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

Three carved architectural fragments, 20th century, possibly lime wood, each modelled as a foliate sprig with flowers and fruit, painted gilt, silver and polychrome decoration throughout, each with keyhole hanging plate verso, the tallest 43cm high (3)

A set of early 20th century Japanned cast iron grocers scales by G.M James, Bath, with a cast central architectural column, and three cube weights, 52cm high

Three late 19th century oak country chairs, each with a plain top rail above an architectural column shaped splat and shaped seat, raised upon ring turned tapering front legs with peg feet, plain cross stretchers, 92cm high, along with an early 20th century oak elbow chair with pierced splat and drop in seat (4)

Artist: Henri Cartier-Bresson (French, 1908 - 2004). Title: "Behind the Gare St. Lazare". Medium: Original vintage photogravure. Date: Composed 1932. Printed 1953. Dimensions: Image size: 13 9/16 x 9 1/8 in. (344 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Although Cartier-Bresson noted that he did not prefer any one of his pictures to the others, historians regard “Behind The Gare Saint-Lazare” as his most iconic photograph. He took the black and white photograph in 1932 outside the Saint-Lazar train station in Paris. Color film did not exist at the time and professional photographers rarely used artificial lighting in their works. Regardless, the natural skylight and the black and white lens add elements to the photograph that color and artificial lighting could not. Cartier-Bresson noticed the beautiful frame from the hardly visible architectural buildings in the background to the pool of rainwater in the foreground. Still, he needed a subject. He waited and waited until a busy businessman ran across the pool of water onto a broken and disregarded ladder. He snapped the picture just as the man was in the process of jumping from the ladder back into the water, adding a layer of contrast between the man’s hurry and the water’s stillness. [25078-3-800]

* Two pairs of early Victorian parcel-gilt and white painted architectural brackets each formed as two adjacent scrolling corbels supporting an overhanging plinth H105.5 x W33cm x D35.5cm.Provenance: Supplied under the direction of Sir Charles Barry to Henry Lascelles, 3rd Earl of Harewood for the gallery at Harewood House in the 1840s and by descent at Harewood House - Read more... Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

* Pair of early Victorian parcel-gilt and white painted architectural brackets formed as two adjacent scrolling corbels supporting a deep overhanging plinth with additional scroll support H104cm x W33cm x D69cm.Provenance: Supplied under the direction of Sir Charles Barry to Henry Lascelles 3rd Earl of Harewood for the gallery at Harewood House in the 1840s and by descent at Harewood House - Read more... Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

Victorian slate marble architectural mantle clock, inscised gilt scrolled decoration, six fluted pilasters flanking white enamel dial with Arabic chapter ring, movement striking hammer on gong, W53cm Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

Timothy Richards - Architectural Miniatures - Wembley Towers - a rare pair of Timothy Richards architectural models of the famous Wembley Towers that graced the front of the ground. Beautifully and accurately modelled in plaster, with added details. This pair autographed by the Bristol City squad as part of a limited edition. Fabulous pieces of football history / memorabilia. Supplied within their original presentation box. Rare. Each tower measures approx; 25cm tall. 

An early 19th century Royal Crown Derby figurine of an Arabian gentleman seated on a pillow mounted on a square architectural plinth, marks to the base, 12.5cm (h)

NO RESERVE Architecture.- Feilden (Bernard M.) Conservation of Historic Buildings, 1982 § Calloway (Stephen, editor) The Elements of Style. An Encyclopedia of Domestic Architectural Detail, dust-jacket, 1997 § McGrath (Raymond) and A. C. Frost. Glass in Architecture and Decoration, a few ex-library ink stamps, 1937 § Flats. Municipal and Private Enterprise, occasional finger-soiling, ex-library ink stamps, 1938, plates and illustrations, original cloth; and c.120 others, architecture, v.s. (c.125)

