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

Cortil, Burton: a 19th Century mahogany and herringbone banded stick barometer, with silvered register and architectural pediment, turned reservoir cover with mother-of-pearl embossed 1862, 98cms high.

A pair of 19th Century French gothic revival porcelain scent bottles, possibly Jacob Petit, Paris, each of architectural form, with a medieval male and female head, each wearing a pink plumed headdress, with floral painted panels and armorials, on a green, crimson and gilt ground, one with stopper, and cased under glass domes, each 27cms high.

A fine Armenian turquoise-set enamelled gilt-silver filigree incense burner Turkey, 18th Centuryof globular form on three scrolling supports on a lobed base with three hexagonal feet, the hinged lid of architectural form with a central cupola surrounded by six smaller cupolas, each surmounted by crescent motifs, the sides with applied rosette bosses inlaid with turquoise beads and decorated with green enamel 19 cm. high; 577g.Footnotes:For another example sold at Christie's see Islamic Art, Indian Miniatures, Rugs and Carpets, 26 April 1994, lot 381.For further information on this lot please visit Bonhams.com

An Egyptian architectural ivory-inlaid cabinet by El Fakit Ismail Radwan Egypt, late 19th Century with presentation date AH 1342/AD 1923in the form of a gateway, the two hinged doors mounted with openwork brass with geometric designs, cartouches with engraved inscriptions in kufic to top and bottom, the walls with inlaid ivory tiles and decoration, the windows with mashribiyya screens and turned ivory columns, the entire front panel opening to reveal three glass shelves and an electric light fitted to the ceiling, a typed label listing details of provenance, maker and date to the floor 95 x 50 x 25 cm. Footnotes:ProvenanceColonel Ernest William Slaughter CBE.Sotheby's New York, 28 April, 1994, lot 183.Ernest William Slaughter was born in Reading in 1876 and trained as an engineer before joining the Canadian Over-Seas Expeditionary Force in 1918. Following the war he became an engineer in the service of the Egyptian government. This cabinet was presented to him as a gift from the staff of the Egyptian State Railways in 1923.Inscriptions: 'izz li-mawlana malik misr fu'ad al-awwal/ 'amal bursah misr al-salihiyyah (?), 'Glory to our lord, King of Egypt, Fu'ad I, the work of Bursah [of] Egypt al-Salihiyyah'.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

An Egyptian architectural ivory-inlaid picture frame by Isma'il il Ridwan Egypt, dated AH 1301/AD 1882-83, with presentation date April 1937in the form of a gateway, the doors mounted with openwork steel panels with vegetal interlace, the walls inlaid with ivory tiles and decoration, the windows with mashribiyya screens and turned ivory columns, an inscription-filled cartouche above the gateway, further inscription-filled panels to each side, the lower section with three later added panels containing presentation inscriptions, the two doors sliding open with the aid of a brass wheel to the side to reveal a picture frame 70 cm. high; 65 cm. wideFootnotes:Inscriptions: to the top panel, Qur'an, sura VII, al-a'raf, part of verse 54; to the side panels, ra's al-hikmah/makhafat allah, 'The peak of wisdom is fear of God', sanah 1305/sana'at isma'il ridwan, 'The year 1305 (1887-8), work of Isma'il Ridwan'; to the lower panels, hadiyyah tadhkariyyah/ abril sanah 1937, 'Souvenir gift, April of the year 1937', min 'ummal al-qism al-mikaniki bi-shirkat miyah al-qahirah, 'From the workers of the Mechanic Department to the Water Company of Cairo'.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

Endon Collection 80672 – Architectural inspired white sandstone concrete finish pendant, suspended from white fabric flex for the complete designer look 25 x 7 x 170cm

An ebonised regular wall clock,late 19th century, of architectural design, with a circular enamelled dial, enclosing a single train movement, with a single train movement, with a single weight and pendulum, 97cm highCondition report: Knocks, wear and loss of finish to the case.

A Mid 20th Century Oak Cased Mantle Clock of Architectural Form with Continental Eight Day Movement, Working,34cm high

A Late 19th Century French Black Slate and Marble Mantle Clock of Architectural Form, Plinth Base Requires Feet, 40cm high

A Small Modern Linley Savoy Mantle Clock in Wooden Architectural Case, Small Chip to Left Corner, 12.5cm high

An Edwardian bracket clock in mahogany & brass architectural case with presentation plaque, the 6¾” silvered dial with roman numerals, with French musical movement, & striking on a coiled gong; 13½2 wide x 17” high (brass handle to top slightly loose).

