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

A silver teapot and sugar bowl having gadrooned decoration and architectural handles, Sheffield 1918, James Deakin & Son, Birmingham 1938, Thomas Fattorini, approx 747g

A small Victorian silver lidded jug having gadrooned decoration, Birmingham 1894, Stokes & Ireland Ltd, and a silver sugar bowl also having gadrooned decoration and architectural handles, Birmingham 1900, Haseler & Bill, total approx 248.2g

A silver breakfast teapot and cream jug of plain ovoid form with hard wood architectural handle, Birmingham/Chester 1915, Joseph & Crompton, approx 409.5g

A set of six silver dessert spoons having architectural design to stems and terminals, Sheffield 1930, Thomas Bradbury & Sons, approx 147.3g

Pevsner Architectural Guides: Buildings of England: 14 Volumes, all hard backs with dust jackets. Some first editions, Fine copies. (14)

Erik Nitsche (Swiss, 1908 - 1998) "Sun Dial and Rock of Gibraltar" Signed lower right. Original Mixed Media/Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover for the Gibraltar Europa 1987 Modern Art - Architecture stamp issued February 17, 1987. Connected to the southern coast of Spain by an isthmus, Gibraltar has been a British possession since 1704. Because of its position at the eastern end of the Straits of Gibraltar, the tiny state has felt the influence of Great Britain, Spain, and Portugal on its architectural development. However, because of the dispute in 1966 between Great Britain and Spain regarding Gibraltar's political status, few new structures were planned or completed. Even before 1966, few of the nation's buildings or sculptures could be considered modern in twentieth century terms. Undoubtedly, the city of Gibraltar on the state's western coast displays the most modern achievements in Gibraltar's architecture. Confined mainly to housing development and tourist accommodations, the "new style" Gibraltar architecture reflects the continued influence of modern British design. Featured on this artwork is a northern view of the giant Sun Dial which sits near the base of the Rock of Gibraltar in the capital city. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B11050)

A Victorian slate eight day mantle clock, of architectural form, with four brass pillar supports, 23 cm high

Two late 19th/early 20th century architectural slate mantel clocks with eight-day drum movements, 38 and 30 cm high (2)

Architectural salvage - An antique wrought iron veranda/canopy support of ornate scrolling design, 260 cm high 

A large quantity of prints, architectural studies, hunting scenes, maps etc. in a folio, three cartons and a binding

Art reference & architecture. Collection of books from the library of architectural historian Kerry Downes, including: art and architecture, with some other reference works and literature (twenty boxes), and a group of unframed reproduction maps, etcThe lot sold as seen and without reserve

Art reference & architecture. Collection of books from the library of architectural historian Kerry Downes, including: art and architecture, with some other reference works and literature (twenty-seven boxes)The lot sold as seen and without reserve

EASTERN CARVED WOOD AND BONE CASKET,the hinged lid carved with an architectural and floral panel, 25.5cm wide, along with a rosewood casket and a domed top box (3)

Villefore (Joseph-Francois B.) Les Vies des SS. Peres des Deserts d'Orient, 5 vol., woodcut device to titles, engraved frontispiece, engraved full-page illustrations throughout, vol. 4 with 6 folding engraved plates, very occasional spotting or small soiling marks, contemporary calf, spines gilt with morocco labels, Brussels, François Foppens, 1716 § Ovid (Publius Naso) Le Metamorfosi, engraved architectural title, 8 engraved illustrations, woodcut devices, bookplate and ink ownership inscription, contemporary vellum, Venice, Zaccaria Conzatti, 1677 § Luiken (Jan) De Bykorf des Gemoeds, additional engraved title, engraved illustrations throughout, endpapers renewed, contemporary calf with red morocco label to spine, rebacked with original backstrip laid down, Amsterdam, Kornelis van der Sys, 1735; and 7 others, Continental, including a heavily restored copy of Ludovico Guicciardini's Paesi Bassi (1567), but with contemporary hand-colouring (uncollated), v.s. (14)

SKETCHBOOK: neat early Victorian sketchbook, ownership of one Miss Calvert, Overton Cottage, March 25th 1841: oblong 8vo in brown card covers, approx 30pp used, largely architectural studies in pencil: together with a small quantity of other ephemera, including some 17thc binding fragments. (Small Qty)