NO RESERVE J.M.W Turner.- English School (19th century) Roman architectural study, pen and brown ink over traces of pencil on wove paper without watermark, affixed on paper support bearing old pencil attribution to Turner on verso, sheet 185 x 235 mm (7 1/4 x 9 1/4 in), surface dirt and light toning, unframed, probably early 19th century; together with another interior study attributed to the young Turner, watercolour over red and brown ink, traces of pencil, laid paper without watermark, old inscriptions verso suggesting a date of circa 1780-1790, with inscription in brown ink verso that reads 'Cellar - Ca[?]yage's House, Redcliffe Street/ Bristol', 200 x 285 mm (7 7/8 x 11 1/4 in), unframed, late 18th century (2)⁂ The first mentioned drawing bears some passing similarity to several views found in Turner's sketchbook 'Rome: Colour Studies Sketchbook', part of the Tate collection; see View of St Peter's Square, Rome [see acc. D16368, Turner Bequest CLXXXIX 41]. The Tate drawing is prepared with graphite pencil sketching for the architectural details and then reinforced with iron gall ink over all the main elements.

Japy Freres & Cie, Paris - Late 19th Century brass-mounted oak mantel clock, the 3.25-inch cellular Arabic dial with raised centre, the two-train movement striking on a bell, in ornate tapering square section case of architectural form, 37cm high

Maple & Co Ltd, Paris - Early 20th Century carved oak-cased mantel or bracket clock, with 4.5-inch Arabic dial, two-train movement striking on a coiled gong, in architectural case, 44cm high

Late 19th Century French alabaster mantel clock, with three-inch Roman enamelled dial, single-train timepiece movement, in architectural case, 22.5cm high

A 20th Century Christopher Dresser style silver plated architectural angular teapot, ebonised handle, unstamped CR: This appears to be in good condition 

Whitefriars- 2 Architectural slabs by Whitefriars. Dimensions approx 18cm square, approx 17.5cm x 8cm rectangular

A late 19th Century Black Forest carved wooden wall mounted frame, circa 1880, of architectural form with a pediment, foliage in high relief around a double panelled door opening to a print, height 55cm, width 6cm, (key) 

An Elizabethan oak plank chest, circa 1560, hinged rectangular top above three panel front carved in high relief with architectural arches, raised on square feet. 69cm H x 143cm W x 51cm D

A late Victorian slate mantel clock of architectural form, Arabic enamelled dial, French drum 8 day movement with pendulum, 39.5cm high

19th century and later drawings to include WJS Smith landscape, watercolour, printed ephemera comprising Winston Churchill newspapers, prints, trains and vehicles, seascapes, animals, architectural buildings, interiors, landscapes and classical

Two Peavey Architectural Acoustics MediaMatric MM8802 audio breakout boxes. Location:RWM

Rowling, J.K. Harry Potter and the Philosopher's Stone London: Bloomsbury, 1997. First edition, hardback, first impression with the '10 9 8 7 6 5 4 3 2 1' numberline on the publisher's imprint page and '1 wand' listed twice on p.53, inscribed and signed by J.K. Rowling on the front free-endpaper: "6-9-97 For James, Kate and Laura, with best wishes, J.K. Rowling", original pictorial boards, an extremely faint yellow mark to p.67 and some very light browning to pages as usually found, a very slight shelf-lean, some minor wear to covers Note: One of only 500 copies of the first edition, first impression hardback to have been produced. J.K. Rowling’s Harry Potter books have become a modern classic of children's literature, with first edition, first impression copies of Rowling’s first book being truly rare: 500 hardback copies were produced, with around 300 of these being given to libraries and schools. This would leave a maximum of 200 copies of the book in possible circulation in fine, non ex-library condition. The actual number is likely to be far lower. Only a handful of first edition, first impression books were then inscribed by J.K. Rowling for friends, acquaintances and family members. This copy is one such work. It is notable that this book is being offered for sale in Edinburgh – widely regarded as the ‘home of Harry Potter’. The boy wizard was dreamt up by Rowling on a delayed rail service between Manchester and London’s King’s Cross Station, however Rowling has said: “…Edinburgh is very much home for me and is the place where Harry evolved over seven books and many, many hours of writing in its cafés.” Similarities can also be found between Edinburgh’s many imposing independent schools and Hogwarts School of Witchcraft and Wizardry. Most notably, George Heriot’s School and Fettes College, with its impressive central spire, both strongly reflect the baronial architectural style of Hogwarts. In the past, Rowling has said that she imagines Hogwarts to be in Scotland: a claim corroborated by the Harry Potter films, where the Hogwarts Express is seen diving over the iconic Glenfinnan Viaduct.

