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A Victorian marble cased mantle clock of architectural form

A BRASS-BOUND TEAK RECTANGULAR TRUNK; AND THREE CARVED GILT-LACQUERED PANELSCirca 1900 and 20th centuryThe trunk with hinged cover, side carrying handles and twin locks, the mounts engraved with dragons in pursuit of flaming pearls, set on shaped feet; together with three gilt wood architectural panels elaborately carved with figural panels and birds amongst flowering branches. The trunk: 58cm (22 7/8in) high x 121cm (47 5/8in) long x 52.5cm (20 3/4in) deep. The largest panel 106.5cm (42in) wide. (4).Footnotes:Provenance: James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

THREE LATE VICTORIAN BLACK SLATE AND MARBLE MANTEL CLOCKS, two of rectangular form with thirty hour movements, both lacking keys and pendulums, both movements are in need of attention, Arabic numerals enamel dial clock lacks glass in dial door, heights 25.5cm and 24.5cm, the architectural cased clock has corrosion to the metal columns, the dial is cracked, strikes but requires attention, with pendulum, height 31.5cm (3 + 1 pendulum) (Condition report: some damage to cases and movements require attention)

EDWARDIAN MANTEL CLOCK IN ARCHITECTURAL CASE

John Langton (b. 1932) mixed media on board, Architectural study, 34 x 22cm, glazed frame, together with three further works by the same hand

Edmund Berninger (Arnstadt 1843 - Leipzig 1929). Neapel. Aquarell, 19 x 37 cm, l. u. sign. E. Berninger Napoli, unter Glas gerahmt, ungeöffnet. - Deutscher Landschafts- und Architekturmaler. B. studierte 1870-74 an der Weimarer Kunstschule bei Th. Hagen. Nach Aufenthalt in Paris ließ er sich 1904 in München nieder. Zahlreiche Studienreisen durch England, Holland, Italien und Frankreich sowie den Vorderen Orient prägten seine Motive, daneben arbeitete er auch für die Zeitschrift 'Jugend'. Mus.: Weimar, Philadelphia. Lit.: AKL, Thieme-Becker, Bénézit u.a. Berninger, Edmund (Arnstadt 1843 - Leipzig 1929). Naples. Watercolour, 19 x 37 cm, lo. le. sign. E. Berninger Napoli, framed under glass, uninspected out of frame. - German landscape and architectural painter. B. studied 1870-74 at the Weimar art school under Th. Hagen. After a stay in Paris he settled in Munich in 1904. Numerous study trips through England, Holland, Italy and France as well as the Near East influenced his motifs, besides he also worked for the magazine 'Jugend'. Mus.: Weimar, Philadelphia. Lit.: AKL, Thieme-Becker, Bénézit a. others.

PAUL DUPRE-LAFON (1900-1971) LUMINOUS EARTH GLOBE – Circular stepped base from which rises an architectural shaft housing a brass meridian circle and a glass terrestrial globe. - Weight: 2.96 kg - Region: France - Sizes: H 490 mm L 23 mm - Condition: wear / worn / patina of use - Author / artist: PAUL DUPRE-LAFON (1900-1971) - Object type: Globe terrestre

A collection of pictures and prints including three framed sets of monochrome architectural engravings after Sir William Chambers, a coloured print of circus performers, an oil on canvas in the abstract manner in tones red, blue, yellow and black, a collage pictures of stylised fish, a gouache abstract study - Sweet, by Tom Kemp, a pair of 19th century coloured prints of Minton's ceramic designs, etc, various sizes, mostly framed (18)

A good collection of architectural books, particularly relating to Bristol and Bath, (55 volumes approx)

Architectural Interest - A collection of books relating to Salisbury, York, and other regional towns, (60 volumes approx)

Architectural Interest - to include Dublin - Grand Tour, The Antiquities of Athens in three volumes, Buildings Charlestown, etc (40 volumes approx)

Architectural Interest - to include Wells Cathedral in two volumes, Kings College Chapel, a History and Commentary, Timber Decay in Buildings, A Small house in 18th century London, The Early Tudor Country House, etc, (45 volumes approx)