A 19th century banjo barometer with 8” silvered dial engraved “C. Vanetti & Co., 29 High St., Brighton, Warranted”, with brass bezel & thermometer above, in marquetry-inlaid mahogany case with architectural pediment; 39” high.

AN EARLY VICTORIAN GILTWOOD & EBONISED OVERMANTEL MIRROR, the shaped architectural cornice with central torch-&-husk surmount & urn finials, the slender turned & fluted pilasters with foliate capitals & scroll corner brackets, 70” wide x 79” high over-all (various losses & faults to gesso & carved decoration, some fragments present).

An Arts and Crafts silver and enamelled timepieceLiberty & Co, Birmingham 1910 Of square architectural form, tapering flutes to the domed cover, the panelled sides with spot-hammered and polished surfaces and some with beading, enclosed circular dial in mottled turquoise, blue and green enamels, with silver Arabic numerals, the reverse with plain hinged door, opening to reveal a French brass movement, all on a spreading square base, height 14cm.For further information on this lot please visit Bonhams.com

An interesting early 19th century brass mounted ebonised bracket clock with provenance to John Young 'Eyamba', dated 1836the dial signed and numbered Johnson, No 1041, Liverpool the arched rectangular case with stepped moulded top with pineapple finial, the sides with cornucopia drop ring handles above rectangular fish scale sound grills, the front with inlaid quarter panels above a stepped plinth base with central foliate diamond inlaid motif above with inlaid presentation name and date JOHN YOUNG EYAMBA 1836, on ball feet, the 7.5' painted dial with Roman numerals, the brass four pillar twin chain fusee movement with anchor escapement and shaped plates striking on a bell, with pendulum and case key, 56cm high approximately Footnotes:Provenance:By descent directly from the Johnson family, clockmakers of Chester and Liverpool and makers of the clock, to the present vendor.By family repute, the clock was purchased by Eyamba V, Obong of the Old Calaba in 1836 when he visited Liverpool to purchase western furnishings for his home. It is said that the clock made its way on to the ship which was to return Eyamba to Africa but when he pulled the repeat cord, it struck thirteen which he considered to be a bad omen for his journey and the clock was duly sent back to Johnson's workshop. Eyamba V ((Edem Ekpenyong Offiong Okoho Efiom Ekpo Efiom Ekpo) of the Ekpe Efik Iboku and Efik people was the Obong (king or chief) of Old Calaba in Southern Nigeria and Western Cameroon between 1834 and 1847. He was also popularly known as John or 'Johnny' Young by his Liverpool friends due to his trading connections to the city and the UK. One of the most notable architectural feats of Southern Nigeria in the mid 19th century was Eyamba's 'Iron Palace' which was an impressive two story western style building built for the king to house himself and possibly some of his three hundred and twenty wives. Imported from Liverpool, the structure was framed of wood and roofed with galvanized iron plates. The 'Iron Palace' was built by William Laycock and from contemporary reports it was reputedly the envy of the surrounding nations and subject to the admiration of the (African) world.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

A late 19th century gilt copper alloy figural mount of a puttipossibly formerly part of an architectural mountthe recumbent infant with flower adorned locks and closed eyes, reclining on a draped and flower strewn mount, 53cm long, 26.5cm highThis 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

A Spanish gilt bronze mounted faux tortoiseshell, ebony and ebonised cabinet on stand in the 17th century styleWith ten short drawers flanking a central door modelled as a Baroque architectural facade, enclosing one drawer above a mirrored and colonnaded stage setting interior with a chequerboard inlaid shelf, on eagle claw feet, the stand with six spiral twist turned legs, 118cm wide x 40cm deep x 188cm high, (46in wide x 15 1/2in deep x 74in high)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

A late 19t century French gilt bronze and Sevres style porcelain porcelain figural mantel clockin the Louis XVI style, the movement stamped J T Paris and numbered 84the architectural case with Bleu Celeste and floral enamelled decoration, the 3.5' Roman dial within laurel wreath fronds below a flambeau finial above a central oval panel depicting a courtly figures within a rustic landscape flanked by twin columns and draped seated putti, the elaborate base with fringed lambrequin panels enamelled with floral vases and a central putto on toupie feet, the brass twin train movement with Brocot type escapement striking on a bell, 48cm high overallThis 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

A late 19th century French black marble and champlevé enamel panel inset clock garniturein the aesthetic taste, the dial with Tiffany & Co, New York retailers markthe rectangular architectural case with moulded top and plinth base, the inset enamel panels with bird, butterfly and flowering blossom decoration reserved on a turquoise ground, the 4' Roman dial with matching central circular enamel roundel, the brass twin movement striking on a gong, with pendulum and key, the matching garniture with corresponding inset enamel panel decoration, each of compressed pedestal vase form raised on moulded square plinth bases, 31cm high approximately (3)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