A pair of Indian Gujarat carved wood architectural columns, 16th/17th century, decorated in relief with figures, scrolls and foliage, heights 103.5cm and 105.5cm, mounted on plinth bases. Provenance: from the estate of a West Sussex collector. Note: the state of Gujarat was the chief centre of wood carving in India from at least the 15th century. The people of Gujarat used wood freely in the construction of temple pavilions, balconies, facades, doors, columns and brackets. Wood carving in the Mughal period (1556-1707) shows a blend of the indigenous and Mughal styles. Jain wooden pavilions of the late 16th and 17th centuries display richly sculpted scenes of Jain mythology and contemporary life with floral, animal, figural and geometric motifs.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.

An architectural slate mantel clock, classical pediment, white enamelled dial flanked by 6 reeded doric columns, 42.5cmL

An architectural design alabaster 2-tier stand, L61cm

A 19TH CENTURY SPANISH MAHOGANY AND MARQUETRY CHEST OF DRAWER CIRCA 1835In the Mary Chrisne Regency style, in mahogany, mahogany palm and lemongrass marquetry, with three long drawers with a narrow drawer above, raised on bun feet, the front inlaid with a marquetry architectural design of four arches raised on uted columns, with a stylised garland above, and Doric columns to the sides,107x120x56.5 cmProvenance: By repute: from a palace in Baix Llobregat region (Barcelona) .

A VERY LARGE FRENCH CARVED WOOD MIRRORED AND STAINED GLASS PANELarchitectural, of rectangular form with shaped plates and stained glass panels in red, green and blue,253cm x 72cm x 3.5cm deep

Flemish school, 19th century. Copy of the closed triptych by Jan Floreins (1479), by HANS MEMLING (Seligenstadt, c.1423/1443- Bruges, 1494)."Saint Baptist and The Veronica.Diptych. Pair of oil paintings on panel.Frames from the 17th century.Measurements: 40 x 20 cm (each panel); 53.5 x 33.5 cm (frames).This pair of panels is a copy of the paintings that Hans Memling painted on the back of the Triptych by Jan Floreins (conserved in the hospital of St. John in Bruges (Belgium), which are shown with the triptych closed. The Nativity, the Adoration and the Presentation to the Temple preside on the obverse, while the two saints under beautiful Gothic arches dominate the reverse: John the Baptist on the left panel and Saint Veronica on the right. The pair of panels shown here are faithful to the original in every detail: the Baptist points to the Lamb at his feet; Veronica holds a cloth with the Holy Face. The lake landscape, composed in a wide panoramic view, depicts the theme of Christ's baptism in the Jordan. It is a representation that continues from one panel to the next, in the same way that the Agnus Dei on the left panel is symbolically linked to the Passion of Christ, which is foreshadowed by the image printed on the saint's cloth. Stylistically, the painter of this pair of copies remains faithful to Memling's soft, delicate style, the stylisation of his figures and his magnificent colouring, with a prevalence of emerald and glaucous tones. The detailed, almost miniaturist attention to detail in the vegetation and in the rendering of the bodies and drapery harmonises with an atmospheric creation based on shades of blue that are subtly densified in the distance. The figures in the background (Christ being baptised, John and the archangel) blend naturally into their surroundings. A trompe l'oeil architectural frame, with small statuettes (representing Adam and Eve) that seem to come to life on either side of the pointed arches, frames both scenes. All this is present in the original panels. The painter has succeeded in recreating the harmonious purification of forms and emotions that defined Memling's painting. The Flemish painter had been inspired by Rogier van der Weyden's Triptych of Saint Columba, but Memling softened his master's inheritance. This pair of panels must also have been based on the small diptych of Saint John the Baptist and Veronica painted by Memling around 1483. The two panels are now in separate collections (the Baptist in the Alte Pinakothek in Munich, the Veronica in the National Gallery of Art, Washington). On that occasion Memling located the saints in a rocky setting, but their attitudes and gestures were very similar to those of the triptych. This is a worthy tribute to the legacy of Flemish painting, from the early heirs of Van Eyck and his unusual sense of light and colour to the dreamlike landscapes of the 17th century.

