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Click here to subscribeTwo similar 19th Century 'Protean view' type pen, ink and wash studies of Italian architectural scenes; a square with firework display (probably St Marks Square) and a cathedral interior (St Peter's Basilica, Rome). Hinged back panels to the frames that open to let in light and reveal chandeliers/lights in the cathedral and light up the fireworks in the square. 26 x 38cm approx, framed and glazed. (2) (B.P. 24% incl. VAT)
A collection of antique and vintage architectural fittings dating from the 19th Century to include multiple door knobs with wooden, bakelite and ceramic examples with one having a blue painted flower decoration, Victorian curtain pulleys, brass and cast door latches various examples, door numbers, picture hooks etc.
Mudge and Dutton with enamel by Moser. A fine gold quarter repeating cylinder pair case pocket watch with later Shagreen and glass display case by John Paul CooperDate: Circa 1770Movement: Full plate gilt fusee, plain polished steel balance, cylinder escapement, pierced and engraved balance cock with winged mask, diamond endstone, silver regulator, baluster pillars, two polished hammers repeating on single bell, signed movement cover Dial: White enamel, Roman numerals with outer Arabic minutes, fine gold beetle and poker handsCase: Inner gold engraved and pierced case with grimacing mask, stamped ITP under bell, plunge repeat through pendant, gold outer case with fine grisaille enamel central panel depicting Venus holding a scythe to Cupids wings, outer borders with transparent blue Guilloche enamel highlighted with gold scrolls and white enamel 'pearls', similarly decorated front bezel, pulse piece at 5, 7 knuckle scalloped hinge Signed: Movement and outer cover signed Tho Mudge W Dutton London, inner case stamped ITP, enamel signed MoserSize: 55mm Accompaniments: A fine architectural display case with shagreen covered corner pillars and pitched top, glass front and sides and mirrored back, with plaque of maker John Paul Cooper, circa 1900This lot is subject to the following lot symbols: Y
A group of stained-glass panels, various datesComprising: a late 19th century leaded oval panel of a saint, a late 19th century rectangular leaded armorial panel with the motto Prest Eo Belfred Trevelec and four various mid 19th century architectural stained glass fragments and panels, the oval panel 34cm high. (6)The motto appears to be Celtic, which may lead to the arms being European. The inclusion of supporters as well as what appears to be a marquess’s coronet suggest that the arms refer to a noble family or an institution related to a family. The arms are those used by the PATTON family of Cairnies and from 1809 Glerialmond Perth. However this is not a noble family and as a result this identification is uncertain.
A group of 19th century marble and stone architectural fragmentsComprising a large 19th century carved white marble lion’s paw, two 19th century white marble chimneypiece scrolls (one black painted), a 19th century alabaster lion after Canova (part of the tail lacking), 19th century Gothic corbel possibly in Coade stone and a stoneware corner stone with a grotesque mask, the marble foot 16cm high, 24cm deep. (6)
A group of architectural carvings, 17th century and later Comprising: a pair of 17th-century lunette and stiff leaf carved uprights, a pair of Jacobean style carved oak strapwork uprights, a 19th century ebonised mahogany strapwork upright, a pair of 17th century carved oak strapwork panels in arched surrounds, a pair of 17th century acanthus carved terminals, the first uprights 48cm high. (qty)
A group of 19th century carved architectural elementsIn oak and mahogany of various dates, comprising: an oak carved panel with cherub, oak and acorn carved swags, 64cm wide, an Irish carved oak lion mask panel, 60cm wide, a pair of leaf, fruit and flowerhead carved pilasters, each 89cm high, another pair headed by lion masks, each 72cm high, a guilloche carved apron with green man mask, 103cm wide and a scrolling cabochon carved element, 91cm wide. (8)
A group of architectural and other fragments decorated with amorini, 18th century and laterComprising: a large oak cherub mask with winged surround, previously decorated, a cherub and dolphin cresting and another pair of similar design, a carved panel depicting Nature and frolicking putti, a further carved cherub mask with winged surround and a fragment of a walnut cresting, possibly 17th century, with a basket flanked by amorini, the first carving 27cm high, 56cm high. (7)
A group of 19th-century architectural fragments and crestingsComprising: a section of a carved walnut overdoor with griffins and an amorini mask, a pair of carved oak spandrels with strapwork and winged bearded male figures, a carved oak panel with foliate scrollwork around a grotesque mask and a pair of carved oak shell and foliate crestings, (one a/f,) the overdoor fragment, 96cm wide, 26cm high. (6)
Two large architectural fragments, 19th centuryComprising: a large 19th century French carved walnut overdoor with central cartouche inscribed ‘J.M.BOULLANGE’ and dated ‘1887’, flanked by foxes, birds, scrolling acanthus fruits and flowers, 118cm wide, together with a large 19th century pine carved and pierced cresting, with central shell, beasts and acanthus leaves, with later base, 235cm wide. (2)
Early 18th century longcase clock, with 30 hour rope driven, bird cage movement, 11 inch square brass dial, with face mask spandrels, signed William Cooper, Colchester. In a stained pine case, with full length door and plain hood, with architectural top. 211cm overall height. (Pendulum and weight present).