FLORIANI DA MACERATA, Pietro Paolo.- DIFESA ET OFFESA | Della Piazze | DI PIETRO PAOLO | FLORIANI DA MACERATA. | Opera non solo utile, e necessaria à Capitani, | Gouernatori di Fortezze, ma anco di sommo | profitto à studiosi dell’Historie Militari, | cosi antiche, come moderme.- Seconda impressione.- In Venetia: per Francesco Baba, 1654.- [32], 216 p.: 1 portada grav., 1 retrato, 51 gravuras [i. é 52]; 34 cm.- E., Pietro Paolo Floriani (1585-1638), Italian engineer and architect, born in Macerata, specializing in military buildings and fortifications; among his numerous works, we highlight the fortresses of Innsbruck, Austria, Altenburg, Hungary, San Germano, Piedmont and the defense lines of the city of Valetta, Malta. Second edition (the first was printed in Macerata, in 1630, by Giuliano Carboni), illustrated with an allegorical engraved title (heraldic and architectural), a portrait of the author (bust inserted in an architectural composition) and 52 copperplate prints, numbered from 1 to 51 (two prints with nº 14, A and B), eight of which are printed next to the text and the rest separately, the last one folding. Copy with slight browning, but generally clean; title page with slight handling and minor restoration; pictures 9, 10 and 11 bound in reverse. Recent full sheepskin binding with patina and decoration to the taste of the time (à la Duseuil). Graesse, II, 602. Coockle (Military books), 825.

LEÃO, Duarte Nunes de.- REPERTORIO | DOS CINQVO LIVROS | DAS ORDENAÇÕES COM | addições das lejs extrauagan- | tes, dirigido ao muito Illustre | Senhor Dom Francisco Cou | tinho, Conde do Redon- | do, Regedor da justi- | ça deste Reino. | Per o Licenciado Duarte Nu | nez do Lião, Procura- | dor da casa da Sop- | pricação.- Em Lixboa: Per Ioam Blauio de Colonia. M. D. LX. [1560].- [2], 112 f.; 28 cm.- E., Duarte Nunes (1530-1608), erudite historian, graduated in Law, chronicler and judge of the Casa da Suplicação, after the death of Cardinal King Henrique warmly embraced the cause of Filipe I, whose right to succession he defended in writing against those who they challenged him. An important 16th century typographic type, produced by João Blávio de Colónia, a German printer who worked in Lisbon between 1554 and 1563, having produced more than 50 typographic works. The two preliminary pages include: title page, with title framed in an architectural xilographic frame; on the verso, royal charter dated October 2, 1559; followed by the dedication MVITO ILLVSTRE Senhor (to D. Francisco Coutinho, Count of Redondo); on the verso, a small block of 14 lines AOS LECTORS, with information on the organization of the work. Copy slightly cropped and with slight brwoning, but generally clean and solid; small wormhole, poorly restored, in the upper outer corner of nine leaves (I1 to K1). Modern oval stamp, from the Almir de Andrade Library, on the pastedown. Binding from the 20th century, full sheepskin (slight wear on the joints), with gold closed panels on the spine. Anselmo, 335. Samodães, 2248. National Library (16th century), 411. D. Manuel II Library, 247.

LATE 19TH CENTURY VIENNA WALL CLOCK IN ARCHITECTURAL CASE, 90CM HIGH

SMITH AMERICAN ORGAN COMPANY, BOSTON, USA, LATE 19TH CENTURY ORGAN IN ARCHITECTURAL CASE, 116CM WIDE

An architectural carved oak overdoor crest, with central blue and gilt shield flanked by scrolling floral and foliate decoration, 165cm wide x 25cm deep x 38.5cm highCondition report: Some surface marks and scratches

An oak carved architectural element, with a central red and gold painted shield, 124.5cm wide x 1cm deep x 13cm highCondition report: Surface marks and scratches all over consistent with age and use, gilt paint worn and coming away at edges of shield, old nail holes to each end

A group of four New Hall tea bowls and saucers, three with floral and foliate decoration, the fourth with blue asian architectural landscapes, the largest saucer 13.5cm diameter (8)Condition report: All four with scratches and small pits, no chips or cracks

PAIR OF SIDE LAMPS, grey shades with architectural salvage detail, each 50cm overall including shades. (2)

ARCHITECTURAL WALL MIRROR, large oval, 151cm x 102cm, scrolled overlaid cast design over mirror.