Building Restoration and Architectural History, including Oxford Stone Restored, Georgian Buildings, Churches the Victorians Forgot, Early Georgian Houses, etc (30 volumes approx)

Architectural Interest - to include Mrs Coade's Stone, Designs in Architecture, The Works of Robert Adam, Sir John Stone, etc, Fonts and Font Covers, (35 volumes approx)

English Architectural Interest - to include seven volumes of Pevsner, books on The English Alms House, rural churches, etc (70 volumes approx)

Collection of books relating to 21st century and recent architectural interest and the materials used therein (40 volumes approx)

Architectural and Accessories Interest - to include Georgian architecture, Scandinavian Painted Decor, A Way of Life (Kettles Yard) The Edwardians and their Houses, Authentic Decor, The Book of Wallpaper, etc, (28 volumes approx)

A George III mahogany linen press with broken swan neck architectural pediment, over a pair of rectangular panelled doors, enclosing a now vacant interior with later hanging rail, over four drawers, set on bracket feet, 146cm wide x 60cm deep x 228cm high

French Empire period toilet mirror, the box base enclosing a leather lined writing surface with ink wells to one side, the raised back enclosing a rectangular mirror plate within an architectural shaped framework with applied gilt brass detail, set on bracket supports, 43cm wide

A weathered carved natural stone architectural Doric capital, inscribed 'W Fisher' (51 cm wide x 25 cm high)

A pair of small carved white marble architectural fluted cylindrical columns with fluted and floral detail, 54 cm high x 15 cm at widest point and tapered

Two Continental Architectural prints, each framed and glazed. The largest 27 x 41 cm.

A 20th century pine breakfront bookcase in the manner of William Kent, the moulded broken architectural pediment over open shelves and faux book spine cupboard enclosing two glazed shelves. The base having three pairs of cupboard doors, on plinth. 244 x 308 x 60cm

Arne Jacobsen, Fritz Hansen, 1st edition Egg Chair from the Royal SAS Hotel CopenhagenArne JacobsenFritz HansenDesign and Production 1958Lounge Sessel Modell Egg Chair 3316. Entwurf von 1958, Ausführung 1958. Fiberglasverstärkte Kunststoffschale, Lederbezug, bronzierter Aluminiumguss, profiliert. 106 x 87 x 80 cm. Dieser Sessel stammt aus der Erstausstattung des Royal SAS Hotels in Kopenhagen. Im Fuß mit Schlagstempel des Kronensignet, der Zahl 8 und einem S bezeichnet. Zusätzlich FH Stempel auf dem Leder. Der Sessel wurde, zusammen mit einem weiteren Egg Chairs und einem Swan Chair, bei der Renovierung des Hotels 1983 erworben und war seitdem in Privatbesitz.Literatur: Carsten Thau & Kjeld Vindum, Arne Jacobsen, Arkitektens Forlag/Danish Architectural Press, Kopenhagen 2001, Abb. S. 154, 433, 435, 471, 472.

Arne Jacobsen, Louis Poulsen, 2 Wall Lamps AJ VisorArne JacobsenLouis Poulsen, KopenhagenDesign 19572 Wandleuchten Modell AJ Visor. Entwurf 1957. Metall, Fassung aus Keramik. 25 x 11,5 x 30 cm.Literatur: Carsten Thau & Kjeld Vindum, Arne Jacobsen, Arkitektens Forlag/Danish Architectural Press, Kopenhagen 2001, Abb. S. 475.

Arne Jacobsen, Fritz Hansen, Egg Chair 3316 + OttomaneArne JacobsenFritz HansenDesign 1958Lounge Chair Modell Egg Chair + Ottomane. Entwurf 1958. Fiberglasverstärkte Kunststoffschale, braunes Leder, Aluminiumguss. Sessel dreh- und kippbar. Sessel: 104 x 89 x 75 cm. Ottomane: 43 x 55 x 40 cm. Beide Objekte mit Aufkleber und Schlagnummern im Fuß bezeichnet.Literatur: Carsten Thau & Kjeld Vindum, Arne Jacobsen, Arkitektens Forlag/Danish Architectural Press, Kopenhagen 2001, Abb. S. 154, 433, 435, 471, 472.