17th century Spanish school."Jesus before Herod".Oil on canvas.Measurements: 84 x 105 cm; 102 x 122 cm (frame).We are in front of a scene linked to the biblical episodes of the Passion: the presentation of Christ before Herod. Stylistically and formally it is a painting from the Baroque period, clearly influenced by the Flemish school. The expressiveness of the faces and the naturalistic modelling of the bodies reveal the influence of Rubens. Jesus is introduced into Herod's court. The latter is moved and uncomfortable by the historical decision he has to make. The episode is narrated in Luke's Gospel: after being tried by the Sanhedrin, Jesus is sent to the Roman governor Pontius Pilate, who, on learning that he was a Galilean, understood that the case would be under the jurisdiction of Herod Antipas. The architectural background, based on steps, marble columns and arches, organises the space in which the figures interact with each other to form dynamic groups. It thus offers different levels of reading and focuses of attention, between the anecdotal anecdotes of the secondary plots and the central drama.

Attributed to ALONSO CANO (Granada, 1601 - 1667)."Saint Diego de Alcalá".Carved and polychrome wood. Vitreous paste eyes.Measurements: 62 x 23 x 18 cm.This carving follows the same aesthetic precepts as the work carried out by Alonso Cano, of the religious Saint Diego, which currently belongs to the Museum of Fine Arts of Granada. Saint Diego de Alcalá (1400-1463), a Spanish Franciscan friar canonised by Pope Sixtus V in 1588, in the only canonisation carried out by the Catholic Church during the 16th century. Born at the end of the 14th century into a modest family in the small village of San Nicolás del Puerto, north of Seville, from his earliest youth Diego consecrated himself to the Lord as a hermit. Already dressed in the Franciscan habit, as a lay brother in the Order of Friars Minor of the Observance, he made numerous journeys, something rare for his time: he lived in the Canary Islands, Rome, Castile and Andalusia, and during his pilgrimage to Rome he visited various parts of Spain, France and Italy. He finally spent his last years in the convent of Santa María de Jesús in Alcalá de Henares, where he died in 1463. He was a very popular saint, patron saint of numerous localities, such as the city of California that bears his name. As a result, great artists treated his figure, as is the case of Lope de Vega, who dedicated a sonnet and a comedy to him. In the visual arts, he is depicted as a young beardless youth, despite the fact that he reached the age of sixty, with two iconographic attributes: a set of keys, for having been the convent's porter and cook, and the most important, some flowers that he picks in his habit, with both hands. This element alludes to one of the most popular episodes of his life, in which it is narrated that Diego was so generous with those who begged at the door of the convent that his superiors found it annoying and excessive. On one occasion they saw the saint wearing something in his habit, and were about to reprimand him when miraculously the bread rolls that Diego brought to the poor turned into roses.Due to its formal characteristics, we can place this work in the circle of followers of Alonso Cano, a key painter, sculptor and architect of the Spanish Baroque. Cano was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. The son of an important assembler of altarpieces and possibly also a draughtsman, Alonso Cano was introduced to architectural drawing and imagery by his father, with whom he collaborated from a very early age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, then the most prestigious master in the city and Velázquez's de facto teacher, with whom Cano became a close friend. As a sculptor, he is traditionally considered to have trained with Juan Martínez Montañés, although there is no documentary evidence of this. As early as 1624 he signed his first known painting and two years later he qualified as a master painter. In 1638 he moved to Madrid and was soon appointed court painter and drawing teacher to Prince Baltasar Carlos. There he became acquainted with the royal collections, which led his language to evolve from its early Caravaggism towards a more colourful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned permanently to Granada, where he obtained a post in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became maestro mayor of the cathedral. Works by Alonso Cano are currently housed in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, etc.

