezes that match them at the top, an entablature as a waist, and finally a tabletop with a stepped profile.

ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN."Egg Chair, design 1958.Red wool upholstery. Chrome-plated steel base.Fritz Hansen Editor, 2005.Original Fritz Hansen piece, official publisher of the Egg Chair.With Fritz Hansen label.It has marks of use on the upholstery and some unpicked seams.Measurements: 106 x 86 x 74 cm.The Egg Chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal Hotel in Copenhagen, and was published by the Danish firm Fritz Hansen. It soon became a symbol of modern design, starring in some of the scenes of the futuristic film "2001: A Space Odyssey". Among Arne Jacobsen's other designs for 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, glass-fibre reinforced polyurethane shell, 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, among them 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.

FRENCH, SWISS & ENGLISH MANTEL CLOCKS (4) - a gilt brass French made example, architectural form with engine turned decoration to the dial centre, 15.5cms H, 25cms across, small Swiss made alarm with suspended circular dial in a four pillar stand, 15.5cms H, 11cms across, mid-century Big Ben repeater by Westclox, 19cms H and a drum cased alarm, the dial marked 'E Rossiter, Hill Road, Clevedon', 10cms diameter

A FRENCH OAK AND WALNUT ARCHITECTURAL MODEL19th centuryOf a pitched roof on a plinth base, 100cm wide, 48cm deep, 59cm high (39in wide, 19 1/2in deep, 23in high). For further information on this lot please visit Bonhams.com

Alexandre Jean Dubois Drahonet (French, 1791-1834)An architectural capriccio with a mother and child Signed and dated 'Drahonet anno 1810' (lower left)Gouache on laid paper laid down on board73.1 x 57.8cm (28 3/4 x 22 3/4in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

19th century polychrome painted gothic mirror, with shaped rectangular plate within channel moulded surround with heraldic shield and architectural finalled surmount, 136cm x 121cm

19th century Italian micromosaic bracelet with five panels depicting temples and architectural ruins, in brass mounts, 17cm.Good condition commensurate with age. Minor scratches and abrasions to the black glass panels but no obvious signs of any damage or repairs. The size of each panel measures 3cm x 2.5cm, total length approximately 16cm.

Late 19th century Arts and Crafts architectural frieze, finely modelled with scrolling vines and birds, 148cm long

Douglas Pittuck (1911-1993) a good collection of sketches on paper, architectural and figure studies, including many signed and inscribed and many with studio stamp, ranging from 1950s onwards, approximately 80 in total. Provenance: By family descent from the artist

Douglas Pittuck (1911-1993) good collection of sketches on paper, particularly architectural studies including Barnard Castle area and industrial subjects, in a variety of media, many inscribed, signed and with studio stamp. Provenance: By family descent from the artist

Douglas Pittuck (1911-1993) monochrome study, path from the church, signed and dated '39, with card mount, together with 9 further architectural studies by the same hand, 1930s-80s. Provenance: By family descent from the artist

Good quality Regency flame mahogany two height breakfront bookcase with architectural pediment, the top with adjustable shelves enclosed by glazed doors with turned tulip head glazing bars, flanked by pilasters, the base with cupboards enclosed by four doors on plinth base. 224cm high x 188cm wide x 50cm deep

E.W. PUGIN (1834-1875) GOTHIC REVIVAL CHAIR, CIRCA 1870 oak, with velvet upholstery, later but of the period(47.5cm wide, 84cm high, 42cm deep)Literature: V&A Accession no W.1-1991 Note: This chair is identical to chairs designed by Edward Welby Pugin for the Grange, his family home, in Ramsgate in about 1864. The Grange was designed and built circa 1843 by his father A.W.N. Pugin who also designed the original furniture. After A.W.N. Pugin's death in 1852, the house was let until 1864 when the Pugin family returned. E.W. Pugin inherited his father's architectural practice and followed the same principles when designing furniture. This chair shows A.W.N. Pugin's preference for revealed construction in the pegs holding the legs and stretchers together. E.W. Pugin combined his father's ideas with new details of his own such as the broad back support.