Arne Jacobsen, Fritz Hansen, 1st edition Swan Chair from the Royal SAS Hotel CopenhagenArne JacobsenFritz HansenDesign and Production 1958Sessel Modell 3320 Schwan. Entwurf von 1958, Ausführung 1958. Fiberglasverstärkte Kunststoffschale, Lederbezug, bronzierter Aluminiumguss, profiliert. 74 x 80 x 68 cm. Dieser Sessel stammt aus der Erstausstattung des Royal SAS Hotels in Kopenhagen. Im Fuß mit Schlagstempel des Kronensignet und der Zahl 13 bezeichnet. Zusätzlich FH Stempel auf dem Leder. Der Sessel wurde, zusammen mit zwei Egg Chairs, bei der Renovierung des Hotels 1983 erworben und war seitdem in Privatbesitz.Literatur: Carsten Thau & Kjeld Vindum, Arne Jacobsen, Arkitektens Forlag/Danish Architectural Press, Kopenhagen 2001, Abb. S. 469 ff..

Arne Jacobsen, Fritz Hansen, 1st edition Egg Chair from the Royal SAS Hotel CopenhagenArne JacobsenFritz HansenDesign and Production 1958Lounge Sessel Modell Egg Chair 3316. Entwurf von 1958, Ausführung 1958. Fiberglasverstärkte Kunststoffschale, Lederbezug, bronzierter Aluminiumguss, profiliert. 106 x 87 x 80 cm. Dieser Sessel stammt aus der Erstausstattung des Royal SAS Hotels in Kopenhagen. Im Fuß mit Schlagstempel des Kronensignet, der Zahl 5 und einem S bezeichnet. Zusätzlich FH Stempel auf dem Leder. Der Sessel wurde, zusammen mit einem weiteren Egg Chairs und einem Swan Chair, bei der Renovierung des Hotels 1983 erworben und war seitdem in PrivatbesitzLiteratur: Carsten Thau & Kjeld Vindum, Arne Jacobsen, Arkitektens Forlag/Danish Architectural Press, Kopenhagen 2001, Abb. S. 154, 433, 435, 471, 472.

EARLY 20TH CENTURY AMERICAN OAK CASED MANTEL CLOCK,attributed to Seth Thomas, of architectural form with marquetry inlay, with coiled gong strike, full hour strike and passing half hour strike, the enamelled circular dial set with Arabic numerals, with key and bob pendulum marked 'S', 38.3cm high, 47cm wide

