100-300 AD. Gandharan. Life-size schist head of a bodhisattva, with elaborate coiffure featuring a topknot (Ushnisha), elaborate headpiece, heavy, lowered eyelids, elegant nose, long, undulating moustache, closed mouth, strong chin and elongated, pendular ears. His identity as a bodhisattva is established by the presence of a well-defined urna on his forehead. Together, these details create a majestic impression of a bodhisattva or individual who is able to reach nirvana (enlightenment) but delays doing so through compassion for suffering beings. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Size: L:310mm / W:180mm ; 13.8kg. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.
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100-300 AD. Gandharan. Schist head of Buddha, with characteristic topknot (Ushnisha) and elongated, pendular ears. His forehead is ornamented with a well-defined urna and his heavy-lidded eyes are half closed and combined with his noble nose, small, fine lips and prominent chin, create a noble, otherworldly impression. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Size: L:250mm / W:110mm ; 3.7kg. Provenance: Private London collection, formed in the 1990s on the UK and European art market.
Original vintage poster for the 3e Conference Internationale des Etudiants Architectes Grande Masse de l'Ecole Nationale Superieure des Beaux Arts 1 Rue Jacques Callot Paris 5 13 Avril 1955 / 3rd International Conference for Student Architects at the National School of Fine Arts featuring an architectural style graphic design with black and white lines running along an historic building with sculptures and a detail of a pillar behind coloured block lines with the bold lettering above and below. Negrifias. Bedos & Cie Imprimeurs Paris. Good condition, creasing, tears, staining. Country of issue: France, designer: Negrifias, size (cm): 117x77, year of printing: 1955
20th century large Burmantofts Faience architectural tile plaque, The Maide at The Inn, designed by William Neatby, of rectangular form depicting a female figure holding a tray, with cat seated at her feet, titled lower left corner, within mahogany frame with easel style support verso, plaque 48.5cm x 29cm Born in 1860 in Barnsley, Yorkshire, William James Neatby worked at Burmantofts Pottery designing ceramic tiles for six years. He then went on to work at Doulton & Co, and in 1902 designed the tiles for the interior of Harrods Meat Hall. - Condition Report
Early Victorian needlework sampler with Berlin woolwork style motifs, to include cats, bouquet of flowers, children playing with dogs, birds, butterflies, church, and floral sprigs, within a trailing floral border, by Mary Ann Hampshire, 1845, within an architectural design mahogany frame, overall H86cm, L94cm - Condition Report Some discolouration to sampler comensurate with age, and area beneath cat on right hand side where sampler has worn through. Frame with some scratches and scuffs to high points.
Modern handcrafted miniature set of fourteen 19th century style golf clubs by P.D. Rushworth dated 2000, each with turned wooden shaft and leather grip, comprising four woods including long nose driver, brassie and hooked face, and ten other metal head clubs including jigger, water iron, rut iron, anti-shank iron, wryneck iron, mammoth iron, Schenectady putter, etc., displayed in a baise lined architectural style oak case with hinged door, annotated brass strip and maker's plaque, longest club 28cm, case W52cm, H44cm - Condition Report (Reputedly one of only four sets made).
Fréart de Chambray (Roland) Parallèle de l'architecture antique et de la moderne, contenant les profils des plus beaux édifices de Rome comparés avec les dix principaux autheurs qui ont écrit des cinq ordres ; sçavoir Palladio et Scamozzi, Serlio et Vignole, D. Barbaro et Cataneo, first edition, fine engraved additional pictorial title incorporating an oval portrait of François Sublet de Noyers (the author's cousin and impetus for the book) by Tournier, printed title with large engraved vignette, 40 full-page engraved illustrations by Charles Errard, engraved head- and tail-pieces and a few initials, some spotting and mostly marginal staining, contemporary calf, gilt spine in compartments, spine ends and corners worn, rubbed and scuffed, [Berlin Kat. 2374; Fowler 127; Cicognara 507; Avery 78], folio, Paris, Edmé Martin, 1650.⁂ First edition of this important comparative study which 'launched the Quarrel of the Ancients and the Moderns in architectural theory. His commentary identified sizable differences among the ''modern'' orders, despite the fact that all the Renaissance authors professed to follow the inviolable proportions of antiquity. Leaving his faith in the divine nature of proportion unquestioned, he attacked modern inventions and called for a return to the untainted forms of Greek classicism' (Avery). Provenance: 'De Legendre' (contemporary ink inscription to printed title); Theodore Besterman (bookplate).
