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A framed and glazed architectural print, COLLECT ONLY.

Valencian school, 17th century."Tota Pulchra or Immaculate Conception".Oil on glass.Measurements: 44 x 36 cm., 59 x 51 cm. (frame)This is an interesting painting with one of the most mysterious Marian iconographic motifs in Christian art. The so-called "Tota Pulchra" is an iconographic type that is intimately related to the mystery and dogma of the Immaculate Conception. Although it is not known when this representation first appeared in art (possibly around the 15th century), during the 16th century it merged with the types of the Amicta Sole and the Ipsa contedet caput tum.The Virgin Mary is thus depicted dressed in the traditional colours of white and blue with her hands clasped together in a prayerful pose. This rigid way of depicting her (called the Column Virgin) is very common in Valencia, as it derives from the pictorial compositions of Juan de Joanes, who was very popular in Renaissance and Baroque Valencia. Its mantle and outline radiate light, representing the woman clothed in the sun who appears in the Apocalypse of Saint John (the Amicta Sole).Her position on a crescent moon that mercilessly tramples on an infernal being directly links the painting to the traditional Immaculate Conception.All the elements surrounding the Virgin, such as the fountains, the plants and the architectural elements, correspond to the titles of honour glossed in the litanies. The colours used by the painter also respond to a pre-established symbolism: the tunic is in hyacinth, the colour of purity, and the mantle is an intense sky blue, the colour of eternity.Finally, it is worth noting the importance of the dogma of the Immaculate Conception in the territories of the Hispanic Monarchy, a cult so strong that it was exported to the conquests of Latin America and the rest of Catholic Christendom.

Oxford interest 6 Vols. vis:- Architectural Topography - Diocese of Oxford. Parker 1850. Ex lib Kennett (White) Parochial Antiquities. Ambrosden, Burcester. 3 Vols. Ex lib. Green and brown cloth. Much used Jackson (T.G.) The Church of St Mary the Virgin Oxford. Illustrated. Clarendon 1897. 1/2 vellum and blue cloth. Untrimmed paper. Bumped and used Gibbs (A Hamilton). Rowlandson's Oxford with plates. Kegan Paul et al, London 1911. Red cloth. Bumped and torn. All small Fo. (c230 x 290mm) (6)

An 18th century Dutch mahogany and marquetry small side cupboard, inlaid with urns of flowers within chequer banded borders, and having a pair of doors enclosing a range of fitted drawers around an architectural recess, on turned feet, 89 x 38cm Provenance: From the Estate of Patrick Dockar-Drysdale

A Russian white metal beaker, engraved with architectural scenes, 8cm high, stamped HA 84/1834, 126.79g gross

Reclamation/Architectural salvage interest - A pair of metal Swimming pool entrance gates, 99cm x 172cm

the moulded cornice above a pair of parquetry doors inlaid with cartouches, strapwork and architectural niches to the sides, opening to a shelved interior with printed paper lining; the later stand with spiral carved supports and an undertier raised on squat bun feet163cm wide, 205cm high, 60cm deep

A late 19th century oak bracket clock of architectural form with Wurttemberg movement

An early 20th century mahogany architectural mantel clock, Arabic numerals on brass dial, twin winding holes, 53cm high

A SMALL VICTORIAN WALNUT PENWORK DECORATED CABINET ON STANDThe pair of doors revealing an architectural fitted interior, on barleytwist supports, 52cm wide; 32.5cm deep; 105cm highCondition report: Slight warping to the doors which are slightly curved. Old worm in areas. Various small patch repairs to the veneers in areas. Decorated to the sides and interior. Various other inevitable scuffs, scrathes, dents, small chips and marks commensurate with wear, use and age.

A PAIR OF MID 19TH CENTURY GILT BRASS FIGURAL CANDELABRA, each with six foliate candle sconces supported by a putto, standing on an architectural brass mounted green marble pedestal base on bun feet. 80cm high. (2)

Six bronze Architectural Medals by Jacques Wiener 59 mm. All by J. Wiener of Brussels depicting the outside of the structure in intricate detail on one side and presenting a realistic near three dimensional view of the interior on the reverse. Part of a series of 41 medals by the Belgian sculptor produced in the 1850's and 1860's includes Notre Dame Cathedrale de Paris, Cathedrale de Chartres, Eglise Ste. Genevieve, Cathedrale de Reims, St. Ouen a Rouen and Cathedrale de Strasbourg, original fitted presentation box

A Late Victorian Combination Mantel Clock and Barometer in Oak Case with Moulded Brass Scrolled Mounts of Architectural Form, Cylindrical Drum Movement. 40cms Wide and 23cms High

A Monochrome Architectural Print of the Ruins of Hadrian's Temple after Giovanis Battish Piravesi, with Blind Stamp of Regih Calcogragih Di Roma, In a Later Ebonized Frame, 32x43cms