ARCHITECTURAL GARDEN MIRRORS, a pair, Regency style, gated design, 180cm x 75cm. (2)

William Storer of London. A Regency parcel ebonised mahogany hour repeating bracket clock,with gothic architectural case and painted Roman dial, twin fusee movement with anchor escapement striking on a bell,width 29cm depth 18cm height 62cm

Circa 100 AD A beautiful relief carved marble panel featuring a helmeted soldier and robed man, both in profile with their heads to the right. The first man is slightly higher in placement, perhaps suggesting higher status, such as a general. His face is thin, consisting of an aquiline nose and short beard and curly coiffure. The top of his robe or toga is draped around his shoulders. Before him is the soldier with a curly beard who wears a crested helmet. Perhaps this scene depicted a procession or event marking a military triumph. The Romans developed new forms of public monuments to celebrate their military victories, including arches and columns. These architectural masterpieces have been found throughout the Roman empire and are often relief carved with Roman soldiers. This fragment may come from one such relief and is an impressive testament to Roman military and artistic achievements. Size: L:443mm (without stand) / W:304mm; 44kg (with stand) Provenance: Property of a London Ancient Art Gallery; formerly in a US collection of A.G: acquired from Fortuna Fina Arts gallery, New York.

John Sell Cotman, three ebonised framed etchings from The Architectural Antiquities of Norfolk -interior of Walsoken church, Walpole Street, Peter and St Michael church Coslany, provenance Willingham Auctions 2007 sale 1 Dec 2007, reframed in good condition, largest 48cm x 61cm

Zwei Ansichtsteller, Krister Waldenburg und ohne Marke, um 1860, sehr feine Landschafts- und Architekturbemalungen, reiche Goldstaffage, einmal mit Weinlaubdekor in Durchbrucharbeit, Goldstaffage teilweise berieben, ca. D. 25 cm /32 x 23 cmTwo view plates, Krister Waldenburg and no brand, around 1860, very fine landscape and architectural paintings, rich gold decoration, one with vine leaf decoration in open work, gold decoration partially rubbed, approx. D. 25 cm /32 x 23 cm

A 19th century Biedermeier walnut framed wall mirror, architectural crest, freize inset satin walnut marquetry lozenge, swept out base, plate size, 68cm x 38cm, overall size 134cm x 66cm

Stone architectural finial, of tapering square form with arched panels, 182 cm high

George II Bracket Clock, signed ROBERT HIGGS. London, first half of the 18th century.Blond mahogany veneered case.Gilt bronze dial with gilt bronze spandrel, exposed pendulum, chime override dial.Calendar of the month. Eight-day winding machine, square plates, engraved on the back, hour chiming on a bell.Measurements: 52 x 30 x 30 cm.English table clock, bracket type, signed by the clockmaker Robert Higgs. Its case is veneered in blond mahogany. It has a front with a simple architectural composition, with a façade topped by a rounded arch raised on a moulded base, which in turn is raised on four bronze legs. The whole has a sloping top with curved angles. It has an arched top handle, which makes the piece very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on gilt, with a gilt centre, and a calendar of the month.A well-known London watchmaker, Robert Higgs is documented as working in Sweetings Alley in London in 1743. He was a member of the Clockmakers Company from 1750 to 1769.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George III Bracket Clock, signed VALENTIA. England, late 18th century, early 19th century.Mahogany veneered case, bronze applications.Gilt bronze dial with exposed pendulum.Machine with square plates, eight days winding and chime of hours on a bell.Measurements: 56 x 31 x 20 cm.English table clock, bracket type, signed Valentia. Its case is veneered in mahogany with a beautiful natural finish and is enriched with gilded bronze applications. The front has a simple architectural composition with a façade surmounted by a semicircular arch raised on a moulded base, which is in turn raised on four bronze legs. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it is easy to move it. The front of the clock is decorated with garlands and classical vegetal compositions and spandrels, and on the sides there is a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre and a calendar of the month. The second dial functions as an hour chime on a bell and has the option of silencing it.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

Bracket table clock. FOX&SON, London, mid 18th century.Red lacquered case.Signed, silvered dial.Eight days winding machine, square plates, engraved on the back, hour chiming on eight bells.Measurements: 56 x 32.5 x 20 cm.Bracket type clock with wooden case, lacquered with chinoiseries on the upper part. It has an architectural structure made up of a stepped base with mouldings, a façade with arches on the front and back, glazed openings on the flanks, and a crown with a cornice and a sloping roof with a sinuous profile, with four ornamental pinnacles. It has an upper handle. The dial is silvered and signed by the watchmaker (Fox & Son); the hours are numbered in Roman numerals, while the minutes are engraved in Arabic numerals. It has Baroque-style openworked hands. Depictions of pagodas, landscapes and other Chinese-inspired lacquer motifs are combined with ornamental decoration in alternating vegetal designs and geometric patterns.