A mahogany cased stick barometer, the silvered dial signed A Pozoly fecit and fitted with a thermometer, the case with architectural pediment and cable stringing, 97cm high/see illustration CONDITION REPORT: Lot 464Condition overall good and some cable banding missing at right hand border. The dial is slightly damaged at base of thermometer otherwise good.
A George III mahogany bureau, circa 1760, the hinged fall concealing an interior with central starburst cupboard flanked by shaped drawers and architectural pigeon holes, 99cm wide CONDITION REPORT: Both sides split and repaired, fall with split to moulding and noticeable scratches and other blemishes to flap and top, interior with stains, handles replaced, drawers lined front to back, one fall support missing front, no visible sign of worm.
A late Victorian walnut mirrored back side cabinet of narrow proportions, the lower section partially enclosed by a pair of carved panelled doors flanking a bow front with open shelves and galleries, the raised back enclosing five bevelled edge mirror plates flanked by carved panels beneath a broken swan neck and urn architectural pediment, 128 cm wide
Original vintage music poster from the sixties psychedelic era featuring an iconic image of the influential musician Bob Dylan (Robert Allen Zimmerman; b 1941). This colourful design depicting Dylan's profile with swirling hair by the notable graphic designer Milton Glaser (b 1929) was inspired by a self portrait of Marcel Duchamp; the poster was commissioned as an insert for positive publicity for Dylan's Greatest Hits album following the false rumours of his death after his motorcycle accident in 1966. Milton Glaser (born June 26, 1929) is an American graphic designer. His designs include the I ? NY logo, the psychedelic Bob Dylan poster, and the logos for DC Comics and Brooklyn Brewery. In 1954, he also co-founded Push Pin Studios, co-founded New York magazine with Clay Felker, and established Milton Glaser, Inc. in 1974. His artwork has been featured in exhibits, and placed in permanent collections in many museums worldwide. Throughout his long career, he has designed many posters, publications and architectural designs. He has received many awards for his work, including the National Medal of the Arts award from President Barack Obama in 2009, and was the first graphic designer to receive this award.Year of printing: 1966, country of printing: USA, designer: Milton Glaser, dimensions (cm): 83.5x56. Very good condition, folded as issued.
An ebonised architectural style year-duration longcase timepieceBy H. Haley, Teddington 1939, in the manner of FromanteelThe case with an arched pediment above the trunk inset with a three-panel door, above a stepped base on a plinth, the 11in. velvet-covered dial with winged cherub spandrels, silvered chapter ring and polished steel hands, the movement signed on the backplate H. Haley F.B.H.I Teddington, Fecit 1939 in an outlined rectangle, with screwed plain turned pillars, deadbeat escapement and screwed chatons228cm highKenneth Harry Haley (b. 1870), 20 High Street, Teddington, Middlesex, was elected a member and Fellow of the British Horological Institute in February 1932, and in the same month was awarded a First Class Certificate for Clock Repairing. The Watch & Clock Maker Magazine, May 1938, p. 73, includes a photograph of Harry Haley at his lathe, which won the Daily Mirror photographic competion "Britain at Work". There is a short biography of his career, explaining he started aged ten and had also worked for the Waterbury Watch Co. for fifteeen years, prior to starting his own business in 1902 'determined to carry on the best of the old traditions'.
A Tyrolean carved walnut striking fusée cuckoo mantel clockBy Aron Ketterer, Furtwangen, late 19th centuryIn an architectural case carved with foliage and three birds, the case with a small door to each side, a lift-off panel to the reverse, the twin train fusée movement with strike on a gong50cm highThe back panel is inscribed in pencil by the Ketterers.
A late 19th to early 20th Century French gilt metal 8-day mantle clock, of architectural form, the Sevres style porcelain dial painted with floral swags, before a lower panel detailed with lovers with an Arcadian landscape, the gilt metal case raised on swept supports, and surmounted by a campana form urn finial, height 42cm.
Ghislandis (Antonius de) Opus aureum ornatum ornatu[m], 2 parts in 1, collation: +8 a-z A-Z aa-ff8, double column, Gothic letter, near-identical titles to both parts, with title and woodcut vignette within architectural border, the general title in red and black, woodcut decorative initials, woodcut printer's device to final verso, some staining, little marginal worming, lightly browned, 13th century ms. fragment used in binding, contemporary limp vellum, lacking most of backstrip, soiled, [Not in Adams; Baudrier Vi, p.212], 8vo (157 x 107mm.), Lyon, Jacques Giunta, 1545.⁂ A rare edition, with USTC recording only five copies. Ghislandi was the Inquisitor of Turin and Professor of Logic and Theology at the city's university.