An Antique Hand Coloured Architectural Print of the Temple of The Sun, Palmyra, In a Gilt Wood Frame. 40x50cms

A Large Late Victorian/Edwardian Oak Chiming Bracket Clock in Architectural Oak Case with Carved Panels. Twin Fusee Chain Driven Movement Striking on Two Gongs by Winterhalder and Hofmeier. Silvered Dial with Subsidiary Dials for Fast/Slow and Chime/Silent and Inscribed Connard and Sons, Manchester and Southport. 25x21x41cms High

Switzerland, c.1535 AD. A framed stained glass panel depicting a standing Landsknecht standard bearer in half-armour with puffed-and-slashed sleeves, holding a two-handed sword in one hand and a banner with the heraldic arms of the city of Unterwalden (or Solothurn); at his feet is a heraldic lion rampant bearing the imperial shield and crown beneath an architectural column surmounted by soldier playing a fife; to his rear a column with putti at the base and a drummer above. 1.53 kg total, 47.5 x 36cm (18 3/4 x 14 1/4"). Ex central London gallery. Koller Auctions, 25 September 2017, lot 1005. Private collection, Schaffhausen, Germany. Accompanied by a previous cataloguing page on the piece. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11117-184125. [No Reserve] Fine condition; repaired.

Late 16th-early 17th century AD. A rectangular fabric panel with embroidered scene of the Presentation of the Virgin at the Temple including nimbate Joachim and Ann presenting the young nimbate Mary to the temple elder while a throng of females holding fronds looks on; the embroidery is couched with the garments and ther architectural details filled in a variety of patterns and colours 143 grams, 33.5 x 42cm (13 1/4 x 16 1/2"). Ratton Gallery, Paris, since 1960s. Ex central London gallery. [No Reserve] Fine condition.

17th century AD. A vellum manuscript leaf comprising two columns of Ge'ez text in red and black script to the recto; a full page polychrome scene illustrating an episode from the Miracles of Mary in a grand architectural setting to the verso, four sections of red Ge'ez text. 22 grams, 30 x 27cm (11 3/4 x 10 1/2"). David Buxton collection (1910-2003) until the 1990s. Ex central London gallery. [No Reserve] Fair condition.

6th century BC. An Etruscan terracotta pediment, sima, comprising two bands of decorated patterns; the horizontal band with raised border along the upper edge divided in two fasciae, the first decorated with painted tongue pattern, in alternating dark blue and red and yellow colour, the second one decorated with a painted single guilloche in alternate red and dark blue colour, the two fasciae separated by a red line. Cf. Torelli, M., Gli Etruschi, Cinisello Balsamo, 2000, pp.156,331, for similar architectural examples; Wikander, O., 'The Archaic and Etruscan Sima' in De Puma D., Penny Small, J., Murlo and the Etruscans, Art and Society in Ancient Etruria, London, 1994, pp.47-63, figs.18,50; Winter, N., 'Traders and Refugees: Contribution to Etruscan Architecture' in Etruscan Studies, November, 2017, pp.123-151, fig.7, 8. 5.5 kg, 44cm total (17 1/4"). Van der Aa collection collection, Belgium, formerly Netherlands, 1960s. With Gerhard Hirsch Nachfolger, Munch, Germany, Auktion 303, lot 1025. From a private Australian collection. Accompanied by a copy of the Gerhard Hirsch Nachfolger invoice and relevant catalogue pages. Accompanied by a copy of the previous collector's cataloguing document. A great revolution of Greek origin, took place in the Etruscan architecture towards the middle of the 7th century BC: the introduction of terracotta roofs. Pliny the elder tells (Nat. Hist., XXXV, 152) of the entry into Etruscan land, following a certain Demaratus, of a workforce of Greek origin who introduced new construction techniques and in particular the choroplasty, similar to those observed in Greece, in Corinth and Sicyon, by Butades. The Plinian story is partly confirmed by the Acquarossa excavations for the level referable to the end of the 7th century BC which features painted terracotta tile roofs, modelled and painted acroteria and antefixes, with motifs taken from the sub geometric, Greek and Orientalizing repertoire. The same type of decoration is witnessed in the complex of the Orientalizing period of Poggio Civitate, having both a residential (for the local lord) and a cult function, datable to around 650 BC, with cut-out clay acroteria. It is therefore attested from the middle of the 7th century BC, in Etruria and in all the placed reached by the Etruscan expansion (like Capua) the existence of workshops made up of craftsmen specialised in different techniques, capable of carrying out complex and complete works. Terracotta plaques like this sima were used in the pediments of the temples (Minerva at Veii, Portonaccio Sanctuary, 540-530 BC).For this specific lot, 5% import VAT is applicable on the hammer price Fair condition, in pieces including restored areas.