Riou (Stephen) The Grecian Orders of Architecture, first edition, engraved title-vignette, 6 vignettes and 28 plates, some folding, some light offsetting, title lightly browned, occasional scattered spotting, later half calf sympathetically rebacked, rubbed, extremities a little worn, [Blackmer 1425; Harris 746], folio, by J. Dixwell, for the Author, 1768.⁂ "Riou was in Athens while Stuart and Revett were working there, and decided to produce an architectural theory for the use of the Greek architectural orders then being described and measured by Stuart and Revett." (Blackmer). The book is dedicated to James Stuart who, along with David Garrick, Soame Jenyns and George Stubbs, is included in the list of subscribers.
A rare tielimu altar table, Tiao'an18th centuryThe dense rectangular panel top set above an elaborately carved apron of meandering lotus scrolls, flanking trestle supports with further lotus carved on the feet. 168cm (66 1/4in) long x 84cm (33in) high x 37cm (14 1/2in) deep.Footnotes:十八世紀 鐵力木條案The present recessed table exemplifies a highly accomplished craftsmanship noted in the combination of the elegant rectangular architectural forms accentuated by the double bow-strings and raised edges carved in relief. The simple yet graceful form is further embellished by the naturalistic carvings of the lotus foliate sprays.Compare the shape of the present table with a related huanghuali recessed-leg demountable trestle-leg table, 17th/18th century, with everted terminals, from the Robert Hatfield Ellsworth collection, which was sold at Christie's New York, 17 March 2015, lot 48.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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 19th century architectural oak wardrobe with twin panelled doors enclosing hanging compartments and single base drawer, raised on carved bun feet, height 217cm, width 143cm, depth 64cm.Additional InformationImpact marks and dents to the sides and top ring, scratches, scuffs, general wear, use marks, large area of scratches to the interior of the left hand door.The door is not warped.
The Architects Standard Catalogues - 1939 - 1941. To include Volume I: Complete Indexes, Technical Information, Work and Fittings and Building and Decorative Materials, together with Volume II: Iron and Fireproof Construction, Ironmasonery, Joinery, Sanitary and Water Supply, Lighting and Fittings and Heating and Ventilation. Each book is 9th edition. The catalogues detail architectural and building methods of the era and are suitable for historical archival research due to the listing of contemporary companies. Both are illustrated, some prints in colour. Published London.
An interesting collection of 19th Century Victorian antique prints / engravings / etchings covering a range of subjects, many being hand coloured to include; hand coloured fashion prints published in ' La Belle Assemblee ' and ' New Monthly Belle Assemblee ' circa 1828-1834, 48 small prints, 'An Introduction of Heraldry' by High Clark circa 1838, showing hand coloured crests and awards, right colour prints after Thomas Rowlandson from the miniature edition of ' The Tour of Doctor Syntax in Search of the Picturesque' by William Combe 1823, and around 25 prints from 'Winkle's Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales' circa 1840.