LUDWIG II OF BAVARIA: (1845-1886) King of Bavaria 1864-86. Called the Fairy Tale King for his extravagant artistic and architectural projects, he is also remembered as the devoted patron of the composer Richard Wagner. Attractive D.S., Ludwig, a bold and large signature, one page, folio, Schloss Berg, Berg Castle in Bavaria, 18th June 1879, in German. The partially printed document shows a very attractive heading ''Ludwig II by Grace of God, King of Bavaria'', being a decree appointing Secretary Minister Max von Gietl who is promoted to the post of Legation Council in the Ministry of Foreign Affairs. The document bears beneath the Emperor´s signature a large and very attractive Imperial paper seal affixed, with embossed coat of arms and entitled ''Ludovicus II - Dei Gratia Rex''. Countersigned by the Secretary General of His Majesty. With blank integral leaf. Very small overall minor creasing, otherwise VG

A black slate mantle clock of architectural form, with a circular dial and Arabic numerals

A small collection of Moorcroft Enamels Ltd pill boxes, to include two architectural ones by Stephen Smith, and another in the 'Rivers Bend' pattern painted by Faith Williams, each in original fitted box, together with a Moorcroft Enamel candle snuffer in original fitted box

A late 19th century Junghans Black Forest mantle clock, the oak case of architectural design with turned finals and applied gilt metal mounts, the 8 day movement striking the half hours and hours on a single gong, 54cm high x 30cm wide

A late 19th century Winterhalder & Hofmeier 8 day mantle clock, the oak case of architectural design, the brass dial having a matted centre, silvered chapter ring with Roman numerals and gilt metal spandrels, the movement signed 'W&H SCH' and striking on two gongs, 37cm high x 27cm wide

•EIGHT ETCHINGS comprising architectural subjects by Louis Conrad Rosenberg (St Etienne, Toulouse; Hospital of Santa Cruz, Barcelona); William Douglas Macleod (Port St. Vincent, Dinan, Brittany); Alfred Richard Blundell (Old Houses on the Arno, Florence); Francis Sydney Unwin (Avignon Bridge and the Papal Palace); Herman Armour Webster (Interior, Santa Maria della Salute); Samuel Chamberlain (Beauvais); and Henry Charles Brewer (Newcastle), each but the Unwin signed, various sizes (8) ++ Generally good but the Brewer and Blundell stained

A mahogany cased grandmother clock, the circular brass dial with spandrels, chapter ring bearing Roman numerals, eight day movement with Westminster chime, the hood and case of plain architectural form, 169cm high, with key and pendulum.

A Victorian black slate mantel clock, circular dial with visible brocot escapement, chapter ring bearing Roman numerals, Ansonia Clock Company eight day movement with coil strike, the case of architectural form, supported by six metal capped Corinthian columns, on a plinth base, 32cm high, 44cm wide.

Russell (John Scott). A Treatise on the Steam Engine, New Edition, Adam and Charles Black, 1841, 15 folding plates to rear, half-title, lightly spotted, hinges cracked, original brown blindstamped cloth, boards marked, backstrip detached from textblock, joints cracked, 8vo, together with:Weale (John). Ensamples of Railway Making, London: Architectural Library, 1843, lithographic frontispiece, numerous folding plates, bookseller's ticket to upper margin of front pastedown, lightly spotting, rear hinge cracked, original blindstamped terracotta cloth, backstrip faded, boards marked, extremities slightly worn, 8vo, withGalloway (Elijah & Luke Herbert). History and Progress of the Steam Engine; With a Practical Investigation of its Structure and Application, 1st edition, London: Thomas Kelly, 1832, frontispiece, numerous illustrations to text, lightly spotted, some marginal toning, endpapers renewed, modern red quarter morocco gilt, boards lightly marked, 8vo, with 3 others related to British RailwaysQty: (6)

Architectural drawings. A collection of approximately 30 drawings, plans, and elevations, mainly for buildings in London, by W. G. Maddison, 1932-37, including designs for London Bridge Station (identified as W. G. Maddison's Unit 15 Thesis, and dated Jan-April 1937), The Embassy Theatre Swiss Cottage, 52 South Grove, Highgate, A Living Room in a Flat, Verandah Grill Room on the Queen Mary, etc., twelve with hand-colouring in gouache or watercolour, the remainder uncoloured, including approximately twenty on thick wove paper, the remainder on thinner tracing paper, mostly pen and black ink, some with printed stamp to lower edge: Architectural Association School of Architecture, sheet size mostly 69 x 102 cm (27 x 40 ins), and some smaller, occasional minor marks and slight defects to extreme edges, all loosely contained in 20th-century red cloth portfolio, with ties, rubbed and marked (102 x 72 cm)Qty: (approx 30)