Gottscho, Samuel 434 photographic studies each photograph c.15 x 10cm, showing a wide range of subjects including: people (presumably family members), buildings in New York, trains in Canada, skiing, animals, snowy scenes and others Provenance: Purchased from the estate of Samuel Gottscho Note: Samuel Gottscho, 1875-1971, was 50 years old before he became a full-time landscape, nature and architectural photographer. It is rumoured that during the Great Depression, Gottscho drove over 5000 miles through the streets of New York, taking panorama and skyline images. Today, Gottscho's architectural work comprises some of his best-known pieces. The collection of images included here comprises snapshots and studies, more than grand commissioned pieces. However, the 434 photographs do show Gottscho developing and practising as an artist.

A near pair of maiolica architectural tiles or panels, 19th century, the rectangular forms painted with profile portraits of a nobleman and his wife, and another tile painted with a spotted hyena beneath the name 'Jacobus Philippi', 29.5cm max. (3)

A quantity of assorted architectural plans and technical drawings, (qty).

A walnut cased Vienna wall clock with black Roman numerals and a white enamelled dial and 8-day spring-driven movement, set in an architectural case, 95 cm high, 34 cm.

A large 19th century French slate cased mantle clock, with black painted Arabic numerals on a gilded dial, in a classically presented architectural case, 44 cm high, 45 cm wide, 14 cm deep.

Paul Klee, architectural abstract lithograph, image 7" x 6", mountedVery good condition

STANLEY CHURCHILL RAMSEY & JOHN DEAN MONROE HARVEY: SMALL HOUSES OF THE LATE GEORGIAN PERIOD, London, The Architectural Press, 1924-23, 2nd impression, 1st edition, 2 vols, folio, original cloth gilt, very worn (2)

CHARLES HENRY BOURNE QUENNELL & PETER QUENNELL: SOMERSET, SHELL GUIDE, London, Architectural Press [1936], 1st edition, 4to, spiral bound, original pictorial wraps (some creasing)

ROBERT BYRON (ED): SHELL GUIDE TO WILTSHIRE, London, Architectural Press, 1935, 1st edition, 4to, spiral bound, original pictorial wraps (rubbing and creasing)

JOHN BETJEMAN (ED): CORNWALL, ILLUSTRATED IN A SERIES OF VIEWS, London, Architectural Press, 1934, 1st edition [Shell Guide], 4to, spiral bound, original pictorial wraps (some creasing to top wrap)

LORD CLONMORE (ED): SHELL GUIDE TO KENT, London, Architectural Press, 1935, 1st edition, 4to, spiral bound, original pictorial wraps (very minor wear), 2 copies only on COPAC

CHRISTOPHER HOBHOUSE (ED): SHELL GUIDE TO DERBYSHIRE, London, Architectural Press, 1935, 1st edition, 4to, spiral bound, original wraps (minor wear and creasing)

PAUL NASH: DORSET SHELL GUIDE, London, Architectural Press [1936], 1st edition, 4to, spiral bound, original pictorial wraps (some rubbing)

JOHN BETJEMAN: DEVON SHELL GUIDE, London, The Architectural Press [1936], 1st edition, 4to, spiral bound, original pictorial wraps (some rubbing and creasing)

SAMUEL TYMMS: AN ARCHITECTURAL AND HISTORICAL ACCOUNT OF THE CHURCH OF ST MARY, BURY ST EDMUNDS, Bury St Edmunds, Jackson & Frost, London, Simkin & Marshall, 1854, 1st edition, engraved vignette title, added hand coloured title dated 1845 [intended date of publication], frontis and 7 plates as list, 4to, contemporary half calf marbled boards, armorial bookplate of William Carr

Tony Matthews (20th/21st century British) - A collection of fifteen signed prints of local architectural subjects including Lower Slaughter, The Promenade Cheltenham, Chalford, etc (some duplicates) all signed and inscribed and dated 1974, 56 x 38.5cm approx visible sheet size, all framed

Er (possibly for Ernest) Jones (Early 20th century British school) - A pair of studies of architectural classical style capitals, charcoal on paper, one signed and dated 1901, 46 x 56cm, framed, please add to description, together with a French 18th century black and white architectural engraving of the facade of the house of Monsieur Hinssellin of Notre Dame, 20 x 32.5cm, framed (3)