Y A fine Vizagapatam ivory veneered, lac heightened and sandalwood work box, circa 1780, of rectangular form, the hinged cover and sides engraved with houses and trees within broad lotus borders, with a frieze drawer to the front and swing handles to each side, raised on bracket feet engraved with beasts; opening to a fitted interior with hinged writing surface and enclosing two conforming paperweights, 17 x 42.5 x 31cm overallThe use of architectural decorative motifs is typical of later 18th century Vizagapatam engraved works. See for example Christie's South Kensington, 1 April 2014, lot 207 (£10,000) for a similar box raised on bracket feet. Related literature: A. Jaffer, Furniture From British India and Ceylon, London, 2001, pp. 204, fig. 48
An early Victorian bird's-eye maple and parcel ebonised writing table, circa 1850, in the manner of Holland & Sons, the shaped rectangular leather inset top above a pair of blind frieze drawers, lobed finials, architectural carved ends with lappet carved vase, bipedal outswept feet joined by a turned stretcher, 72cm high, 107cm wide, 54cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and use,One section of ebonised moulding is detached and missing to the rear of the table, approximately half the length is present but detached in the drawer the remainder is not provided with the lot. Overall solid and stable, The inset with old scuffs and marks and various stains Some areas the timber surface is quite 'dry' and would benefit from a sympathetic polishThere is no key presentCondition Report Disclaimer
A Brussels figural tapestry 'the Feeding of the Chickens', after Jacob Jordaens (1593-1678), Scenes from Country Life series, mid-17th century, possibly workshop of Jacob Geubels II, depicting a pastoral maiden in clogs and rustic dress scattering grains from a basket, surrounded by animals including a hound, peacock and chickens, within an elaborate vaulted architectural setting flanked by masks and columns, the lower selvedge with B*B Brussels town mark, later backed, 378cm high, 259cm wideAntwerp-born painter Jacob Jordaens followed in the footsteps of Rubens and Van Dyck as the city's leading artist during the 17th century. While he completed numerous mythological and religious commissions including for the Swedish and English Royal courts, he is most well-known for his exuberant genre scenes, characterised by a strong sense of realism. These qualities translate to the Scenes from Country Life tapestry series, which Jordaens is suspected to have designed during the 1620s or 1630s.It is possible that the present tapestry originates from the renowned workshop of the Geubels family in Brussels, who had been active as tapestry weavers since the 16th century and are known to have woven this series.A related tapestry is in the collection of the Kunsthistorisches Museum, Vienna, and another survives at Hardwick Hall, Derbyshire, which holds the most complete set of panels from this series.Related literature: J. Mulherron, "Jacob Jordaens's elements and humours tapestries", National Trust Historic Houses and Collections, (2012), p. 5-1Condition Report: The tapestry bears the usual minor marks, nicks and wear overall consistent with age.There is some fading to the flesh tones and warmer colours, though the blues and in some cases the golden colours are quite striking. The neck of the rooster has some preserved red.The textile is quite wavy and warped in texture overall, and feels quite hard due to the later backing.There are areas of old reweaving throughout as well as stitch repairs, most significantly to the lower portion of the architectural surround, where there are one or two horizontal tears.Possibly reduced (slightly wider versions are known), lacking margins and borders. Condition Report Disclaimer
A fine Victorian parcel-gilt satinwood centre table, attributed to Holland & Sons, circa 1860, with figured circular tilt-top on a baluster stem and tripod base carved with foliage, 74cm high, 142cm diameter Provenance: The Dukes of Leeds, Hornby Castle, YorkshirePossibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North YorkshireThis table can be ascribed to Holland & Sons, one of the largest and most prestigious cabinet-making firms in the 19th century, based on a number of stylistic attributes; the superb choice of timbers, the figuring of the satinwood tilt-top, the fine foliate giltwood carving and the distinctive giltwood borders. Holland & Sons were known for their diversity of style - in the mid-1860s, supplying furniture in the fashionable 'Louis XVI-style', such as the table offered here, but also making 'Elizabethan' furniture, neo-Gothic and furniture inspired by Robert Adam, Sheraton and Chippendale (S. Jervis, 'Holland & Sons, and the furnishing of the Athenaeum', Furniture History, 1970, p. 46). First established in 1815 as Taprell & Holland at 25 Great Pulteney Street, London, the firm was renamed Holland & Sons in 1843 when William Holland, a founding member, and probably related to George IV's architect-designer, Henry Holland, took over the firm. In the 1850s, William was replaced by his son, James Holland, and