Pugin (Augustus Welby). Contrasts: or, A Parallel between the noble edifices of the middle ages, and corresponding buildings of the present day; shewing the present decay of taste, 2nd edition, London: Charles Dolman, 1841, frontispiece, additional title, plates and illustrations, a few plates and leaves detached at front, some light spotting and browning, previous owner inscription, front hinge broken, original morocco-backed cloth gilt, a little rubbed with some marginal fading, 4to, together with An Apology for the Revival of Christain Architecture, 1st edition, London: John Weale, 1843, plates and illustrations (frontispiece detaching), a little light spotting, endpapers renewed, original morocco-backed boards, head of spine chipped, 4to, plus 2 others: The True Principles of Pointed or Christian Architecture: set forth in two lectures delivered at St. Marie's, Oscott, Edinburgh: John Grant, 1895, and Alexandra Wedgwood, A. W. N. Pugin and the Pugin Family (Catalogues of Architectural Drawings in the Victoria and Albert Museum), 1st edition, Victoria and Albert Museum, 1985, all 4toQty: (4)

§ JOHN BRATBY (BRITISH 1928-1992) UNTITLED (FOR 'THE HORSE'S MOUTH'), 1958 Oil on board(180cm x 240cm (71in x 94.5in))Provenance: Purchased directly from the artist; purchased privately by present ownerFootnote: Note: “He lends his talent to the tradition of English artists, from William Blake to Stanley Spencer, who wanted to connect the visionary with the vulgar” - Criterion Bratby was the brilliant, if problematic, breakout star of the so-called ‘Kitchen Sink’ or “New Realist” artistic genre; a movement born out of the grey rubble and grinding drabness of post war Britain which encompassed painting, film and literature. Whilst studying at the prestigious Royal College of Art in the early 1950s, his teacher Carel Weight described him as the most talented student he had ever had. Fame came swiftly and explosively to Bratby (buoyed by the public’s fascination with rumours of his unconventional and bohemian personal life), and soon after graduation he became a regular exhibitor at the Royal Academy as well as the recipient of one-man exhibitions with Beaux Arts Gallery, London. In 1956 he represented Britain at the Venice Biennale. In 1958, the same year the artist shared the British Guggenheim Award with Ben Nicholson, Bratby was commissioned to produce large scale paintings for the film The Horses Mouth based on Joyce Cary's novel. Alec Guinness played Gully Jimson, an eccentric figurative painter, with Guinness taking direct inspiration for the role from Bratby, who he observed at work in his studio. Guinness went on to win Best Actor at the Venice International Film Festival for his role. The present work is part of a group of paintings associated with the film and the following solo exhibition which was held in New York at The French Gallery on 987 Madison Avenue; Bratby's first in New York. It bears close similarities with the piece ‘The Greenhouse’, sold in Christie’s in 2020. It is on the large scale typical of this period, and features the artist’s trademark lurid colour palette, heavy impasto and focus on the textures and patterns of the urban and architectural environment; from the red terracotta floor tiles to the bricking of the terrace walls, which take compositional precedence over mother, child and dog seen receding into the left of the painting. It is perhaps no wonder he attracted the attention of a film producer, as his work has a strikingly cinematic, almost fisheye lens panoramic perspective. Despite remaining a prolific painter (attracting the great and the good to his studio in their droves), and later also a writer, this first decade of his career arguably remains the zenith of his achievements, and it is with great pleasure that Lyon & Turnbull present this scarce example of the period to market. “In conclusion I would say that I do not love people. In fact I may lean to misanthropy, though people fascinate me. And I’ve devoted most of my Painting Life to them. After all they are what life is about.” – John Bratby.