John Wakefield, (British, 21st Century School), two watercolours of Architectural Construction, one titled Internal View of One of Old Whitbreads in Faversham, each framed, signed, one labelled verso, 77 cm x 67 cm max. inc. frame

An early 20th Century domed case mantel clock, the stained oak frame 23cms high; together with two stained wooden boxes; and an architectural miniature mantel clock. (4)

A 19th Century French black slate and marble mantel clock, by Japy Freres, impressed mark to movement, the architectural case 22cms high.

Oil on canvas, the Madonna and Child before an architectural structure with cherubs, Her finely painted lace-edged robed decorated with gilded acanthus leaves, dent to canvas with associated paint loss, framed, losses to the frame62,5 by 42,5cm unframed

ARCHITECTURAL WALL MIRROR, arched top, aged white painted finish, 100cm x 161cm.

ARCHITECTURAL WALL MIRRORS, a set of 3, bronzed finish frames, 107cm x 55cm. (3)

ARCHITECTURAL FIREPLACE ENGRAVINGS, a set of six, depicting French fireplaces, 39cm x 31cm, gilt framed and glazed. (6)

PETER NELSON FOR ARCHITECTURAL LIGHTING LTD, a set of three 1960's brushed aluminium floor lamps, with twin adjustable lights, untested and unsigned, height 139cm

A volume: Formal gardens and garden ornament, plus a folio of architectural prints.

A pair of etchings, artists proofs, coloured, HPH, Belgium, indistinctly signed, 26 x 21cm, plus frame and glazed, and a pair of watercolours, Allan, architectural studies, signed 26 x 18cm, plus frame and glazed

Late 19th century polished pine architectural mirror, arched bevelled plateDimensions: Height: 52cm  Length/Width: 101cm 

A German musical alarm clock (model 1523/24) made by the Hamburg Amerikanische Uhrenfabrik c1880, in an oak case with an architectural top and finial, two-part dial with a gilt centre, ivorine chapter and steel spade hands, with roman numerals and minute track, case raised on four bun feet, with a thirty-hour balance wheel pin pallet spring driven movement sounding the alarm on a musical movement, key wound and set from the rear. Compete with three different and changeable musical movements in their original box. These clocks would have been sold as here with separate musical movements, it is rare to find them with the original clock.H30 W17 D11 Dimensions: Height: 30cm  Length/Width: 17cm  Depth/Diameter: 11cm

Contemporary brass and cloisonne mounted mantel clock of architectural form fitted with a quartz movement, 20cm high

Tribal/ethnographica interest - small Papua New Guinea wall hanging, anthropomorphic figure, together with a further carved hardwood decoration of architectural form, (2)

Victorian black slate and grey marble cased mantel clock with enamelled face with Roman numerals to a twin train movement striking on a bell, with exposed escapement, the architectural case with scrolled side supports and a plinth base, 29cm high

Quantity of unframed architectural and classical prints (a lot)

Petit Trainon, a collection of architectural book plates (a lot)

Carved and gilded wooden architectural elements.

A George III style pine architectural corner cupboard

Angelo Palazzini, geb. 1953 Casalpusterlengo/Italien, Cassetti con paesaggio al tramonto, surrealistische Komposition in der Tradition der Bildfindungen Hieronymus Boschs, monumental- architektonische Darstellung einer Vielzahl an Schubladen, miniaturhafte Allegorie der Abendröte, rückseitig signiert u. bezeichnet, Mischtechnik/Lwd, ca. 90x90 cmAngelo Palazzini, born 1953 Casalpusterlengo/Italy, Cassetti con paesaggioal tramonto, surrealistic composition in the tradition of Hieronymus Bosch's pictorial inventions, monumental-architectural representation of a multitude of drawers, miniature allegory of the sunset, signed on the back and inscribed, mixed media/canvas , about 90x90 cm

An assortment of 19th and 20th Century prints, various subjects, primarily architectural; Waterloo Bridge; King's College; 18th Century Prospect of Stratford, view of London during the Great Fire, 1666Qty: 5

GEORGE CHARLTON (1899-1979): Three drawings, two still life and an architectural example, framed and glazed

A Victorian mantel clock with green onyx case of architectural form showing a visible escapement wheel, the movement hung with a pendulum and striking on a gong. 34cm tall a/f

A bronze mounted mantel clock, of architectural form, surmounted by a cherub, 59cm high

A large carved white marble architectural arch, decorated with swags and masks, 250cm wide

A pair of large carved white marble architectural brackets, each with acanthus decoration, 70 x 123cm

A late 19th Century Victorian Aesthetic movement mahogany twin pedestal writing table desk in the manner of James Shoolbred & Co. Comprises a black gilt tooled leather writing skiver with central drawer above the knee hole recess flanked by two banks of four graduating drawers. Each fascia having architectural brass drop handles. Raised on black ceramic castors. Measures approx 76cm x 131cm x 61cm. Knee hole approx; 61cm x 61cm.

