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An antique 19th century Victorian mahogany architectural rococo worked pier mirror. Of rectangular form with stunning rococo worked carved frame culminating in an pierced and scrolled shell emblem pediment. Measures approx 138cm x 71cm. 

Margaret M. Rudge (1885-1972) "Guildhall, Exeter" signed in pencil (in the margin) etching (x2), 22 x 17cm ; and other architectural by the same hand to include: "Mol's Coffee House, Exeter" (x 2), Bodhiam Castle ( x 3), stone archway (x 4) (11 in total)

A ruby and diamond clipOf geometric architectural design, set with calibré-cut rubies, square-cut and round brilliant-cut diamonds, width approximately 32mm, estimated total diamond weight approximately 0.60-0.70ctFor further information on this lot please visit Bonhams.com

INDIAN, PROBABLY RAJASTHANI CARVED LIMESTONE RELIEF PANEL, probably a section of an architectural architrave, perhaps 17th/ 18th century, with a band of recessed lozenges above further borders, the principal register with stellar or floral motifs in shield shaped reserves, 39cm high, 136cm long, 9cm thick; mounted on a modern rectangular base Previously with Sotheby's London

INDIAN, PROBABLY RAJASTHANI CARVED LIMESTONE ARCHITECTURAL ELEMENT, probably part of an entranceway, perhaps 17th/ 18th century, one side and the internal edge carved with lines of flowerheads and scrollwork in recessed relief, 120cm high, 30cm wide, 12cm thick; mounted on a modern rectangular metal base

ARCHITECTURAL ELEVATIONS AND PLANS to include views of The Royal Hospital Greenwich, after Colen Campbell (c. 1676-1729) (8)

SET OF FOUR VICTORIAN CAST IRON PIER FINIALS, circa 1875, with knopped, lobed and waisted castings above ovoid bodies to waisted stems and circular bases, 66cm high (4) Provenance: Sezincote, Gloucestershire Cf: Christopher Hussey, 'English Country Houses, Late Georgian 1800-1840', Country Life Ltd, London, 1966. The finials are illustrated in-situ along a roof parapet of the fantastical Neoclassical and Indian architectural melange of Sezincote's north wing. See p.69, plate 118

4 Boxes of sundry books - Equestrian, Architectural reference etc

A collection of old photographic glass plates including topographic, architectural and zoological examples, etc.

An early 20th Century leather bound album containing a collection of postcards including numerous topographic seaside and architectural examples

The remnants of a fine and rare German Renaissance small gilt brass steel-framed table clockInitialled D.M. and D. H., third quarter of the 16th centuryThe posted movement lacking all wheelwork but retaining front and back pivot plates (the centre lacking), set between steel top and bottom plates with square section uprights incorporating finely worked capitals and bases to angles, the dial plate engraved with winged cherub mask upper spandrel ornaments above vacant section for the hour and alarm dials (lacking) and dial for age of the moon over scene engraved after Heinrich Aldegrever with the creation of Eve and the angles applied with fine crisply chiselled fluted square pilaster uprights incorporating integral plinths and moulded capitals, the right hand side with panel engraved with armorial crest within a laurel wreath for a German aristocratic family over scene of the temptation of Adam and Eve, the left hand side with sacred Hebrew YHVH text for God over a temple with architectural alcove flanked by a column surmounted by a putto opposing an obelisk incorporating the initials DM to base, the lower margin with Ouroborus snake flanked by the initials D and H over scroll-crested panel engraved SVMM SALVS PVRO, VENERARI PECTORE, MEN HO CHRISTVM . ET GERNORE., BONVM ERE INCOLVMINO, the rear further engraved after Aldergrever with Adam and Eve toiling over hour strike dial and scene of the expulsion from paradise and with further conforming pilasters to angles, the gilt brass case top plate applied with vase finials to angles around a curved bellstand with conforming surmount, on stepped baseplate with moulded bun feet, (probably originally constructed with fixed spring-barrel drive), 14.5cm (5.75ins) high. Provenance: Sold at Sotheby's, London, 22nd May 1967 (lot 124) for £420 hammer.The exterior of the current lot incorporates four engraved scenes based on versions selected from a series of six entitled 'The Story of Adam and Eve' executed in around 1645 by Heinrich Aldegrever (German, in born Paderborn circa 1502, worked in Soest from circa 1525 until 1558/61). The quality of the engraving is particularly fine, this coupled with the very detailed crisp rendering of the corner columns and the overall architectonic structure of the clock is reminiscent of clocks made in Strasbourg (see Cardinal, Catherine and Vingtain, Dominique TRESORS d'HORLOGERIE page 68) or perhaps Innsbruck.  Although it would appear that the current lot was weight-driven prior to the removal of the wheel trains it is most likely that it was originally constructed with direct spring (non-fusee) drive perhaps fixed 'standing' barrels and possibly with stackfreed to the going train. When sold at Sotheby's in 1967 the movement was largely intact although converted to pendulum regulation and with a later silver chapter ring. It would appear that the clock has subsequently been dismantled for restoration, possibly with the intention to restore to spring drive, but for some reason the work has not been completed and the trains regrettably lost. The clock does however present as an extremely interesting example with very fine engraving and as of yet unidentified 'noble' provenance hence would warrant reinstatement of the trains or could be appreciated as is for its significant academic and decorative qualities. 