ROBERT NATKIN (AMERICAN 1930-2010) UNTITLED (ABSTRACT), C.1950s Oil on canvas(100cm x 85cm (39.5in x 33.5in))Provenance: Purchased by the present owner from Robert Henry Adams Fine Art, Chicago Art Fair, Navy Pier, Chicago, USA 1990 Note: Robert Natkin was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist. Klee’s influence is evident in the rhythmic, structural forms of ‘Untitled (Abstract)’, which is understood to date to the 1950s. Natkin stated that during this period he was influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light. Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin professed to never having warmed to Pollock’s work, instead preferring Willem de Kooning, but above all remaining committed to European abstraction. His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form. Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.Footnote: Exhibited: Robert Henry Adams Fine Art, Chicago

ROBERT NATKIN (AMERICAN 1930-2010) STUDY FOR "1211 - MURAL", 1992 Signed and inscribed with title and dated lower edge, acrylic on board(29cm x 59cm (11.5in x 23.25in))Provenance: Gifted by the artist to the present ownerFootnote: Note: Robert Natkin was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist. Klee’s influence is evident in the rhythmic, structural forms of ‘Untitled (Abstract)’, which is understood to date to the 1950s. Natkin stated that during this period he was influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light. Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin professed to never having warmed to Pollock’s work, instead preferring Willem de Kooning, but above all remaining committed to European abstraction. His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form. Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.

Architectural Furnishings - a large 19th century brass door knocker, cast as the head of a lion; another, as the head of a devil; another; a pair of Rococo Revival gilt metal finger plates; a Reformed Gothic letter box (6)

A reproduction brass skeleton clock, Gothic architectural design with silvered chapter ring and Roman numeral hour markers with movement striking on a bell, on stand under glass dome, overall height 44cm, untested, with pendulum

An early 20th century gilt-brass architectural 8-day mantel clock, by Vincenti & Co, case height 31cm (front cover detached)

An early 20th century French slate-cased architectural 8-day mantel clock, by Japy & Co, case height 29cm, with pendulum

A German oak-cased architectural 8-day mantel clock, case height 50cm

A large early 20th century black slate and marble architectural 8-day mantel clock, with drum movement and mercury pendulum, case height 47cm, width 38cm

AN ART DECO RECTANGULAR CIGARETTE BOX with engine-turned decoration, architectural detail and applied gold decoration at the corners and on the thumbpiece, with a light coloured wood lining and an inscription inside the cover, by S.J. Rose, London 1938; 7.1" (18 cms) long

A late-19th/early-20th century walnut case mantel clock of architectural form, with 8-day gong-striking movement, labelled H.A.C. Made in Württemburg, 42cm high.

A Late 19th/Early 20th Century French Black Slate Mantle Clock of Architectural Form, Missing Finial and Pendulum, Movement In Need of Attention, 40.5cm wide

Late Victorian slate and marble mantel clock, of architectural form, circular dial with visible escapement, Ansonia movement, 33cm.

Edwardian stained wood hallstand, architectural pediment, mirrored and tiled back above a glove box, width 86cm, depth 31cm, height 214cm.

Victorian slate mantel clock, architectural case, circular dial, with visible escapement, Ansonia movement, 30cm.

A selection of decorative ceramics, including: Staffordshire frog or surprise mug; Staffordshire Empress of France figure, modelled on horseback; Staffordshire figure group; two Staffordshire architectural pastille burners; and an Italian hand-painted figure of a cockerel.

Joseph Monti: a mid 19th Century inlaid mahogany wheel barometer with silvered register and thermometer, architectural pediment, 95cms high.

A German walnut-cased wall clock circa 1900, the enamelled Arabic dial with movement stamped 'DRGM', bi-metallic pendulum, in case with architectural pediment, above double glazed panel long door, inlaid base, 132 x 41cms.

A collection of prints and architectural prints

LATE 19TH CENTURY MANTEL CLOCK IN DARK WOOD ARCHITECTURAL CASE WITH APPLIED FLORAL DECORATION

ARCHITECTURAL GARDEN MIRRORS, a set of three, Gothic style, aged metal frames, 122cm x 56cm. (3)

ARCHITECTURAL GARDEN MIRRORS, set of three, 111cm H x 48cm W, Regency style. (3)

ARCHITECTURAL WALL MIRRORS, a pair, regency style, aged metal frames, 162cm H x 51cm W. (2)

ARCHITECTURAL WALL PLAQUE, gothic style arch design, 130cm x 82cm x 6cm.

A set of four black and white prints of engravings after Colen Campbell (1676-1729) of architectural subjects including Castle Howard, Burlington House, Marlborough House and Wanstead, 32.5 x 70cm approx max, all in decorative burr wood type frames with corner mounts (4)

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)