Geoff Keney (20th/21st century British) - Winter river landscape, watercolour and bodycolour on paper, signed, 28.5 x 60.5cm approx, together with a chromolithograph of a cottage exterior scene after Chas F Selwyn, 28 x 19cm, a further coloured lithograph of a street scene, 34 x 21.5cm, three early 20th century black and white etchings of architectural subjects all signed W Monk, a reproduction coloured map of Warwickshire, etc, all framed (8)

A collection of art related books, together with fourteen copies of The Penguin Modern Painters - Edward Bawden, and a number of The Architectural Review Jan 1913 - July 1914 (approx 40 vols)

23 architectural coppered tin square moulded panels with hammered detail, 62.5cm square, together with seven further examples, with classical laurel garland and further detail (30)

A pair of large architectural wooden cylindrical columns with all over later simulated marble hand painted finish and raised on square stepped bases, 280 cm high approx

An Edwardian mahogany sideboard with gadroon moulded edge over a pair of bow-fronted cupboard doors flanking three long drawers with cast brass ring handles raised on claw and ball feet, the top with shallow raised architectural back, 6ft long approximately

An oak side cabinet with stepped and moulded cornice over two pairs of green stained leaded light doors, franked by architectural mouldings

A pair of decorative wall mounted columns, mirror backed supporting three demi-lune shelves beneath a broken architectural pediment with reeded and gilded highlight decoration, 160 cm in length x 41 cm in width

A substantial early 19th century mahogany dressing mirror, the box base of convex form enclosing a frieze drawer, the turned and tapering columns supporting rectangular mirror plate and push moulded frame, set beneath an architectural pediment, 135 cm in height x 75 cm in width

Good quality 19th century pear cased single fusee silver pocket watch by George Janison of Ortlea with ornately engraved back plate and outer pear case, within a fruitwood architectural watch stand (2)

A 19th century black slate architectural mantle clock, the twelve inch dial with enamel chapter ring, two train movement flanked by corinthian columns and mounted with a Roman battle scene, 31 cm high

An Edwardian Oak Book Slide with Pierced Architectural Decoration, 36cms Wide

A Victorian slate mantel clock of architectural form (losses)

Pair of architectural drawings by J Walsh

LOUIS HELLMAN - Archi-têtes - three calendars dated 1991, 1992 and 1993 depicting caricatures of architects using elements of their own buildings and style; together with four RIBA architectural calendars dated 1995 through to 1998; and - Benjamin Read's Splendid Views 1829-1839 - a folio containing six topographical prints showing winter and summer fashions taken from hand coloured aquatints (8).

An early 20th century cast iron and brass mounted mantel clock,the case of architectural form, the enamel dial marked for Ansonia Clock company (America) the chiming movement stamped with patent for June 18 1882, Ansonia Clock Co. New York, pendulum, 42cm wide

Etmad Dowla Tomb, a large illustration on paper [India (probably Uttar Pradesh), late nineteenth century]single leaf, ink and watercolour on paper, large detailed illustration of the Etmad Dowla Tomb in Agra, with heightened features to appear more colourful, some scattered stains, overall presentable and attractive, 290 by 445 mm.; framed and glazed A vibrant and attractive illustration of one of the most important architectural structures from the height of Mughal design, built between 1622 and 1628.

Ɵ Baha al-Din Muhammad al-Amili, Tashrih al-Aflak (The Anatomy of Celestial Spheres), in Arabic, illuminated manuscript on polished paper [Safavid Persia, early eighteenth century] single volume, text including four chapters of this work, 22 leaves plus an additional later endleaf at each end, single column, 9 lines of elegant black naskh, some phrases in red or blue, numerous spherical diagrams throughout the text in red and blue, some of these heightened in gilt, contemporary annotations and marginalia throughout in a slightly later hand, including inscriptions to preliminary and penultimate leaves, two ownership seals at the end of the text, 205 by 120 mm.; later limp leather, rebacked, extremities scuffed Baha al-Din Muhammad al-Amili (d. 1621) was a Lebanese architect and astronomer who spent most of his working life in the Persian courts. The historic Naq'she Jahan Square and Charbagh Avenue structures in Isfahan, both famous Safavid sites, are attributed to al-Amili. As well as his architectural achievements, he is also known as one of the first Islamic astronomers to suggest the possibility of the earth's rotation on an axis, prior to the spread of the Copernican Theory and other western influences. The present text is a summary of theoretical astronomy, also known as a majmu'a (compilation), and includes the Earth's axis theory as well as discussing other planets in the solar system inclusive of the sun.  