The remnants of a rare German Renaissance small gilt brass steel-framed weight-driven chamber clockUnsigned, early 17th century The posted movement lacking all wheelwork except hour wheel and balance but retaining pivot plates (the centre gilt brass), strike-work detents and vertical hammer arbor set between steel top and bottom plates with square section uprights, the rectangular dial with starburst engraved centre and sculpted steel hand within silvered Roman numeral chapter ring beneath grotesque eagle mask and foliate scroll engraved infill centred with a naked female term over winged cherub-head and scroll decoration to lower margin, the sides with side doors centred with an open arch (formerly glazed) within architectural engraved surround decorated with winged cherub mask centred fruiting foliage to arch over Solomonic pilaster uprights and stylised tiled floor, the top with oval and C-scroll pierced and engraved 'strapwork' gallery frets flanked by ovoid spire finials set on rectangular plinths to front and sides around an arched steel bellstand surmounted by a matching finial applied to the upper brass top panel enclosing balance beneath, on repeating foliate motif engraved canted skirt base with toupe feet, 24cm (9.5ins) high; with a copy of Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE German Clocks and Automata 1550-1650 Smithsonian Institution, Washington DC 1980, dj, (2). The current lot is particularly interesting in that it was made as a weight-driven chamber clock rather than a spring table clock. Whilst the overall form resembles that of a table clock, complete with arched side panels reminiscent of Nuremburg and Augsburg table clocks of the late 16th century, some of the detailing, such as the sunburst-centred narrow silvered chapter ring and the pierced frets, are more akin to chamber clocks made in Northern Europe. Indeed the frets appear to be of a form often seen in English Elizabethan and Jacobean architecture as exemplified by an over-door ornament at Aston Hall, Birmingham, illustrated in Cooper, Nicholas THE JACOBEAN COUNTRY HOUSE on page 69.Although the current lot has lost its wheel-work it is still and interesting example which would certainly warrant reinstatement of the mechanism or could just be appreciated as is for its academic and decorative qualities.Condition Report: As catalogued all wheelwork except for the hour wheel and balance wheel (later restoration) are missing. The bell, back panel, one packing sleeve (for upright between movement top plate and case top panel) and three of the case top securing nuts are also missing as well as two from the underside. Otherwise all appears present including the strike detents and hammer arbor (no hammer). The parts of the mechanism that are present appear to have survived without substantial alteration/butchering with evidence of conversion to pendulum escapement swinging at the rear being minimal.The case elements have been re-gilded but are otherwise are intact and in good condition. The chapter ring appears original, the hand is a replacement.Interestingly the front movement bar is inscribed 'FG', however we believe these initials to be much later than the movement of the clock.   Condition Report Disclaimer

