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Lot 379
Circle of Niccolò Codazzi Architectural capriccio with figures by a ruined triumphal arch, a landscape beyond Oil on canvas 80 x 64cm; 31½ x 25¼in We are grateful to Professor David Marshall for his assistance cataloguing the present work. Professor Marshall believes this work to be from the circle of Niccolò Codazzi, probably dating to the 1680s or 1690s.
Lot 380
Attributed to Jean Lemaire, Called Poussin-Lemaire (French 1598-1659) Architectural capriccio of Roman ruins with the Rest on the Flight into Egypt Oil on canvas 80 x 63.8cm; 31½ x 25¼in For another work by Poussin-Lemaire which features a very similar treatment of the same building on the left-hand side, see Christie's, London, Old Master Paintings and Sculpture, 8 December 2021, lot 175.
Lot 1631
A Georgian oak and cross banded longcase clock, with reeded and moulded trunk and arched hood, with architectural pediment enclosing a painted dial with lunar landscape phase, secondary minute dial and calendar aperture by Shepherd & Potter Wotton, with eight day movement, (complete with two weights, pendulum and key)
Lot 345
Erik Nitsche (Swiss, 1908 - 1998) "Marina San Gorg in Malta" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Malta Europa 1987 Modern Art - Architecture stamp issued April 15, 1987. The strategic position of the Maltese Islands, situated at the crossroads of Europe and the Islamic World, is reflected in its overall architectural character. The synthesis of these two cultures provides the basis for the Maltese architectural and cultural identity. With the arrival of the Knights of St. John of Jerusalem in the sixteenth century, the introduction of both the massive fortifications of European royalty and the intricate elegance of Islamic design were wed. The architectural culmination of this union can be seen throughout the islands, and especially in the old city of Valletta, Malta's capital. Valletta's structures contrast sharply with the modern designs championed by native-born Maltese architect, Richard England. England has been in the forefront of Malta's modern architectural movement during the past twenty years. He has designed and built most of Malta's modern buildings. This artwork depicts England's Marina San Gorg Apartments built in 1981. It relects the synthesis of Malta's architectural heritage with modern design concepts. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10852)
Lot 351
dating: 19th Century provenance: Turkey, Smoothbore, two-stage, round, 15, 8 mm cal barrel at the nozzle with rings at the girdle. The first segment with brass-covered breech, the surface with remains of floral engraving and a mark, remains also of a signature (fake?), the second part with brass foresight. Tang provided with a brass-covered, slightly visible sight. Lock with thick lock plate with oblique borders and surface engraved with racemes, as well as the base of the cock. Working mechanisms. Wooden stock with spiral carvings. Brass mounts, beautiful cusped butt-plated decorated with architectural motifs. Back plate in white metal. Typical false ramrod. length 46,5 cm.
Lot 1320
Fine French white marble two train calendar mantel clock with Fahrenheit and Centigrade thermometers, the 5.25" white chapter ring with centre seconds and enclosing a recessed visible escapement, within a drumhead casing flanked by twin thermometers and over a shaped pendulum window flanked by a calendar dial to the left and metallic barometer to the right, within an architectural stepped case, 18" high (gridiron glazed ormolu pendulum and key)
Lot 2327
French black slate and malachite inlaid two train mantel clock striking on a bell, the slate dial signed Rowell & Son, Oxford, within a stepped architectural case with scrolling sides, 13.5" high; also another French black slate and coloured marble drumhead two train mantel clock in need of restoration, 10.25" high (no pendulums) (2)
Lot 2341
French mahogany, alabaster and gilt metal mounted two train portico style mantel clock, the Mougin movement with outside countwheel striking on a gong, the 4.25" white chapter ring signed Johan Stark enclosing an engine turned centre, within an architectural pillared case surmounted by a triangular cornice and urn finial, 19" high (pendulums)
Lot 2342
French Arts & Crafts style black slate two train mantel clock striking on a gong, the 4.75" slate chapter ring with Arabic numerals enclosing a centre decorated with birds, the architectural case inset with copper relief panels depicting rural scenes above and below the dial, surmounted by a galleried top with four finials, 17" high (pendulum)
Lot 2344
Oak and coloured pottery mounted Arts & Crafts two train mantel clock, the movement with outside countwheel striking on a gong, the 5.5" floral painted pottery dial with Arabic numerals, within an architectural carved pillared case inset with similar pottery panels and surmounted by a triangular galleried cornice, 20.5" high (pendulum and key)
Lot 139
Property of a Gentleman. Landscape with Fishermen. William Alfred Delamotte (1775-1863). Oil on canvas. In gilded frame. William Alfred Delamotte (Weymouth 1775-1863 Oxford) was an English painter and engraver. Delamotte was the son of a French refugee. His remarkable drawing skills were apparent from an early age and he enjoyed the royal patronage of King George III. After having exhibited at the Royal Academy in 1793, he enrolled at the Royal Academy Schools the following year, becoming a student of Benjamin West, another of the King's protégés and the President of the Royal Academy. Even during these years of study, Delamotte chose to turn his attention to architectural and landscape work. From the Academy he moved to Oxford, depicting its buildings in numerous sketches. In 1803 he accepted the post of Drawing-Master at the newly established Royal Military College, Sandhurst, a position he held for forty years. Besides producing watercolours and a few oils, he turned to printmaking by way of etching, lithography and soft-ground etching. Provenance:Swan Gallery, Sherborne Dimensions: (Frame) 23 in (H) x 30 in (W)(Canvas) 16.5 in (H) x 23.5 in (W)