George III Bracket Clock, signed JOHN TAYLOR. London, third quarter of the 18th century.Mahogany veneered case with gilt bronze appliques.Gilt dial with gilt bronze spandrels, month calendar and strike override.Machine, eight days winding, square plates and engraved back, hour strike on a bell and with alarm clock.Measurements: 55 x 28,5 x 20 cm.Bracket type table clock, signed by the English clockmaker John Taylor, one of the most renowned creators of bracket type clocks in London in those years. Its case is veneered in mahogany and decorated with openwork spandrels in fine tracery. It has an architectural structure, with an arched front and a talud-like dome with curved angles. The dial has Roman numerals (Arabic for the minutes) engraved in black on a silver circle and has an auxiliary window for the date calendar. A second dial, with a chime function, allows it to be silenced. This is a highly decorative piece, culminating in gilt-bronze pinnacles and other vegetal elements. The sides have ornamental latticework and side handles for easy carrying.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 17th century in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

George III Bracket Clock, signed GEORGE CLERK (active ca.1780). London, last third 18th century.Cabinet case with gilt bronze applications.Dial with Spanish strike-cancelling dial (for the Spanish market).Calendar of the month.Eight days winding machine, square plate, engraved on the back, hour chiming on a bell.Measurements: 53 x 28 x 19 cm.English table clock, bracket type, signed by the clockmaker George Clark. Its case is made of wood, decorated with gilded bronze applications with foliate and rocaille motifs worked in relief. It has an architectural structure, the flanks of which are decorated with stipes with anthropomorphic busts. The corners and the panels surrounding the dial are also made of finely worked bronze with vegetal fretwork in the form of tracery. The dial has Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on silver, with a gilded centre. The second dial functions as a chime and has an override dial. The Spanish names indicate that the British watch was intended for the Spanish market. The dome, which is stepped in the form of a talud, is topped with a handle and is decorated with bronze appliqués and fruit elements decorating the corners.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George II Longcase clock, signed THOMSON FITTER. London, 1750.Richly decorated red lacquered case. With unique paintings on the door.Gilt dial with gilt bronze spandrels, signed, calendar of the month, second hand and chime override. Machine, eight days winding, chime of hours on a bell.Measurements: 244.5 x 51.5 x 23 cm.Longcase clock in red lacquered wood, the body of which has very balanced proportions. It consists of an architectural structure, with a pedestal, a closed central body and a crowned top. The watch case itself has a dial with Roman numerals (for the hours) and Arabic numerals (for the minutes). It also has a seconds dial and an additional window for the month calendar. The case also features an auxiliary dial with the option to deactivate the chime. Signed "Thomson Fitter" on the dial. This is a lavishly decorated piece in each of its parts: while the base features a narrative chivalric scene, the main body is decorated by two large pavilions with verdure-like scenes inside. These are characterised by a high degree of decoration and uniqueness. Vegetable motifs in gilding flood the rest of the piece, both the box and the crest, as well as the main body and the aforementioned plinth.

George III Bracket Clock, signed CHATER & SON. London, 1753-1784.Mahogany palm-plated case with gilt bronze appliques.Gilt bronze dial with spandrels, signed, visible pendulum, calendar of the month and dial with strike override.Machine, eight days winding, engraved back square plates, alarm clock and hour chiming on a bell.Measurements: 59 x 32.5 x 20.5 cm.Bracket type table clock, signed by the English watchmaker Chater & Son. Its case is made of wood veneered in mahogany palm, with gilded bronze applications with ornamental motifs worked in relief forming spandrels in fine tracery. It has an architectural structure, with an arched front and a talud-shaped dome with curved angles. It rises on a moulded base and a baroque-style skirt with a cut-out profile. The dial has Roman numerals (Arabic for the minutes) engraved in black on a silver circle and has an auxiliary window for the calendar of the month. A second dial, with a chime function, allows it to be silenced. It culminates in four gilt bronze pinnacles and a handle for easy carrying. The sides have a glazed surface that allows a view of the machinery.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