An Edwardian mahogany writing table desk having an inset gilt tooled leather writing sciver with flared table top over a central arched knee hole recess flanked by two long drawers over two smaller drawers. Carved reeded detailing throughout and raised on tapering legs with brass castors. The drawer fronts set with architectural brass handles. Measures approx; 77cm x 113cm x 61cm. 

A 19th Century gilt gesso pier / overmantel mirror having an arched architectural top with ribbon and leaf decoration, grape and vine decoration to sides. The central mirror panel housed within openwork border frame. Measures approx; 122cm x 78cm.

A large 19th Century Victorian gilt gesso overmantle mirror comprising of a large rectangular glass mirror panel with scroll work architectural frame with top corner brackets. Measures approx; 150cm x 135cm.

A pair of 17th Century heavily carved walnut architectural panels of Caryatids and Telamon each with their torsos showing with drapes and further decorative carved detailing. Each measures approx; 117cm tall.  

Billiard cue case, Alfonsine period (Spanish Restoration), late 19th - early 20th century.Various woods and bone.Measurements: 148 x 117 x 12.5 cm.Billiard cue rack entirely made of wood, with a smooth and polished finish of great sophistication. The cues have been made in various noble woods with inlaid marquetry and bone decorations. Designed to hold a total of 12 billiard cues, it has an elegant and refined structure of architectural inspiration, raised on a smooth plinth, with lateral pilasters and crowned by a cornice.

Flemish tapestry from the late 16th century, possibly from the Oudenaarde workshop."Queen Esther dresses to see Ahasuerus'.Restored.Measurements: 306 x 260 cm.This tapestry represents the moment when Queen Esther dresses to see Ahasuerus, the Persian king whom the young Hebrew woman married on the advice of her tutor and cousin Mordecai. According to the Book of Esther, Chapter 5-verse 1, "On the third day, Esther dressed in her royal robes and stood in the inner courtyard of the palace, facing the king's hall. The king was sitting on his royal throne in the hall opposite the entrance. The tapestry depicts Esther wearing a crown and surrounded by a retinue of royal maidens, richly attired in luxurious gowns and colourful jewels. One of the maidens gazes at her beautiful reflection in a mirror with a profile decorated with precious stones. It is a composition of many people, determined by the craftsman's skill and meticulously crafted in each of its characters. The scene takes place in a rich interior, which due to its architectural characteristics and large windows appears to be a space dedicated to worship. The scene presents a narrative from the Book of Esther, which is part of the Old Testament. Legend has it that after the king ordered the execution of all the Jewish people in the Persian Empire, Esther went to him, without being summoned, to beg him to spare her people. This broke court etiquette and Esther risked death in doing so. She ended up fainting before the king, which resulted in a change in the king's decision, allowing the Jews to defend themselves against her attack, preventing them from being killed.

Suffolk Church Architecture.- [Bacon (Henry Francis, architect in Bury St Edmunds & elsewhere, 1831-1902)] Memorandum of my little trip from Bures ..., autograph manuscript, 13pp., 4pp. 2 autograph manuscript notes on Debenham Church and other churches loosely inserted, 14 pen and ink architectural and heraldic details (5 hand-coloured), 8 photographs including: Great Maplestead Church and Hedingham Castle (1 loosely inserted), 5 printed pieces of ephemera and an ALs from William Vincent relating to the work of The National Society for Preserving the Memorials of the Dead (including an architect's report on the Deane Monuments at Great Maplestead compiled by Bacon), original grey wrappers, slightly rubbed and soiled, upper joints splitting, folio, 12th April 1882.

A Minton tile decorated with a putto apothecary within a yellow and white architectural border approx 15.5cm by 15.5cm, a Doulton tile possibly on a Copeland blank, decorated with a classical figure holding a pen and scroll approx 15cm by 15cm, and two other tiles, one blue and white decorated with a putto on a branch approx 15cm by 15cm, the other polychrome decorated with a musician in an orange grove approx 15.5cm by 15.5cm (4) Provenance: From a local Private Collection

A Victorian Winterhalder & Hofmeier three train chiming mantle clock, the brass dial with silvered chapter ring and Roman numerals, in architectural oak case with brass plaque 'Presented to the Rev John Steadman [...]' 42cm high, no key

Architectural garden planter made from horseshoes, width 63 cm, height 127 cm

An architectural garden planter stand formed from horseshoes, width 67 cm, height 175 cm.

An architectural garden planter stand formed from horseshoes, width 66 cm, height 76 cm.

A pair of wooden painted faux marble square section tapering architectural pedestals, early 20th century. With fluted detail above stepped and moulded square bases. 119 cm high x 27 cm wide at the widest point.Condition report: Some paint losses