Lot 146
Architectural Capricii with Figures amongst Classical Ruins. A pair. Oil on canvas. Giuseppe Zocchi. Italian, 1711-1767. Pair documented in Giancarlo Sestieri's Capriccio Il Architettonico in Italia nel XVII e XVIII secolo catalogue raisonné; pgs 342-343; 18a, 18b. Zocchi is best known for architectural capriccios and also vedute, or topographical views, particularly of the city of Florence and its surroundings. His output was both prodigious and varied and as a young man, he came under the protection of the Marchese Andrea Gerini (1691 - 1766), an intellectual and patron of the arts from a noble Florentine family, who sent the artist to study the works of his contemporaries in Bologna, Rome, Milan, and Venice during which time Zocchi was exposed to the work of artists such as Canaletto, Marieschi and Panini. On his return to Florence, the Marchese commissioned Zocchi to produce the Selection of XXIV Views of the principal Districts, Squares, Churches, and Palaces of the City of Florence and of Views of Villas and of Places in Tuscany; a two fold series of engravings of the city and its environs intended to give to visitors as a memento of their stay in the city. In the years following publication of this series in 1744, Zocchi embarked on one of the most industrious periods of his career. He produced drawings and engravings for various printed works such as the Azioni gloriose degli uomini illustri fiorentini espresso co'loro ritratti nelle volte della Real Galleria di Toscana, amongst others, he took part in the decorative scheme of the church of San Carlo dei Barnabiti and completed numerous other public and private commissions throughout Tuscany including the decoration of the archbishop's palace in Pisa and the Palazzo Rinuccini in Florence. From 1750 onwards, Zocchi was taken on by the 'Galleria dei Lavori in Pietre Dure' in Florence to supply drawings and painted models for the Grand ducal workshop. He remained in this position until his death from the plague in 1767. Provenance: Collection of Dimitri Sursock, Beirut, and London. Thence by descent Sale, Bonhams, London, Old Master Paintings, 4 July 2018, lot 94, where purchased by the present owner. Dimensions:(Framed) 40 in (H) x 51.5 in (W)(Canvas) 34.75 in (H) x 47 in (W)
Lot 1171
A late 19th century Black Forest softwood cased cuckoo mantel clock by Gordian Hettich Sohn, with brass two train movement striking on a gong, the backplate stamped 'G.H.S', the dial applied with Gothic Roman hour numerals, the architectural case carved and pierced with fruiting vine, on a rectangular fenced base with moulded plinths, height 46.5cm, with pendulum (faults and losses).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.
Lot 156
TOM L. BRIGGS Two paper folders titled 'The Vanishing City' (proofed) comprising of sixteen original printed architectural illustrations by Tom L. Briggs, each titled, signed and dated ''74' by Briggs in pencil below, including an introductory page written by Briggs dated October, 1974. Provenance: Acquired by the vendors family who lived in Hong Kong in the 1970s and was a friend of Tom L. Briggs. Tom L. Briggs was an artist who lived and worked in Hong Kong in the 1970s and 1980s were he was the principal art teacher at King George V School. In 1977, he and author Colin Crisswell made a book titled 'Hong Kong: The Vanishing City', and later went on to make Vol. II in 1978. (2)Each print in overall good condition for age with no damages to note. One folder bears a tear along the spine and a small area of loss on one corner.
Lot 288
Eugène Berman (American/Russian 1889-1972) Set design with a classical colonnadesigned with initials and indistinctly dated (lower right)ink and gouache24 x 32cmFootnote: The stepson of a wealthy banker and art collector, painter, illustrator, printmaker and sculptor, Eugène Berman received his early artistic training in Switzerland, Germany, and France. Together with his brother, Leonid, Berman also received training in his native Russia from venerated realist painter, P.S. Naumoff. In 1918, fleeing the Bolshevik Revolution, the family relocated to Paris where Berman studied at the Académie Ranson under Pierre Bonnard and Édouard Vuillard, both of whom would become crucial influences upon Berman’s artistic practice. At the Académie Ranson, Berman also studied under the instruction of architect and designer, Emilio Terry. Famed for pioneering the ‘Louis XIV’ style of architecture and design which combined different historical styles to create a richly decorative and fantastical aesthetic, Terry would inspire in Berman a love of architectural design that would become especially evident in his later work. In 1935, Berman, who had previously been living and working in Paris, moved to New York where he expanded his repertoire to include stage design, creating sets for several ballet companies and, notably, for the Metropolitan Opera. Often steeped in pathos and drama, Berman’s vaporous work presents a uniquely singular visual language and demonstrates a confluence of influences, from surrealism and neo-romanticism to neo-classicism and baroque architecture.
Lot 246
A T and Betram Butler, ink and wash architectural presentation drawings of proposed public houses 1930s-1950s Dudley and the Black Country including The Four Crosses Leamore Walsall (AT BUTLER 1921), Cobham Arms Quinton Halesowen, Aldesley Road, The Golden Cross Netherton and Queens Head Inn Quarry Bank (Jennings Homer & Lynch) (5)
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35023 item(s)/page