Imposing carved, polychromed and gilded cupboard. Viceroyalty work. Peru. Late 17th century.227 x 119 x 77 cm. Structurally, it has four doors at the front that are divided by two drawers at the middle. The decoration of the doors comprises large vases with sunflowers and foliage in each four of the panels. The sides are embellished with flat carving and a moulded cornice.The interior walls and dome-like ceiling are painted red with gold leaf decoration of geometric motifs. The upper and lower bodies have carved and polychromed shelves in red, which are supported by corbels also carved and polychromed. The inner wall of the four doors is decorated with paintings representing country life and hunting, and two curious scenes depicting anthropomorphic animals, one of them resembles a trial and a hanging.An example comparable to ours is the one kept in the Lima Art Museum, and is, as María Campos Carlés indicates in “Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII”: (A legacy that survives in Latin America. The furniture of the Viceroyalty of Peru in the 17th and 18th centuries): “A dazzling and majestic wardrobe for secular use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence. One of the outstanding features of this large-format container is its classic morphology. It has four doors, two drawers in the middle and is supported by four legs decorated with a phytomorphic design. Its roof has the architectural profile of a hipped roof, following the local tradition, and is concealed by an imposing frontal and lateral crown in the form of a comb (which this one does not have) that rests on an imposing carved cornice. Inside the upper body, there is a pair of shallow shelves, contained by a turned wood balustrade and a third one with a hexagonal shape under a ceiling adorned with floral motifs.”In this example, the inside of the doors is decorated with the same type of flat carving as the outside, and it is interesting to note that our wardrobe, however, has wonderful painted decoration of scenes with period characters in a gallant attitude, scenes of daily life etc. We find this type of interior ornamentation, for example, in the cabinet that is preserved in the collection at the Pedro de Osma Museum in Lima, although in varied colours. This one is based on sepia or sanguine tones.Another example comparable to our wardrobe is the one that is part of the Vivian and Jaime Liébana collection in Lima, dating from the 18th century. Regarding this example, Carlés highlights: “Anonymous hands designed this large cabinet with ornamental exuberance, unprecedented expressiveness and harmonic distribution of compositional weight. With remarkable aesthetic sense, they focused on pouring the decorative elements over the entire piece with rigorous symmetry."Regarding the origin and style of this type of baroque furniture, we highly recommended reading chapter VI of the aforementioned book by Carlés, "Mobiliario de estilo barroco madera con talla plana, desnuda, dorada y policromada. Uso civil y religioso utilitario y ornamental. Lima, Cusco, Arequipa, Puno y Trujillo” (Baroque-style wood furniture with flat, bare, gilded and polychrome carvings. Civil and religious utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo), in which she explains how: “the local craftsman extracted artistic patterns from books of engravings and drawings of European art. These valuable data allowed them to decorate furniture with a Europeanizing morphology, yet inserting juxtaposed autochthonous elements. The Spanish baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy that was typical of the Andean identity, which is eager for creativity….The three-dimensional volumetry was achieved by roughing in bevel on hard and soft woods…It is relevant that on some occasions furniture the carved wood was gilded totally or partially with gold leaf, as well as being covered with patinas and polychrome, as in this way the piece was given an unprecedented expressiveness."Bibliographic reference:- María Campos Carlés. "Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII. Ediciones El Viso.

A LARGE AND IMPRESSIVE VICTORIAN SLATE MANTLE CLOCK of architectural form, the eight day movement striking on a bell, the case with cast bronze beast of a man, within a broken arch pediment, the main body of the case flanked by a pair of bronze classical female figures, on a shaped plinth base. 25ins high x 18 ins high.

Winterhalder & Hofmeier, early C20th oak cased bracket clock of architectural form, architectural case with Corinthian columns on shaped stepped base, arched bevel edged glazed panel door enclosing square dial with matted centre applied silvered chapter ring and spandrels, 3 train Westminster chiming movement, striking on five scroll gongs, movement stamped with trade mark W. & H., SCH and bearing silver presentation plaque dated March 15th 1910 W30.7 x D19 1/2 x H41.7 cm

A Black Forest cuckoo clock, 16cm chapter ring with carved bone Roman numerals, twin-winding holes, 8-day movement striking on a gong, the architectural case as a house, ebonised rectangular base, 48.5cm high, associated bracket, 69.5cm high overall, c. 1900

A 19th century Irish Killarney marquetry, yew and arbutus centre table, shaped top inlaid with oval reserves including Ross Castle, the rapids at the Old Weir Bridge and other architectural landscapes, flanked by stiff fronds, panelled column inlaid with seamróg shamrocks and cláirseach Celtic harps, the base conforming, paw feet, ceramic casters, 72.5cm high, 151.5cm high, 112.5cm wide, c.1850

A 19th century gilt-metal bracket clock, 13cm convex enamel dial with Roman numerals, twin-winding holes, 8-day movement striking on a gong, the architectural case cast with leafy scrolls, 45cm high, c. 1880

A 19th century giltwood and gesso architectural pier glass, rectangular mirror plate, 68.5cm x 39.5cm overall

A late 19th century novelty oak mantel clock, as a romanticized castle, 13cm circular enamel dial inscribed Junghans, with Roman numerals, twin-winding holes, 8-day movement striking on a gong, architectural case, 55cm high, c. 1890

A Jacobean Revival oak overmantel, moulded pediment above a frieze applied in text with amicis et sibi, the lozenge shaped mirror flanked by panels carved with fish, eagles, leaves and flowerhead bosses, the lower angles with an architectural niche, 85cm high, 153cm wide, 20cm deep