George II Bracket Clock, signed WILLIANS WITHERS. London, 1760.Ebonised case with gilt bronze appliques.Gilt dial with gilt bronze epandrels, strike cancel.Month calendar.Machine, eight days winding, square plates, engraved back, hour strike on a bell.Measurements: 49 x 26 x 16,5 cm.English table clock, bracket type, signed Williams Witer. It is made of ebonised wood and is enriched with gilded bronze applications. It has a front with a simple architectural composition, with a façade topped by a round arch raised on a moulded base. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows a view of the inside of the mechanism. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre, and a calendar of the month. The second dial functions as an hour chime on a bell.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

Bracket type table clock, late 17th-early 18th century.Box with wooden latticework and gilt brass ornaments.Highly engraved and gilt dial, with fleurs-de-lis between numerals.It has a two-tune selection dial, pendulum and month calendar.Eight-day winding machine, square plates, four trains, musical cylinder with two melodies, 26 hammers to operate the 13 bells (the bells are missing), quarter mechanisms on two bells and a chiming mechanism on one, escapement with a rope or pallets.Measurements: 67.5 x 38 x 25.5 cm.Table clock of the bracket type, dated around 1700, with a cabinet case, with finely carved vegetal latticework in wood, decorating the upper frieze and the spandrels. Four columns, with cylindrical shafts and Doric order, flank an architectural structure with a semicircular arched window. The sides and back also have arched windows, which leave the pendoline visible. The whole has a sloping top with curved angles, which rests on a moulded entablature, following the same pattern as the base. The gilt dial is beautifully engraved with Roman numerals alternating with small fleurs-de-lis adorning the circle. The minutes are indicated in Arabic numerals. Delicate foliate compositions in gilt brass cover the spandrels. A second dial, with chime functions, has a choice of two melodies and a calendar. Fruit pinnacles decorate the corners.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Bracket type clock, George III, signed WILLIANS HUGHES. London, 1784.Mahogany case, with important gilt bronzes.Signed dial, gilt, with gilt brass spandrels, chiming cancellations.Three-train machine with chime of hours and quarters, on eight bells and hours on one.Measurements: 63 x 36 x 22 cm.Important English table clock, with the dial signed by the clockmaker Williams Hughes, accompanied by the legend "Hig Holborn London". It follows the bracket model, a type of transportable clock, with handles, which became popular in England in the 18th century.Architectural in structure, the front and back windows are arched, with their spandrels richly worked with gilded bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs, and the flamboyant trophy-like pinnacles that crown the corners. The feet are also made of bronze, and a bronze crest decorates the dome in the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second striking dial and a calendar window. The foliate work on the gilt brass spandrels is also noteworthy.

Bracket type clock, George II, signed ROBERT ROMLEY. London, 1740.Ebonised case, with bronze applications.Signed dial, gilt, with gilt bronze spandrels, with the possibility of an override chime.Machine: eight days winding, square plates, engraved and signed back, quarter strike on eight bells and hour strike on one bell. Measurements: 53 x 30.5 x 20.5 cm.English table clock, with the dial signed by the clockmaker Robert Romley. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. With an architectural structure, the front and back windows are arched, with their spandrels richly worked with gilt bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs on the tympanum, and the fruit pinnacles that crown the corners. The feet are also made of bronze. The dome takes the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second dial for chiming and a calendar window.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Bracket type clock, George II, signed ROBERT HIGGS. London, first half s. LONDON, FIRST HALF OF THE 18TH CENTURY.Ebonised case, with gilt bronze applications.Signed dial, gilt, with gilt bronze spandrels.Selection dials with six melodies, sound annulment, quarter and hour chimes, with calendar.Three-train machine, with musical cylinder that activates thirteen bells and chime of hours and quarters on a bell.Measurements: 60 x 39 x 25 cm.Important English table clock, from the George II period, with the dial signed by the renowned watchmaker Robert Higgs. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. Architectural in structure, the front and back windows are arched, with their spandrels richly worked with gilded bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs, and the fruit pinnacles that crown the corners. The feet are also made of bronze, in the form of scrolls surrounded by foliage, and a bronze crest decorates the dome in the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second chime dial and a calendar window. Robert Higgs was a member of the Clockmakers Company from 1750 to 1769. Prior to that, he worked at Sweetings in London.English bracket clocks are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Bracket clock. ABEL PANCHAUD (active 1764-1784). London, 18th century.Gilt lacquered case.Gilt dial, engraved, signed, visible pendulum, month calendar dials and strike cancel.Eight-day winding machine, square plate, engraved back, quarter strike on eight bells and hour strike on one.Measurements: 51 x 27.5 x 18 cm.Desk clock of bracket type, work of the watchmaker Abel Panchaud, with lacquered case with representation of garlands and festoons. Gilt-bronze appliqués flank the architectural structure with its round-arched façade. The bronze spandrels feature vegetal designs in the form of tracery. The signed dial has Roman numerals for the hours and Arabic numerals for the seconds, engraved in black on gilt. Three smaller dials serve as chime and calendar functions. Decorative acorns crown the case, whose dome takes the form of a slope with rounded corners. The bronze feet are Baroque in style, curling into sensuous scrolls.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Bracket type clock, George II, signed CHATER & SON. London, 1753-1784.Green lacquered case, chinoiserie motifs.Signed dial, gilt, with gilt bronze spandrels, with chime-cancelling function.Eight-day winding machine, square plates, engraved and signed back, hour strike on a bell.Measurements: 55 x 28 x 18 cm (with the handle raised).Bracket clock signed Chater & Son. It has a front with an architectural composition, with a façade topped with a talud-type dome with curved angles, and raised on a moulded base, with the skirt trimmed according to Baroque models. The front has gilded bronze spandrels. The gilt dial features Roman numerals engraved in black for the hours and Arabic numerals for the minutes. The hands are Baroque in style. At the top of the dial is a second, smaller dial that indicates whether or not the chime is activated. The piece has a handle on the top for easy carrying. With regard to the ornamentation of the piece, it should be noted that it is defined by an orientalising style, although manufactured in Europe, where, throughout the 19th century, both China and Japan were a constant source of inspiration, both for painting and for the design of furniture, interiors and decorative objects.