A very fine Limoges enamel panelled gilt brass cased carriage clock with push-button repeat and alarmProbably by A. Dumas, Paris, circa 1878The eight-day two train movement with silvered platform lever escapement, striking the hour on a gong and with alarm sounding on the same gong, the backplate with Arabic hour disc to the alarm setting square and stamped with oval A.D trademark next to serial number 1899 to lower left corner, the rectangular deep maroon almost black enamel dial with gilt star rosette to centre, contrasting white Roman numerals to chapter ring and gilt brass fleur-de-lys hands, the upper spandrel areas decorated in translucent polychrome enamel with Renaissance inspired stylised foliate scrolls and the lower margin with a pair of griffin Grotesques inhabiting conforming leafy infill, the bevel-glazed frosted gilt brass case variant on anglaise riche design with hinged reeded baton carrying handle over dentil cornice, fluted baluster Corinthian three-quarter corner columns with rose gilt capitals and fine enamelled side panels intricately decorated with full length portraits of a Renaissance lute player and opposing female companion in ornate robes with details picked-out in translucent enamel on a deep maroon almost black ground, on architectural plinth base with complex upper mouldings and skirt, 18cm (7ins) high excluding handle. Provenance: The beneficiary of the Estate of a private collector, East Midlands. The identity of the maker who used trademark A.D within an oval surround is currently unknown however clocks stamped with the same initials but within a diamond lozenge are known to be by A. Dumas who is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development for a relatively small number of clocks bearing low serial numbers and having porcelain dials and panels. Allix also cites Saunier describing A. Dumas as a maker of his own gongs and cases which is of interest bearing in mind that the same oval A.D trademark has been seen on gong blocks used by Drocourt amongst others. Indeed it is the presence of this mark on the gong block of some of their clocks which has led to the incorrect belief by some that the mark was actually for Alfred Drocourt. The exquisite dial and side panels of the current lot are textbook examples of the finest enamel-work produced in the Limoges workshops during the second half of the 19th century. The Renaissance subject matter along with the colour palette (in particular the dark ground) revives the style for which the region became particularly well-known for during the 16th Century. Indeed the popularity and re-establishment of the Limoges enamel workshops during the second half of the 19th century was born out of a deep appreciation for the Renaissance originals which had become highly prized by connoisseurs earlier in the century. As often the case with French revivalist art the intention was to match (or even if possible exceed) the quality of the originals hence there was generally a 'no expense spared' approach to execution in order to achieve this objective.The panels of the current lot carefully and cleverly employ a mixture of opaque and translucent enamels to create depth, texture and lustre which varies under different lighting conditions. Some areas in particular, such as the areas representing silk within the garments of the figures, use the finished ground of the metal plate to great effect by allowing reflected to pass through vibrant pigmented transparent enamel surface layers. The vendor notes that the rear of one of the panels bears a franked label for Limoges dated 1878 which allows accurate dating of the clock.Condition Report: Movement is in fine clean fully working condition with no evidence of alteration or noticeable replacements, the striking and alarm mechanisms are working as they should. The dial appears to be in perfect condition as do the side panels with no visible faults or evidence of restoration. The case is also in fine condition with no apparent wear or noticeable discolouration to the gilding. Glasses also appear free from damage. Generally a very fine clock in 'showroom condition'.Clock has a winding key. Condition Report Disclaimer