the firm moved to 19 Marylebone Street and Ranelagh Works, Lower Belgrave Street, and from 1852, 23 Mount Street. They exhibited at all the major international exhibitions, including London 1851, Paris 1855, London 1862 and Paris 1867; for example, at the 1862 London International Exhibition, they exhibited a fine marquetry and gilt-bronze centre table veneered with tulipwood, kingwood, New Zealand spicewood, boxwood and purple heart to a design by a 'Mr. Rosenberg' that included engravings by Old Masters, all centred by a spider's web in silver and ivory (J. Meyer, Great Exhibitions: London, Paris, New York, Philadelphia 1851-1900, Woodbridge, 2006, p. 122). The firm worked on the interiors of several of the London gentlemen's clubs, the Army & Navy, the Athenaeum, the Carlton and the Reform. They undertook Royal commissions at Buckingham Palace, Osborne House and Windsor Castle, and were a major contractor for H.M. Works until circa 1852, including the Palace of Westminster. Other significant contracts were for the Great Western Railway and the Royal Academy of Arts. The firm employed many well-known, independent designers, Sir Charles Barry, Gottfried Semper and J.K. Collins. The Holland & Sons ledgers comprising 235 volumes dating from 1824 to 1942 and covering most of their major commissions are held in the Archive of Art & Design at the Victoria & Albert Museum, London.Hornby CastleThis table was possibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North Yorkshire. Built in the 15th century as a fortified house, it was significantly remodeled by the architect John Carr of York, and probably James 'Athenian' Stuart, in the 1760s, for Robert Darcy, 4th Earl of Holdernesse. The mansion was altered to Classical proportions and regular, enlarged sash windows were installed combined with gothic architectural detailing. When the 4th Earl's only daughter, Amelia Darcy, married Francis Godolphin Osborne, Marquess of Carmarthan, and later 5th Duke of Leeds, a new family arrived at Hornby by inheritance, and the house became a ducal seat. Due to a series of important family relationships, Hornby Castle became a repository for a magnificent collection of Restoration furniture that embodied their glorious political past. The halcyon days of Hornby Castle were undoubtedly in this period but also in the early to mid-19th century when the 7th Duke of Leeds commissioned A.W.N. Pugin to prepare a set of drawings for the remodeling of Hornby Castle. Although never executed, Pugin submitted detailed plans on a grand scale for two floor of the castle courtyard, and perspective sketches for the rest.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Gilt elements have been refreshed in areas. Gilding with some rubbing and small losses. Some evidence of old worm to undersides of legs. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A Victorian silk panel in Indian taste, mid-19th century, with a central architectural design within a border of figures and palm trees, later mounted, 107 x 102cm overall SALEROOM NOTICEPlease note, this lot is described as Victorian, should be German, c. 1770 - it is also silk AND linen, not just silk.
Two Northern European sandstone busts or terms of mythical giants, follower of Jan Pieter van Baurscheit, late 17th or 18th century, possibly depicting Atlas and another Titan, each approximately 33cm high, 37cm wide, 39cm longCondition Report: These busts are fragmentary in nature, and have irregular edges to the lower part of the torso and arms. They are flat-carved to the rear and tops by design, as they were likely architectural elements.The surfaces are a little scratched with some minor losses in places but overall these are in satisfactory condition.Condition Report Disclaimer
A Swiss stained and leaded glass figural panel, possibly Bern, the central panel dated 1607 and with later elements, depicting three Landsknechte, dressed in vibrant costumes and wearing feathered hats, two holding a halberd and another with a beaker, standing before a diapered and balustraded background, the lower reserve with inscription and central armorial shield with standing bull, inside a likely later arrangement of circular segments with two further stained roundels, later fitted to a stained wood light box frame, approximately 93cm high, 61cm high overallWhile Swiss mercenary guards were a popular theme for Wappenscheibe (armorial panels) such as the present lot, the arrangement of three figures is unusual. The compositional arrangement of guards on a geometrically demarcated podium and the handling of the sprawling landscape in subtle yellow tones to the upper reserve, show distinct similarities to late 16th and early 17th century panels from the Bern region of Switzerland. Note for example the panel with Ulrich, Jakob and Gilgen Hess, dated 1586, in the collection of the Historisches Museum in Bern. An early 17th century panel which uses a similar cartouche-form device surrounding the inscription and a contemporary architectural backdrop to the figures (as with the balustrade in the present panel) is in the Metropolitan Museum of Art, accession no. 1974.28.190.