A post-Medieval oak panel, carved in relief with a portrait Mary I, depicted in profile within an architectural niche, flanked by a Tudor rose and initials MR, the 19th century frame carved with stiff leaves and flowerheads, 35.5cm x 37.5cm overall

A Victorian walnut bracket clock, 16cm square brass dial with silvered chapter ring of Roman and subsidiary Arabic numerals, cherub mask spandrels, twin-winding holes, eight-day movement striking on a gong, the architectural case incise-carved with leafy scrolls, flanked by fluted Doric pilasters, shallow bracket feet, 42cm high, c.1890

A William IV English Gothick rosewood mantel clock, 9cm gilt-brass engine-turned dial, with Roman numerals, Strike/Silent to arch, twin-fusee striking on a bell, architectural lancet-shaped case flanked by cluster-columns, turned acorn feet, 25cm high, c. 1835

An early 20th century oak bracket clock, 16cm rectangular silvered dial with Roman numerals, Slow/Fast and Chime/Silent setting dials, twin winding holes, eight-day German movement striking on gongs, the architectural case inlaid with batwing paterae, bun feet, 37.5cm high, c.1917

A sculptural Victorian silver, silver-gilt and enamel freedom casket, of Welsh interest, hinged cover crested by the coat of arms of the City of Cardiff supported by dragons. profusely decorated with figures and attributes, architectural views, leeks, Prince of Wales Feathers and further national and allegorical emblems, the angles with masonic tools, 42cm wide, retailed by Barry & Sons, Cardiff, Horace Woodward & Co Ltd, London 1893, the substantial marble plinth 49cm wide, hand-scrivened presentation address en suiteProvenance: Presented to Alderman David Jones JP, President of the Cardiff Master Builders Association thence by descent

An architectural oak statuary pedestal, Ionic capital, 68cm high, the top 30cm square

Architectural Salvage & Reclamation - a George V cast iron post box, W.T. Allen & Co, London, 72cm high, the front 27cm wide, 37cm deep

Sir George James Frampton (1860-1928), a brown patinated bronze plaque, St Christina, signed in the maquette, 42cm x 24cm, gilt architectural frame, 62.5cm x 38.5cm, collector's ink manuscript label to verso

ANTIQUE REGULATOR CLOCK, Victorian oak architectural cased narrow hanging regulator clock, 136cm height

[DICKSON, R. W. (fl. 1799-1815)]. A Complete Dictionary of Practical Gardening ...by Alexander McDonald, Gardener. London: R. Taylor and Co. for George Kearsley, [1805-]1807.  2 volumes bound in 3 (plates comprising Vol. III), 4to (262 x 203mm). 61 hand-colored engraved botanical plates by F. Sansom after Sydenham Edwards [including 19*], 13 uncolored architectural plates by after C. Blunt and J. Farey Jr. (Minor spotting to titles, occasional mostly marginal spotting to text, some uncolored plates with minor spotting, some foxing to tissue guards in plate volume.)   Contemporary tree calf (minor wear to spine ends, a few scuffs and abrasions to boards). Provenance: William Kent (engraved bookplates); William Martin (signature added within Kent 's bookplate in Vol. I); Thomas M. Martin (ownership signatures on front flyleaves, dated 5 March 1856).  FIRST APPEARANCE OF EDWARDS' PLATES which were subsequently re-issued as The New Botanic Garden and The New Flora Britannica (both London, 1812).  BM(NH) III, p.1207; Cleveland Collections 718; Dunthorne 106; Great Flower Books, p. 115; Nissen, BBI 479.  Selections from Antiquariat Botanicum, Dr. Eugene Vigil