George III Bracket Clock, signed JOHN TAYLOR. England, third quarter of the 18th century.Mahogany palm-plated case with gilt bronze appliques.Silvered dial with gilt bronze spandrels, calendar of the month on a hand and strike override.Eight-day winding machine, square plates, engraved on the back, quarter strike on eight bells and hour strike on one.Needs restoration.Measurements: 54.5 x 32 x 20.5 cm.English table clock of bracket type, made by J. Taylor, known as an important manufacturer of Bracket type clocks, with case veneered in mahogany palm leaf and ornamental applications of bronze in relief. The front has a simple architectural composition, with a façade surmounted by a rounded arch raised on a moulded base, which in turn is raised on four bronze legs. The whole has a sloping top with curved angles, finished with an upper handle, which makes the piece very functional, as it is easy to move. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides are decorated with vegetal latticework. The dial is numbered in Roman numerals (hours) and Arabic numerals (minutes).From the 18th century onwards, many great collectors, including Philip V of Spain, preferred English watches over others for their technical perfection, and English watches were in fact the main watchmaking school of the time. English bracket clocks originated in the 1960s, when the pendulum was applied to the clock to replace the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This is how transportable watches came into being. These were short case pieces, which housed inside them a mechanism held between two thick plates and containing, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. Throughout the 18th and 19th centuries, English clocks were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency.

Bracket type table clock. VICENTE GINER, Barcelona, mid-eighteenth century.Cabinet case with gilt bronze applications.Signed dial, with gilded bronze spandrels, striking and calendar of the month with needle.Eight-day winding machine, square plates, engraved on the back, hour chiming on a bell.Measurements: 56 x 32.5 x 20 cm.Desk clock of the bracket type, with a case in wood and ornamental bronze applications in relief and round bulge.It has a front with an architectural composition, with a façade topped by a talud-type dome with curved angles, raised on a moulded base, in turn raised on four gilt-bronze feet. The corners are decorated with stipes combining anthropomorphic busts and vegetal bodies. The spandrels or spandrels are decorated with other bronze applications in the form of spandrels and foliage of classical inspiration. This one, gilded, is signed by Vicente Giner (Barcelona), and has Roman numerals engraved in black for the hours and Arabic for the minutes. The hands are Baroque in style. A second, smaller dial is located at the top, which indicates whether or not the chime is activated. The piece has side handles and bronze plaques with interlaced scrolls and rocailles. Small bronze vases decorate the corners, and a small ornamental crest flanks the upper pinnacle.