An important Charles II/James II ebonised eight-day longcase clockEdward East, London, circa 1685The six finned and latched pillar movement with plates measuring 7 by 5 inches enclosing fine delicate wheel-work, the going train with bolt-and-shutter maintaining power and anchor escapement regulated by seconds pendulum and the strike train with internal locking integral with the rim of the and great wheel and striking on a domed bell mounted above the plates, the 10 inch square brass dial with subsidiary seconds dial and scroll border-engraved chamfered calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and Arabic five minutes within the outer minute track, with fine pierced and sculpted steel hands and winged cherub head cast spandrels to angles over engraved signature Edwardus East Londini to lower margin, the ebonised case with bold projecting ogee cornice and foliate scroll pierced frieze to the finely moulded entablature over glazed dial aperture flanked by solomonic columns, the sides with rectangular windows and conforming quarter columns each set against bargeboards each rising up to the underside of the cornice projection, the trunk with convex throat over 42 inch rectangular door applied with two long and one short raised panels each bordered with fine architectural mouldings within a half-round moulded surround, the sides also veneered and applied with matching finely moulded panels, the box plinth base with stepped ogee top moulding and raised rectangular outline mouldings to fascia, on bun feet, 191cm (75ins) high. Provenance: Acquired by the vendor approximately thirty years ago from a beneficiary of the estate of Charles Smith who, by repute, was a collector of early English clocks and member of The Antiquarian Horological Society from its founding in 1953. Edward East was born in Southill Bedfordshire in 1602 and was apprenticed in 1618 to Richard Rogers until 1626, gaining his freedom of the Goldsmith's Company the following year. He was appointed as one of the first Assistants of the Clockmakers Company (a year after the charter was granted by Charles I in 1631) later becoming Master twice in 1645 and 1653. He worked first from Pall Mall, London subsequently moving to the Fleet Street/Temple Bar area by the 1640's, in November 1660 he was appointed chief clockmaker to King Charles II. Edward East certainly had the longest and perhaps one of the most distinguished careers in English clockmaking during the 'Golden Period' taking on eight apprentices between 1643 and 1676 (including Henry Jones from 1654 to 1663). East was the only original Assistant surviving when the Grant of Arms was awarded to the Clockmakers' Company in 1671. Edward East drafted his Will in 1688 and on his death in 1696 he was clearly a wealthy man leaving property to his four children including a residence in Hampton, Middlesex and a coaching Inn called 'The Swan with Two Necks' which was bequeathed to his daughter, Anne Saunders. The movement of the current lot is particularly well made with six finned and latched pillars and delicate wheelwork. The backcock is unusual in that the pendulum suspension block is cast separate and drops into a dovetail slot, a detail which is mirrored on the movement of a petite-sonnerie longcase clock illustrated in Darken, Jeff (editor) HOROLOGICAL MASTERWORKS page 129-30 which also shares the same basic casting for the backcock itself. This detail is noteworthy as it facilitates the end-float of the pallet arbor to be checked hence allowing the pivot to run more efficiently. The positioning of the backcock fairly low down in the plates is also mirrored in both the current lot and the petit-sonnerie striking movement and allows for the bracket that secures the movement in the case to be positioned in the centre of the top edge of the backplate - a detail often employed by Edward East. The dial with its scroll border engraving to the calendar aperture can be directly compared to that seen on a month clock previously offered by Ben Wright (www.benwrightclocks.co.uk/clock.php?i=138). The signature across the lower edge of the dial is confidently and finely executed in East's typically florid style.The case is particularly fine in that it is veneered throughout in ebonised pear wood and the quality of the mouldings are equal to those seen on contemporary ebony table clocks. The panelling to the trunk is reminiscent of a series of cases housing particularly fine three-month or Roman striking movements by Joseph Knibb, however differs in that the small raised panels of the latter tend not to be bordered by fine mouldings and are framed within recessed moulded surrounds to the sides (see Darken, Jeff ed. HOROLOGICAL MASTERWORKS page 114). The configuration seen on the present case can perhaps be more closely compared to a case veneered in an unknown exotic wood housing a quarter-chiming movement by John Fromanteel illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 246 (Plate 329). Another even more closely related case , this time housing a movement by Edward Bird, is also illustrated in Early English Clocks on page 278 (Fig. 378). Interestingly the signature to the dial of this example (can just be made out in the image) appears to be executed in a similar florid style as that of the current lot.Overall the current lot presents as a fine example Edward East's work housed in a particularly sophisticated case with exceptional detailing. 