BRUCE J. TALBERT (1838-1881) FOR GILLOW & CO. AESTHETIC MOVEMENT BUFFET, CIRCA 1880 oak, with cross-banded inlay(137cm long, 80.5cm high, 68.5cm deep)Note: Originally from Dundee, Bruce Talbert originally trained as a carver before working as an architectural draughtsman in Glasgow. He subsequently became a prolific commercial designer of furniture, metalwork, stained glass, wallpapers, textiles and carpets and produced several influential publications including 'Gothic Forms applied to Furniture Metalwork' and 'Decoration for Domestic Purposes' which had a big impact on the way in which the revived Gothic style was used in domestic design. Talbert designed several pieces for Gillow & Co, drawing on widely divergent sources such as Gothic architecture and Japanese art. His is work for the firm was displayed at numerous international exhibitions, including the International Exhibition of 1873. Talbert worked in association with several other principal furniture makers of the period, including Holland & Sons, Marsh Jones & Cribb, Lamb of Manchester and the Coalbrookdale Company and established professional links with other key designers such as Richard Norman Shaw and George Edmund Street.

CIRCLE OF GODFREY SYKES (1824-1866) AND JAMES GAMBLE (1875-before 1910) RENAISSANCE REVIVAL CABINET- oak and elm, decorated with penwork, of architectural form, the doors to the front cupboard painted in black with putti, one titled ‘PAINTING’, the other ‘SCULPTURE’, the side doors with monogram ‘SA’ entwined with the national plants of Great Britain & Ireland, and surrounded by a laurel wreath, the whole decorated with bands of neo-renaissance ornament in red and black(115cm wide, 122.5cm high, 57cm deep)Note: The style of the cabinet is unusual within the context of British cabinet making, in that it is painted in a neo-renaissance manner, in red and black on light wood. This is a feature that was also employed on a piano designed by James Gamble and made for Henry Cole, now in the collection of the V&A in London.Despite the current lack of documentary or photographic evidence, it is considered more than likely that this cabinet formed part of the original furnishings of the Victoria & Albert Museum and that the entwined ‘SA’ monogram stands for 'Science and Art' – a feature repeated several times on the West staircase of the V&A building. The staircase was designed by Francis Wollaston Moody, a member of the Museum’s design studio, who was notably influenced by Geoffrey Sykes who had been the first decorative designer of the Museum. 

A selection of decorative ceramics and glassware, including: four various architectural pastille burners; a Chinese blue and white ginger jar (lacking cover); a Border Fine Art figure of two cats; a Royal Doulton figure of "Sara", HN4720; a Caithness "Tempest" glass paperweight; and other items.

An ornate Vienna style wall clock, in architectural mahogany case with penwork floral decoration, 47cms high.

Syl Macro: studio pottery ceramics, comprising: a table lamp with architectural and woodland scene decoration, wired for electricity, 46cms high; a similarly decorated vase; and a smaller vase. (3)

A selection of ceramic and other thimbles, including: a collection of Lenox resin animal thimbles; a selection of Lenox resin thimbles formed as architectural structures including houses and castles; and an assortment of other ceramic thimbles by makers including: Finsbury, Royal Albert, Birchcroft and other makers; together with a selection of various wall mounting display shelves.

A late 19th century French hour repeating silvered and gilt brass carriage clock, in architectural fluted column case, with ornate enamelled Roman dial, and movement striking on a gong stamped JN either side of a trident, width 10cm, depth 9cm, height 17.5cmOverall looks to be in good clean condition, one or two small oxidisation specks to the case but no real faults noted, top plate looks original, movement is going and repeat working but not tested for time keeping, comes with brass winding key.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. width 10cm, depth 9cm, height 17.5cm

Isaac of Hurley of London. A George III ebonised eight day hour repeating bracket clock, in plain architectural case with 6.5 inch dial with strike / silent silvered chapter ring, false pendulum and date aperture, signed, twin fusee movement with verge escapement and foliate engraved unsigned backplate, width 28cm, depth 18cm, height 47cmOverall looks to be in good relatively recently restored condition, case remains glossy with traces of fine old cracks scattered throughout but nothing of any severity, front door has later lock and key, dial and hands in good clean condition, makers name plaque a little oxidised, movement going but not tested for timekeeping, bob pendulum looks to be a later replacement, back door works to the same key as the front lock.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. width 28cm, depth 18cm, height 47cm

An early 20th century French ormolu and champleve enamel clock garniture, the mantel clock of architectural four glass form with urn finial, Arabic dial and Marti eight day movement, with a pair of matching two handled urn ornaments, clock: height 50.5cm urns: height 32.5cmClock in very good clean condition, very slight oxidisation to the dial with some very light spotting to the ormolu case, movement stamped Made in France and numbered 72, going but not tested for time keeping, one of the urns is in a near dismantled state and will need re-assembling, champleve enamelling is similar but not identical to the main mantel clock, feet also differ slightly.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. clock: height 50.5cm urns: height 32.5cm