George II bracket clock, signed JAMES SMITH. London, mid 18th century.Red lacquered case with gilt bronze appliques.Gilt dial with gilt bronze spandrels and chime override.Eight days winding machine, square plate, engraved back, hour chiming on a bell.Measurements: 53 x 30.5 x 19.5 cm.Bracket type table clock, signed by the English clockmaker James Smith. Its case is made of lacquered wood, with gilded bronze applications with ornamental motifs worked in relief forming stipites with masks and spandrels in fine tracery. It has an architectural structure, with an arched front and a sloping dome with curved angles. It rises on a moulded base and skirt with a cut-out profile, in the Baroque style. The dial has Roman numerals (Arabic for the minutes) engraved in black on a silver circle. A second dial, with a striking function, allows it to be silenced.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock to replace the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Louis XVI style portico clock; late 19th century.Gilded bronze and marble.Key preserved.Measurements: 52 x 57 x 12 cm.Louis XVI style table clock, with a white coloured structure following an architectural scheme, and applied gilded bronze decorations. The piece is structured as a classical style façade, inspired by the Baroque both in its mixtilinear plan and in the profusion of decorative elements, subordinated to the structural lines, without concealing the lines that define the piece. The façade is made up of a base comprising a single step, raised on low bronze feet, with projections that correspond to the columns and pillars of the main body. This base is topped with the typical Louis XVI ornamental repertoire, and is adorned with delicately chiselled rosettes in relief and plaques with plant-inspired compositions in relief. The façade has two columns supported by two central pillars with chiselled bronze bases and capitals. Between the two front pillars is the pendulum in the form of a radiate medallion, decorated in the lower centre with a classical mask. The façade is crowned by an entablature with the same mixtilinear profile of projections and recesses as the base. It is decorated with vases topped with bronze flowers. Next to the vases, garlands can be seen, starting from the upper part of the clock structure, where a large eagle with its wings spread out is placed.

NO RESERVE Palladio (Andrea) The Four Books of Architecture, 4 engraved architectural titles, 11 engraved illustrations/diagrams in text and 191 plates only (of 205, lacking plates XLIII in Book 2, III-XV in Book 3 and XLVIII in Book 4, some obviously torn out leaving stubs), plates XV & XVI in Book 1, III in Books 2 & 3 and XXXIII, XXXIV & XXXV in Book 4 all with child's faded ink drawings and scribbles to verso (all loose), title soiled, a few stains, engraved bookplate of Aytoun of Incdarnie, contemporary calf, very worn, Published by Isaac Ware, [c.1755] § Temple (Sir William) The Works, 2 vol., engraved portrait, browned, modern half calf, spines faded, for T.Woodward [& others], 1750; and 7 others, odd volumes and/or defective copies of Purchas His Pilgrimes, Raleigh's History of the World, Rapin de Thoyras's History of England, Harrison's History of London, folio; sold not subject to return (10)

NO RESERVE Bede, the Venerable. Opera, vol.1&2 only in 1 (of 8), general title within ornate metalcut architectural border, numerous woodcut maps, illustrations and diagrams in text, woodcut music, vol.1 cc1 repaired tears at foot, without loss, water-stained, causing some damp-spotting in places, occasional mostly marginal small areas of worming, near contemporary vellum-backed reverse-calf boards, remnants of clasps, worming to boards, rubbed, [VD16 B 1418], folio, Basel, Johann Herwagen, 1563⁂ Includes geography, natural history, music, mathematics and astronomy.

Boxhorn (Marcus Zuerius) Monumenta Illustrium Virorum et Elogia, engraved architectural title and 125 full-page illustrations / plates (2 of which on smaller sheets), engraved historiated and decorative initials, lacking explanation f. before index, pp.104-176 printed recto only (lacking pagination and explicatory text verso for the engraving opposite), F1 small section of lower blank corner torn away, G3 water-stain to outer margin, contemporary mottled calf, gilt spine in compartments, spine ends and corners restored, rubbed, [Berlin Kat. 3674], small folio, Amsterdam, Joannes Janssonius, 1638. sold not subject to return. ⁂ Handsomely produced compendium of epitaphs of notable individuals, including Virgil, Erasmus, Dante, Petrarch. and Alciati.

Josephus (Flavius).- D'Andilly (Arnauld, translator) Histoire des Juifs, 2 parts in 1, nouvelle edition, engraved additional architectural title (a little browned at margins), engraved vignette illustrations, 2 double page engraved maps (of which 1 folding), engraved double page plate (trimmed at lower edge with slight loss of captions), original calf, rebacked, with portion of original backstrip laid down, corners lightly rubbed, Amsterdam, Pierre Mortier, 1700; and a C17th 8 vol. chronology of French history, folio and 12mo (9)

A mixed lot: to include a 1930s slate cased mantel timepiece of architectural form, on a plinth; the movement faced by an Arabic dial  15"h  14"w

A late Victorian black slate cased mantel clock of architectural design with gilt dial centre marked for Lyons & Sons, with eight day gong striking movement

FOUR CONTEMPORARY PHOTOGRAPHS OF ARCHITECTURAL SUBJECTS.