Vintage Architectural Hardware, Door Furniture, Keys, etc.

JOSEPH GALLEY BIBIENA, ARCHITECTURAL STUDIES, A SET OF SIX, ENGRAVINGS, ORIGINALLY PUBLISHED BY J A PFEFFEL, 28 X 30CM Some very minor staining

Freemasonry/Friendly Society Interest - a 19th century giltwood and gesso looking glass, the architectural frame with break-arch pediment above square-and-compass and further devices, rectangular mirror plate flanked by Corinthian pilasters, 75cm high, 56cm, c.1860

An early 20th century cast chalk architectural time piece, longcase side, impressed marks, LMC 979 verso 53cm

SAGE ARCHITECTURAL JOINERY PROMOTIONAL BOOKS INCLUDING HOUSE OF COMMONS, MUSIC SCORES ETC

Crook (J. Mordaunt) . William Burges and the High Victorian Dream, 1st edition, John Murray, 1981, numerous monochrome illustrations, original cloth in price-clipped dust jacket, covers lightly marked & rubbed to head, 8vo together with: Pevsner (Nikolaus) , Some Architectural Writers of the Nineteenth Century, 1st edition, Oxford University Press, Oxford, 1972, original cloth in price-clipped dust jacket, small repaired tear to foot of the front cover, 8vo, and Parry (Linda [editor]) , William Morris, 1st edition, Philip Wilson Publishers Ltd., 1996, numerous colour & monochrome illustrations, original cloth in dust jacket, spine lightly faded, large 4to, plus Burne-Jones (Georgiana) , Memorials of Edward Burne-Jones, 2 volumes, new edition, Lund Humphries, 1993, monochrome illustrations, uniform original cloth in dust jackets, 8vo, and other Pre-Raphaelite art reference & related, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 57)

Beaton (Cecil). India, 1st edition, Bombay, Thacker & Co. Ltd., 1945, monochrome full-page photographic illustrations, front endpaper excised, original pale brown cloth gilt, in rubbed and frayed dust wrapper, with minor loss to extremities, 4to, together with: Near East, 1st edition, Batsford, 1943, Far East, 1st edition, Batsford, Autumn 1945, Chinese Album, 1st edition, Batsford, 1945-6, and An Indian Album, 1st edition, Batsford, 1945-6, monochrome illustrations after photographs to each, second title with colour frontispiece, all original cloth in dust wrappers, a little rubbed, 8vo, plus: Miller (Lee). Grim Glory, Pictures of Britain Under Fire, 3rd impression, June 1941, monochrome photographic illustrations throughout, original pictorial wrappers, in matching pictorial dust wrapper, rubbed and some surface soiling and slight fraying to upper edges, small slim 4to, and Wrens in Camera, 1st edition, 1945, photographic illustrations throughout, original blue cloth in dust wrapper, rubbed and a little frayed, generally without loss, 4to, plus three others related: Britain Under Fire, with a foreword by J.B. Priestley, Country Life, circa 1942, British Women Go To War, by J.B. Priestley, with colour photographs by P.G. Hennell, Collins, circa 1944, and The Bombed Buildings of Britain, edited by J.M. Richards, with notes by John Summerson, Architectural Press, 1942, all original cloth in dust wrappers, a little frayed with minor loss, 4to (Qty: 10)