An architectural print, The New Mental Hospital At Runwell For The County Boroughs Of East Ham & Southend, the oak frame fitted an Elcock & Sutcliffe Architects plaque, 103 cm wide, and three other architectural plans, for the same architects, for various buildings in and around London (4)Report by GHThese are all prints not originals
Bertil Vallien for Kosta Boda - Large Metropolis vase, of stepped square architectural form, with original label, 30cm high, together with an oval dish with pouring lip, banded black and white semi-circular decoration, incised and numbered 60172, 16cm wide x 7cm high (2) Condition: **General condition consistent with age
Early 20th Century inlaid satinwood cabinet on stand, the upper stage with architectural 'broken' pediment over a pair of glazed doors, each centred by an inlaid female figure, probably Flora and Ceres, within wooden tracery, enclosing a plush-lined interior of three shelves, the lower stage with boxwood stringing over brushing slide or writing surface and long frieze drawer, raised on square tapered supports with spade feet, 81.5cm x 47cm x 173cm high Condition: Upper stage - finial maybe a replacement, some fading to internal plush lining, lower stage - has minor scratching plus a split to right side of top, veneer losses to crossbanding of left hand edge of top, one rear leg is rather loose - **General condition consistent with age
Early 20th Century German walnut-cased bracket clock, Lorenz Furtwangler & Sohne, retailed by Arnold Lewis Manchester, the rectangular lacquered brass dial having a silvered Roman chapter ring framing a matted centre beneath subsidiary Slow/Fast dial between foliate spandrels, the two-train spring-driven movement ting-tang striking on two posted coiled gongs, the architectural case with shaped pediment and urn finials over scroll frieze, canted corners with cast terms and cast sound frets on scroll-backed paw feet, 51.5cm high Condition: Minor tarnishing to chapter ring, movement appears sound but would benefit from a clean, not tested and sold as seen, case in good order - **General condition consistent with age
Late 19th Century French inlaid rosewood portico clock, Japy Freres, Paris, the white convex Roman dial with moon hands, two-train movement outside countwheel-striking on a bell, with Exposition stamp, the architectural case with reel-carved cornice over inlaid frieze, cast bezel and four inlaid columns with milled capitals and stepped base, 46.5cm high, raised upon a rounded oblong rosewood plinth base beneath glass dome Condition: Flake repair to dial enamel between X and XI, some cracking around one winding arbor, movement appears sound but not tested and sold as seen, sold with pendulum (probably original) and later winding key, minor scuffs to front corner of base, glass dome currently intact - **General condition consistent with age
Regency brass-inlaid bracket clock, F.B. Adams & Son, London, the 6-inch convex Roman dial with Breguet moon hands, chain-driven twin-fusee movement striking on a bell, in an architectural case with brass-inlaid canted corners and spandrels, fish-scale side frets beneath ring handles, brass bezel and ball feet, 33cm high, together with original bracket, a further 16.5cm high (2) Condition: Dial has been cleaned and repainted, movement appears sound but is untested and sold as seen, back plate is unsigned, case has one section of side moulding to roof detached but present, further wrinkling to roof veneer, allover colour is a little pale, may previously have been ebonised, sold with pendulum and winder - **General condition consistent with age
Stoneware, painted with an optical architectural design of archways in brown and sponged light brown glazes front and back, painted signature H 29.4cm, W 12.3cm, D 4.7cm PROVENANCE: Private Collection, London. Purchased from 'An Exhibition of Ceramic Vessels, Copernican Connection' at Lock House, Beverley, Yorkshire in 1986 CONDITION: Perfect condition with no damage or restoration
JOHN SKINNER PROUT (1805-1876)Interior, Chartres Cathedralsigned 'Skinner Prout' and further inscribed and dated 'Sept 9th (18)61' (lower left)pencil and watercolour, heightened with white18 1/2 x 13 1/4 inThe ornamental stone choir screen in Chartres Cathedral was erected between the 16th and early eighteenth century. It has over 40 niches by various prominent sculptors depicting scenes from the Life of Christ.For another watercolour by the artist depicting the Screen in Chartres Cathedral (dateable to 1862) cf. Christie's, King Street, London, lot 134, July 14th 1992.John Skinner Prout, like his uncle Samuel, specialised in architectural subjects. He appears to have travelled to France at least once in the early 1860s visiting Rouen, Caen and Chartres. He was re-elected a full member of the NWS in 1862.
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