A part Thai commemorative service with transfer decoration of the Chakri dynasty royal family, consisting of tureen, and four covered bowls, all with architectural formed finials and various emblems and peacocks, height of tureen 17cm, together with three 20th Century Japanese Satsuma ware vases (8)
EDWARD SPENCER (1873-1938) FOR THE ARTIFICERS’ GUILD ARTS & CRAFTS SILVER BON BON DISH, LONDON,with hammered finish, the domed base with six architectural pillars incised with chevrons between arched niches and foliate border, engraved inscription, SCOTTISH CIVIL SERVICE SPORTS 1929, stamped maker’s mark AS GD LD, hallmarked London, 1927, stamped under base EDWARD SPENCER DEL.(9.5cm diameter)
FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR A COVER FOR 'DAS EIGENKLEID DER FRAU', 1903original cover design, pencil on brown tracing paper, laid on board, signed in pencil lower right FRANCES MCNAIR/ INV. DEL, inscribed ANNA MUTHESIUS and DAS EIGENKLEID(32cm x 25cm)Footnote: Provenance: Phillips, London, 17 November 1998, lot 287 Collection of Donald & Eleanor Taffner, New York Lyon & Turnbull, Edinburgh, The Taffner Collection, 7th September 2012, lot 64 Private Collection, London Literature: Burkhauser, Jude 'Glasgow Girls: Women in Art and Design 1880-1920', Edinburgh 1990, p. 54, fig. 53 for illustration of the printed book cover. Robertson, Pamela (Edit.) 'Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair', Hampshire 2006, p. 170, exhib. ref. G17; G18, cat. ill. 16 for an image of the printed cover. Note: A member of the ‘Glasgow Four’, Frances Macdonald McNair’s collaborations with her sister Margaret, Charles Rennie Mackintosh and Herbert McNair are celebrated as pivotal works in the development of the Art Nouveau aesthetic in Scotland. Equally, her individual output as an artist was radical and challenged the fanciful and idealised depictions of the female form that were prevalent in Victorian Art of the late nineteenth century. This important early work by Frances, an original cover design for 'Das Eigenkleid Der Frau’, epitomises the avant-garde movement and illustrates a bold feminist statement, depicting a fresh image of the emerging ‘New Woman’. Unlike some of her contemporaries, Frances’ early life was not one of hardship. Her father’s success as an engineer ensured the family was financially secure so that Margaret and Frances could enrol in Day Classes at the prestigious Glasgow School of Art in 1891, a privilege that, at the time, most young women did not enjoy. Indeed, the city of Glasgow in the 1890s was a highly prosperous one; quickly becoming one of the wealthiest cities in the United Kingdom, it was a model for innovative design and manufacturing processes within the shipbuilding and textile industries. In this vein, the School of Art’s main focus was to foster talented designers that would strengthen the city’s key trades in an age of rapid change and increasing industrialisation. Yet the School’s Director, Francis Newberry, equally valued the importance of nurturing individuality and actively encouraged students to explore their own interests in their work, creating unique avenues for artistic expression. Frances and Margaret immersed themselves in this stimulating and progressive environment and one in which women were able to pursue a career as an artist, as opposed to undertaking classes for merely recreational purposes. This unique approach to art and design was critical in Frances’ formative years as an artist. In her early work, we see a distinct departure from the academic tradition, in favour of experimentation with stylised human forms and decorative linear patterns. This is confidently executed in her design for the cover of 'Das Eigenkleid Der Frau’ (Women’s Own Dress). The design is steeped in lyrical symmetry as the eye traces around the abstracted curvilinear forms, dancing from figure to figure. Frances’ links to the ‘Glasgow Four’ and the Art Nouveau aesthetic are also apparent; from the idiosyncratic lettering to preoccupations with botanical forms, in particular stylised roses. The book itself, authored by Anna Muthesius, is considered a seminal text in the development of early twentieth-century women’s fashion. Muthesius and her husband Hermann, the architectural writer, became close friends with the ‘The Four’ after several trips to Glasgow and the Willow Tearooms. Anna believed women should have the freedom to choose their own clothes, styling and fabrics. Her book celebrates artistic dress and represents an outlet for radical expression for women, aligning itself well to Frances’ artistic representation of the female form. The dresses were usually made by their designers and the book includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. The turn of the century was characterised by great social and political upheaval. At the centre of this was the idea of the ‘New Woman’; a financially independent woman who was able to engage more actively as a member of society. More women attained an education and joined the workforce to earn a living for themselves; they were able to engage in more sporting activities such as cycling, and they could freely express themselves through fashion. Taking a closer look at the design, one is immediately drawn to the enchanting linearity of the figures, deviating from the constraints of traditional Victorian representations of women as objects of purity and beauty. Here, the figures are imbued with an almost mystical quality, as they appear floating in a newly imagined world of femininity. Each woman is depicted in an elaborate shoulder-less dress which accentuates their feminine features; a mass of flowing hair carries the eye down the image until it catches the scattering of roses and every intricate detail of clothing, so as not to miss a single thread. These women refuse to prescribe to a rigid Victorian society of the past. Instead, they represent a promise of change, towards greater independence and individuality. Frances’ work was heavily criticised at the time and much of it was destroyed by her husband following her death, yet she was a pivotal artist in the development of the Glasgow Style and Art Nouveau aesthetic in Scotland. 'Das Eigenkleid Der Frau’ is a stunning example of her early designs that are confrontational, unapologetic, and defiant in illustrating a refreshing image of the ‘New Woman’ in a post-Victorian avant-garde era.