Evans (J. Gwenoguryn) . The Text of the Book of Llan Dâv reproduced from the Gwysanery Manuscript, facsimile edition, The National Library of Wales, Aberystwyth, 1979, monochrome folding facsimile plates, publishers original red cloth, 8vo, together with: Jones (R. M.) , Blodeugerdd Barddas O'r Bedwaredd Ganrif Ar Bymtheg, 1st edition, Cyhoeddiadau Barddas, 1988, original cloth in dust jacket, covers lightly rubbed to head, 8vo, and Seaborne (Malcom) , Schools In Wales 1500-1900 A social and Architectural History, 1st edition, Gee & Son Limited, Denbigh, 1992, black & white illustrations, previous owner inscription to front endpaper, original cloth in dust jacket, covers lightly rubbed to head, 8vo, plus other modern Welsh history reference & related, including Y Bywgraffiadur Cymreig Hyd 1940, by Anrhydeddus Gymdeithas Y Cymmrodorion, 1953, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 6 shelves)

* Wolff ( Jeremias ). Fifteen architectural engravings, circa 1715, fifteen uncoloured engravings of architectural prospects, elevations and floor plans, each approximately 275 x 400 mm, together with four other architectural engravings including examples by Hulsbergh, Sandart and Mondhare, various sizes and condition (Qty: 19)

A late Victorian black slate architectural mantel clock with visible Brocot type escapement, length 38cm.

Carter (John, draughtsman). [Sammelband of four works from the Society of Antiquaries' Cathedrals Series], London: Society of Antiquaries, 1797-1807, comprising: 1. Some Account of the Abbey Church of Bath, illustrative of the Plans, Elevations, and Sections, of that Building, 1st edition, [1798], 2. Some Account of the Cathedral Church of Durham, 1st edition, printed by W. Bulmer and Co., 1801, 3. Some Account of the Cathedral Church of Exeter, 1st edition, [1797], 4. Some Account of the Collegiate Chapel of Saint Stephen, Westminster. By John Topham, 2nd edition (expanded), [1807], 4 works in 1 volume, all text-leaves as called for, 52 engraved plates by James Basire after John Carter, several double-page and/or folding, variable spotting, generally restricted to margins, some offsetting to folding plates, contemporary diced russia, rebacked, scuffed and worn, elephant folio (65.5 x 48 cm) (Qty: 1)NOTESESTC T105076, N/A, T105075, N/A. The Cathedrals Series 'established for the first time the archaeological status of Gothic as fully comparable to the Antique ... Unique in their time for precision and scholarship, these volumes were designed " not alone to please the eye ... but to give information and instruction to the rising generation of Antiquaries and Architectural Professors" ... For that pioneering aim, at least, the series deserves to stand as Carter's monument' (ODNB).

A Persian rug with architectural style centre medallion on a blue ground, within oxide red spandrels with leaf decoration and a scrolling foliate blue ground border, 198 cm x 128 cm

A Turkish silk prayer rug with centre architectural medallion on a pale green ground, within a cream ground, green, red and gold foliate and floral decorated border, approx 162 cm x 110 cm CONDITION REPORTS Has heavy wear all over and splits, cracking, etc. Has been backed previously. See images for more details.

A Turkish silk prayer rug with architectural and lantern centre field on a green ground, within a green ground foliate decorated border bearing signature type script left and right top, approx 162 cm x 116 cm CONDITION REPORTS Has heavy wear, splits fraying, etc throughout and discolouration. Has been backed at some point previously. See images for more details.

A Kazak prayer rug with centre medallion on an architectural style blue ground, within a red field, with flower head medallion decoration and triangular motif decorated border, approx 164 cm x 133 cm

Set of six 19th Century lithographs - Architectural studies, each 32cm x 20cm, later gilt moulded frames and glazed

19th Century coloured architectural lithograph, 'Turkish No. 3', 32cm x 20cm, gilt frame and glazed

JAMES HENRY SELLERS (1861-1954) - An architectural sketch of a domestic housing development around a central green, watercolour, signed and inscribed 'Architect, 78 King Street, Manchester', framed, 32.5cm x 53cm, frame size 35cm x 56cm, also three other studies of architectural details by Edgar Wood. (4)