FREART, ROLAND, Sieur de Chambray (ca 1606-1676). A Parallel of the Antient Architecture with the Modern in a Collection of ten Principal Authors who have written upon the five orders ... London: T. Roycroft for J. Place, 1664.Folio (344 x 222mm). Imprimatur leaf, engraved title and 40 engraved plates. (Some browning to early leaves and margins throughout, tear on D1 just crossing catchword, tear on E2 just crossing platemark, small internal tear on plate M3, 3-in. tear on P4 crossing plate near gutter, a few other minor marginal tears and dust-soiling.) Contemporary English calf (rebacked in modern calf gilt, some wear to corners). Provenance: T. March (early signature on upper margin of engraved title); P. Jackson (early signature on upper margin of engraved title).    FIRST EDITION of Evelyn's translation. "The preface to the work strikes a new note in English architectural theory. The true model of architecture resides in antiquity, but not all examples of antique architecture are now considered worthy of imitation. The essential can be grasped only after painstaking study and analysis of the originals, and a firm rejection of all distortions and developments. This meant, in effect, that only the Greek models were to be upheld" (Millard).  Fowler 128; Wing C-1923; Keynes, Evelyn 74; Millard 19; ESTC R19331.Selections from Antiquariat Botanicum, Dr. Eugene Vigil

An oak cased mantel clock, with Arabic numeral silvered dial, eight day movement with coil strike, the case of architectural form, with barley twist columns, 28cm high.

A late 19thC French black slate mantel clock, with white enamel dial bearing Roman numerals, visible brocot escapement, eight day movement by R. Fage, with bell strike, the case of architectural form, with key, 36cm high.

BECKETT, Samuel (1906-1989). The Lost Ones. London: Calder & Boyars, 1971.  8vo. Original calf-backed buckram, gilt-lettered (spine slightly browned); original buckram slipcase. FIRST EDITION IN ENGLISH, LIMITED ISSUE, number 91 of 100 copies SIGNED BY BECKETT and printed in advance of the first trade edition.   Beckett's English translation of his Le Depeupleur, published in French in 1970. Written during a period when Beckett was implementing Mies van der Rohe and Adolf Loos' anti-ornamental architectural theories to his prose, The Lost Ones employs no traditional plot, and is set in "abode [i.e. flattened cylinder] where lost bodies roam each searching for its lost one." Not in Federman & Fletcher.  

JUAN NAVARRO BALDEWEG (Santander, Cantabria, 1939)."Flautist", 1987.Mixed media on canvas.Signed and dated in the lower left corner.Measurements: 46 x 37.5 cm; 47.5 x 39.5 cm (frame).Architect, painter, academician of Fine Arts and winner of the National Prize for Plastic Arts. In 1959, he settled in Madrid to study engraving for a year at the San Fernando School of Fine Arts. Subsequently, he enrolled at the Escuela Técnica Superior de Arquitectura. He has been a visiting professor at the American universities of Pennsylvania, Yale, Princeton and Harvard. His architectural production includes: the Casa de la Lluvia in Santander; the Castilla-León Conference and Exhibition Centre in Salamanca; the Municipal Library of San Francisco el Grande (Madrid); the Cultural Centre in Villanueva de la Cañada (Madrid); the library of the Faculty of Music at Princeton University; and the Altamira Research Centre and Museum, which houses a copy of the famous cave paintings. A renowned painter, he has had solo exhibitions on around twenty occasions and has taken part in numerous group exhibitions. His work is present in several Spanish centres, such as the Museo Español de Arte Contemporáneo and the Centro de Arte Reina Sofía, both in Madrid; the Museo de Bellas Artes in Vitoria; the Fundación Caja de Pensiones in Barcelona; the Dobe Collection in Zurich; and the Malmö Museum in Sweden.

Architectural Salvage - Neo Classical plaster relief moulds in the form of swags, resin wall sconce, wooden fixtures, etc

Interior Design - four large Architectural drawing prints of classical columns in bold frames (4)

Architectural salvage - three plaster architectural niches

Junghans oak novelty mantel or bracket clock in the form of a castle, circa 1900, with 5-inch Roman dial having J and star motif, two-train spring-driven movement castellated architectural case with spire and stepped breakfront base, 53cm high

A 19th Century Bronze and Gilt Gothic Style Architectural Mantle Clock, 32.5cm high.

ARCHITECTURAL GARDEN MIRRORS, set of three, metal arched frames, 122cm H X 56cm W. (3)

ARCHITECTURAL WALL MIRRORS, 180cm H x 63cm W, a pair, Regency style, gilt metal arched frames. (2)