19th Century English School. An Architectural Design, with Figures and Dogs in the foreground, Watercolour and Pencil, Unframed, 25.25" x 18.75".

AN EXTENSIVE CARVED AND PANELLED WALNUT ARCHITECTURAL ROOM INTERIOR IN THE GEORGIAN TASTE, INCLUDES MANTLEPIECE, TWO CORNER CABINETS, SKIRTING, ETC. List of components making up panelling.12no panels, two long panels above two shorter, approximately 840 wide x 2.485 high, including legs to go to floor behind skirting.Two panels to go either side of fireplace, each 840 wide max x 2.485m.Pair of shallow panels to go over pair of doors (doors not included) 485 x 820.Odd single panel 1.355 high x 840 wide twin panelLengths of skirting, 190 high x 2.52m, 2.5 and 2.08Lengths of cornice moulding 210 high, 1.5m plus 945 plus 3.5m with jointing end, plus 3.24, plus 2.27, plus 3.24 2.07 toothed, plus 3 x 1.2m.Central dado rail 105 high x 820, plus 2.09 plus 2.5 plus 2.08 plus 820 plus 2.48 plus 2.42 plus 2.08.Set of door architrave with room door matching panelling, with white plain boarded cover on one side, 840 x 2.375.Door lining, rebated, needs regluing, for 1.73 wide opening.Lengths of panel joining section, 45mm wide, 1no 2.4m and 1 x 1.38m.Lengths of simple style cover moulding 75mm wide x 1.83 and 1.74.Box of fittings/fittingsLength of plain matching mahogany board 220 x 1.77m.Long box of thin mouldings and blocks for cutting plugs from. PAIR OF SUBSTANTIAL TALL MATCHING MAHOGANY CORNER CUPBOARDS, BOTH WITH PANELLED FULL SIZE DOORS.  ONE WITH SUBDIVISIONS FOR WINE BOTTLES AND CARVED DECORATIVE SHELF AND OTHER WITH INNER CARVED DOOR TO INNER CUPBOARD, WITH MATCHING CORNICE AND SKIRTING. SUSBTANTIAL HANDCARVED MAHOGANY FIRE SURROUND, COMPLETE WITH CAST IRON INSERT FIRE BASKET, FIRE BACK AND BACKING PLATE, INNER BLACK POLISHED GRANITE HEARTH 655 x 200mm, OUTER MATCHING GRANITE HEARTH 1.725m x 500mm PLUS EXTENDABLE BRASS FENDER. 