CHAUCER, GEOFFREY: The workes of our Ancient and learned English Poet, Geffrey Chaucer, newly printed. Impensis Geor. Bishop: Londini, 1602. Title surrounded by architectural surround, 'progenie' leaf by John Speed, Woodcuts of Chaucer's arms and of the knight plus woodcut head and tailpieces and initials throughout. Fol. PP: (ii)blank front endpapers, (i)Title-Page, (i)blank, (viii) dedication & to reader, (i)the Progenie, (i)blank, (x), (i)large armorial title, (i)b, (xvi), + Leaves: 1-179, 178-350, 353-376, (xxvi), (i)Errata, (i)b. {[a1-c6, A1-Nnn6, Ooo4, Ppp1-Uuu6, + 2 leaves: (authors cited by Chaucer & Errata}. Cont. full leather with gilt decoration to centre of covers. Recased, preserving the original spine; front endpaper present (with manuscript notes); bottom corner of p84 torn off (just touching end letters); occasional light damp staining; two pages repaired;
ARCHITECTURE: 1- Colling, J K: Details of Gothic Architecture, 2 volumes. Batsford, nd, (1856, preface dated) Folio; 2- Pugin, A. W: Gothic Furniture in the Style of the 15th Century. Ackermann, 1835. 4to. Title page plus 24 plates. Boards rubbed; foxing; 3- Brandon, R & J A: Open Timber Roofs of the Middle Ages. 1849, 4to. original cloth gilt; 4- Small & Woodbridge: 4 titles: Architectural Turned woodwork; English Brickwork Details 1450-1750; Mouldings of the Wren & Georgian Periods; & English Wrought Ironwork Mediaeval and Early Renaissance; 5- Royal Commission on Historical Monuments: An Inventory of the Historical Monuments in Essex, 4 volumes. 1916-1923, 4to. Full calf gilt; Plus 6 others. (18)
An Art Deco style silver three piece breakfast set of plain elongated hexagonal form having hard wood and silver leaf architectural handles, Sheffield 1928/29, Walker & Hall, approx 906g Condition Report set is in good condition. Hinges and handles are good and there are no visible dents or repairs. there is a very fine surface scratch/scuff to lower part of one panel on the teapot
Late 19th century mantle clock in architectural walnut case, arched pediment with central leaf carved motif, enclosed by bevel glazed door, fluted and lunette carved, moulded base, brass dial decorated with floral scroll mounts, silvered Roman and Arabic chapter ring, twin train driven movement by 'Lenzkirch', stamped 'AUG 1 Million, 358398', striking the hours and half on single coil, with pendulum and key, H33cm, W22cm - Condition Report
Sarah Williams (British 1961-): The Washing Line, oil on canvas signed verso 61cm x 108cm Notes: Sarah graduated from Norwich School of Art and Design in 1984 with a first-class BA Hons in Fine Art and, having won the Stowell's Trophy, was awarded an unconditional place to study MA Painting at the Royal Academy. She comes from a family of creative talent - her father, Reg Williams, was a member of the York Four. During her three years at Norwich Art School, she exhibited regularly in the school gallery and Norwich Castle and visited Switzerland, exhibiting and working with Kurt Rupe. More recently, she has exhibited in galleries around England and has had her own businesses in Interior Design, Architectural Design, Furniture Design and Jewellery. Sarah has recently returned to painting full-time and, having used a multitude of mediums in her creative work, now confesses she is an oil-paint addict. It is "the smell, the texture, the depth and colour of pigments: total nectar". - Condition Report
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