2 large framed architectural etchings by Giacomo Byres and Giovanni Corbet Cavaliere Inglese 71 cm x 98 cm (size including frame)

'A Medium Rental Flat' An axonometric architectural design, 1938/9, pencil and watercolour 73 x 52cm, framed, and 'Festival of Britain Flower Engravings - Display Wall' plan, blueprint 51 x 92cm framed (2)

Le Corbusier, 'The Complete Architectural Works' , set of eight, Thames and Hudson, and 'Le Corbusier 1910-1965' (9)

19th Century black marble 'architectural' design mantel clock, of semi circular form with columns and classical figure surmount, 52cm.

A portfolio of Architectural Turned Woodwork of 16th, 17th 18th centuries by Tunstall Small & Christopher Woodbridge.

Old Architectural Door Panel a distinguished reclaimed Carved door in a traditional design of solid wood hand carved with original retained defects and aging carved in teak, rosewood and Indian wood 105 x 197cm

Old Architectural Door Panel a distinguished reclaimed Carved door in a traditional design of solid wood hand carved with original retained defects and aging carved in teak, rosewood and Indian wood 109 x 189cm

Old Architectural Door Panel a distinguished reclaimed Carved door in a traditional design of solid wood hand carved with original retained defects and aging carved in teak, rosewood and Indian wood 91 x 192cm

Ashton Dining Table - Rectangle This Dining Table Epitomizes A Mid-Century Modern Design Aesthetic Incorporating Clean Architectural Lines And A Warm Earthy ColorÂ; Quarter-Grained Polished Table Top Crafted From Rich Gloss Walnut Is Supported By An Elegant Curved Steel Base Finished In A Complementary Satin Brass Finish Perfect For Both Everyday Dining And Formal Entertaining Environments 203 X 102 X 76cm (Location: A4MIDTOM)

Brixton Burnished A Frame Display The Brixton Burnished A Frame is made using solid European rustic graded oak which is renowned for its unique character and the shelves are burnished resin which resembles polished stone with a metallic bronze hue The oak is brushed out to show the grain with a dry natural finish The A Frame has an architectural look with its strong true lines It is modern yet keeps a connection which is the arts and crafts movement of the turn of the century This elegant A Frame has 4 shelves of different sizes The beauty of the character coming through on the oak and the light catching burnished shelves combined with the strong shapes make the Brixton Burnished A Frame a striking and appealing piece yet one that would suit a range of interiors 1200 x 426 x 1750mm

Brixton Burnished Dining Table The Brixton Burnished Dining Table is made using solid European rustic graded oak which is renowned for its unique character and the top is burnished resin which resembles polished stone with a metallic bronze hue The oak is brushed out to show the grain with a dry natural finish The table has an architectural look with its strong true lines It is modern yet keeps a connection to which is the arts and crafts movement of the turn of the century The beauty of the character coming through on the oak and the light catching burnished top combined with the strong shapes make the Brixton Burnished Dining Table a striking and appealing piece yet one that would suit a range of interiors 1600 x 800 x 760mm

Brixton Burnished Coffee Table 900x900x450mm The Brixton Burnished Coffee Table is made using solid European rustic graded oak, which is renowned for its unique character, and the top is burnished resin, which resembles polished stone, with a metallic bronze hue. The oak is brushed out to show the grain with a dry natural finish. The table has an architectural look, with its strong true lines. It is modern yet keeps a connection which is the arts and crafts movement of the turn of the century. The beauty of the character coming through on the oak and the light catching burnished top, combined with the strong shapes, make the Brixton Burnished Coffee Table a striking and appealing piece, yet one that would suit a range of interiors.

Brixton Burnished Sofa Table 700x380x650mm The Brixton Burnished Sofa Table is made using solid European rustic graded oak, which is renowned for its unique character, and the top is burnished resin, which resembles polished stone, with a metallic bronze hue. The oak is brushed out to show the grain with a dry natural finish. The table has an architectural look, with its strong true lines. It is modern yet keeps a connection which is the arts and crafts movement of the turn of the century. The beauty of the character coming through on the oak and the light catching burnished top, combined with the strong shapes, make the Brixton Burnished Sofa Table a striking and appealing piece, yet one that would suit a range of interiors.