Monir Farmanfarmaian (Iran, 1924-2019)The Magnified Sacred mirror and reverse-glass painting on woodexecuted in 2004diameter: 100cmFootnotes:A MAJOR MIRROR-WORK BY MONIR FARMANFARMAIAN FROM THE GEOMETRIC INSTALLATIONS SERIES'The harmonious division of a circle is a symbolic way of expressing the Tawhid, the Divine Unity as the source and culmination of all diversity'- Monir Farmanfarmaian, Mosaics of Mirrors 'This nonagon [The Magnified Sacred] represents the nine elements of the body: brain, bones, nerves, veins, blood, flesh, skin, nails and hair'- Monir Farmanfarmaian'For her 2006 exhibition in Tehran, Monir has conceived installations of large panels in different colours - with [the red nonagon] in a traditional color of passion and fire. The panels symbolize every aspect of the universe and characterize the timeless and infinite quality o Islamic geometric concepts'- Rose Issa Provenance:Property from a distinguished private collection, LebanonAcquire directly by the above from Rose Issa Projects, 2006Literature:London, Rose Issa Projects, Monir Shahroudy Farmanfarmaian: Mosaics Of Mirror, 2006, illustrated on page 38Exhibited:Monir Farmanfarmaian, Major Retrospective, Niavaran Cultural Centre, Tehran, 2006Monir Farmanfarmaian, Mosaics of Mirror, 2006, Rose Issa Gallery, LondonRadiant, enigmatic and complex, 'The Magnified Sacred' is one of the finest, and perhaps most technically intricate examples of Monir Farmanfarmaian's iconic mirror-work to come to market. Exhibited as part of an enormous series of 'Geometric Installations' executed between 2003-5 and exhibited at her major retrospective in Niavaran Palace Tehran in 2006, The Magnified Sacred is from one of Farmanfarmaian's most ambitious bodies of workMarrying craft, geometry and spiritual symbolism, Monir's composition extracts the centuries old Iranian tradition of mirrored paneling from its architectural setting, elevating it to an art form in its own right. Informed by a deep understanding of numerology and symbolism, Monir's work sheds light on the significance of shapes and signs within the typology of classical Islamic art, in an aesthetic framework that is captivating and intricate. Large in scale, sculptural in presence, and exhibiting an endless array of reflective variations, The Magnified Sacred is one of the most tightly composed and intricate examples of Monir's work.The shapes and patterns which Monir' employs in her compositions are clearly and intentionally derived from the geometric and numerological formulae present in Islamic and Iranian architecture. Whilst decoratively complex, the use of geometric patterns and tessellations points to a far deeper conceptual agenda, 'the proliferation of arabesque abstract decoration enhances a quality that could only be attributed to God, namely, His irrational infinity,' scholar Wijdan Ali observes in The Arab Contribution to Islamic Art (the American University in Cairo Press, 1999). 'The pattern of the arabesque, without a beginning or an end, portrays this sense of infinity, and is the best means to describe in art the doctrine of tawhid, or Divine Unity.'Exhibited and published in her major Monograph, The Magnified Sacred is a sublime example from an artist who has elevated her countries vernacular craft into a universal aesthetic, and in doing so, has become one of the most internationally acclaimed figures to emerge from Iran within the past century. Monir Farmanfarmian: A LifeBorn in Qazvin, Iran in 1924, Farmanfarmaian begun her studies at the Faculty of Fine Arts in Tehran before embarking to New York, where she attended Parson, The New School for Design and Cornell University, and worked as a fashion illustrator. It was in New York that Monir' mixed with the cities emerging cultural avant-garde, collaborating with artists such as Andy Warhol on illustrations for the Bonwit Teller department store. It was only after moving back to Tehran that Monir developed her signature style. Influenced by the arts and crafts of her native country, Farmanfarmaian fashioned an artform out of mirror-mosaic work drawing on traditional techniques of reverse-glass painting, inlaid carving, Islamic geometry, and architectural design. To create her reliefs and sculptures, Farmanfarmaian commissioned craftsmen to draft her early designs, then cut mirrors to fit the required shape, which were set in geometrical patterns, and mixed with plaster to produce new compositions into which the artist incorporated colored glass.Monir Farmanfarmaian received international acclaim in 1958, when she was presented a gold medal for her work in the Iranian Pavilion at the Venice Biennale, this was followed by exhibitions in Tehran, Paris and New York. She has recently become the focus of significant institutional interest, having held important exhibitions worldwide including the Gwangju Biennale, South Korea (2016); a major career retrospective at the Solomon R. Guggenheim Museum, New York, NY (2015) and at the Fundação Serralves–Museu de Arte Contemporânea, Porto, Portugal (2014).She is the subject of a substantial monograph, Monir Shahroudy Farmanfarmaian: Cosmic Geometry, edited by Hans Ulrich Obrist; and has authored an autobiography, A Mirror Garden (Knopf, 2007). Farmanfarmaian's work is placed in some of the most important institutions around the world, including: Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, U.K.; Museum of Fine Arts, Boston, MA; and Metropolitan Museum of Art, New York, NY.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

A Nasrid revival marquetry wood vitrine Granada, Circa 1900of multi-faceted form with hinged glass door to front, glass panels to each side, profusely carved and inlaid with bone and marquetry wood, with geometric and architectural motifs, to the top a band of inscription-filled cartouches, with retailer's label of Emilio Ruiz, Casa Linares, Alhambra 64, Granada, on stand 145 x 102 x 43.5 cm. Footnotes:Inscriptions: repeat of the Nasrid motto, wa la ghalib illah allah, 'And there is no conqueror except God'.This lot is subject to the following lot symbols: TP PTP 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.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com