Old Architectural Door Panel a distinguished reclaimed Carved door in a traditional design of solid wood hand carved with original retained defects and aging carved in teak, rosewood and Indian wood 104 x 213cm

An 'Automatic Medical Electric Machine' in architectural beech case

AN ELIZABETH II SILVER FIVE PIECE TEA AND COFFEE SET, of shaped rectangular form, ribbed rim with shell and foliate scroll detail, each piece engraved with initials LG within an architectural cartouche, brown bakelite fitments, stepped rectangular foot, makers J B Chatterley & Sons Ltd, Birmingham 1965-66, gross weight 84.2 ozt, 2618.8 grams, together with a small parcel of silver plated items

A LATE 19TH CENTURY MARBLE AND ONYX CLOCK GARNITURE, the clock of architectural form, the chapter ring with Arabic numerals, eight day movement, gong strike, height 28cm, the pair of urns height 24.5cm, with pendulum and key (3)

GARDEN ARCHITECTURAL ARCH, French provincial style, 240cm Tall.

Artist: Oskar Schlemmer (German, 1888 - 1943). Title: "Akt". Medium: Pen and ink drawing. Date: Composed 1922. Dimensions: Overall size: 10 1/2 x 6 13/16 in. (267 x 173 mm). Image size: 10 5/16 x 4 5/8 in. (262 x 117 mm).Lot Note(s): Signed and dated, upper right. Cream wove paper. Fair condition; foxing overall; approx. seven worm holes in the image; conservation should greatly alleviate the imperfections. Comment(s): Schlemmer was a German painter, sculptor, designer, and choreographer associated with the Bauhaus school. Many of his celebrated works involve the representation of bodies as architectural forms, reducing the figure to a rhythmic play between convex, concave, and flat surfaces. [27001-2-3000]

Collection of architectural salvage brass door knob handles (6)

Architectural salvage iron light switch bank

A pair of reconstituted stone architectural corbels, together with a garden statue, 69cm high

A collection of Edwardian and later postcards, to include, British topographical, architectural interest, classical antiques, transport, tourist, humorous, black and white and coloured examples, ships, trains etc (approx. 1200 cards) (11 albums)

A mid 19th century French slate mantel clock, stamped 'G V Gay Vicarino, Paris', the domed slate case carved with father time flanked by architectural columns, beneath the 14cm white enamel dial with gilt metal bezel, enclosing the two train movement with slow and fast mechanism, the movement stamped with the makers name and the serial number 72817, 40cm high

A Victorian slate mantel clock, the architectural case with incised gilt highlights and rouge marble inlay, enclosing the 13cm white enamelled dial with two train movement striking on a saucer bell, 31cm high

A Victorian walnut Vienna wall clock, the architectural case with turned fluted columns flanking the glazed door and 19cm white enamel dial with brass pendulum, 110cm long

A George III oak and mahogany cross banded thirty hour longcase clock by Joshua Cotterill, the twin swan neck pediment above the 33cm diameter circular painted dial, centred with the makers name and date aperture, applied with an architectural landscape, enclosing a thirty hour movement striking on a saucer bell, the case with canted corners flanking a cross banded door over the conforming lower panel and plinth base, 208cm high, weight and pendulum

A Victorian walnut Vienna wall clock, the architectural pediment centred with a turned finial above an 18cm enamelled white dial enclosing a two train movement, the case with fluted and ebonised detail flanking the glazed door, 127cm long, pendulum and two brass coated weights, along with a Victorian walnut Vienna wall clock with a 14cm dial flanked by turned half pilasters, 97cm long, pendulum, also a late 20th century chiming wall clock, 59cm long (3)