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JUNGHANS; a late 19th/early 20th century German mantel clock of architectural form, the silvered chapter ring set with Arabic numerals, height 38cm, and a smaller English walnut cased example with silvered dial inscribed 'R.H. Halford & Son Ltd London' (2). 

WRIGHT FRANK LLOYD: (1867-1959) American Architect, Designer and Writer. Wright created an architectural philosophy he named Organic Architecture. His work Fallingwater (1935) is widely considered the best work of American architecture, and the American Institute of Architects recognized him in 1991 as "The Greatest American Architect of all time". A rare and interesting lengthy A.L.S., `Franck Lloyd Wright´, two pages, 8vo, written to first and last page, allowing fine display, small but clean writing, n.p., 24th December 1901, to Sophia Austin Morris. A lengthy autograph letter related to the lecture of a book, stating `I am richer and happier for having read your book´. Wright states in part `Majind insists upon the return of your Jean Paul… He has gone with me to Hillside three different times and has been with me in all sorts of odd moments. I have read him - Fruit, Flowers and Thorns.. Never, will I forget my experience... Previous to that I had been all along charmed and sunned by his genial humor and his persistent inclination to stick a posie anywhere regardless.. but there came a grumble on page 260 - then on page 261 a row of asterisk, - like the ominous hush before the coming storm, - and solemnly deep down, he begins, and gathering wrath and force and power he goes on building up grandly until with a terribly comprehensive reach, he crashes the universe in fragments, at our feet and commands us to look down - and we look, shuddering into a godless chaos.´ further adding an amusing comment `I read these in bed on a Sunday morning (shameless confession) while the church bells were tolling and they never sounded so sweet to me before..´ and before concluding adds `I shall never lose that impression.´ Accompanied by the original envelope in Wright´s hand. Folded, otherwise VG £4000-6000 Flower, Fruit and Thorn Pieces is a book by Jean Paul (1763-1825) Johann Paul Richter, German Writer.

LUDWIG II OF BAVARIA: (1845-1886) King of Bavaria 1864-86. Called the Fairy Tale King for his extravagant artistic and architectural projects, he is also remembered as the devoted patron of the composer Richard Wagner. D.S., Ludwig, one page, folio, Munich, 26th December 1867, in German. The partially printed document shows a very attractive heading "Ludwig II by Grace of God, King of Bavaria", and states in part `We appoint former regiment´s quartermaster of the rifle manufacture board, Heinrich Petzl, as War Commissioner in the Military Chamber, and this because of his services and oath duties. Granted to him by this patent, with our Highest Signature, and with the seal of the war ministry…´ The document bears beneath the Emperor´s signature a large and attractive Imperial paper seal affixed, with embossed coat of arms and title "Ludovicus II". Countersigned by the Secretary General of His Majesty. With blank integral leaf. Folded. VG £500-800

Early 20th century oak cased 8-day mantel clock, Winterhalter & Hoffmeier, the architectural case with Palladian pediment and overhanging cornice to fluted columns on a stepped base to a 15cms square brass dial with applied cherub spandrels to a silvered Roman and Arabic chapter ring with outside minute track and half hour markers with matted centre and blued steel hands to a signed square brass movement with anchor escapement strike on two coiled gongs, height 41.5 cm

A mahogany and tulipwood banded collector’s cabinet, late 19th/ early 20th century, of architectural form, the hinged top opening to two slide covered recesses, the front with three hinged falls each enclosing five small drawers and separated by pilasters, 30cm high, 27cm wide, 17cm deep Provenance: The collection of the late Professor Michael Jaffé, Clifton Maybank. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. Please note, there are two drawers in the base that are not included in the original cataloguing. 

A 19th century micro mosaic pendant, elongated diamond shaped black panel inlaid with a traditional temple ruins, within ornate gilt metal frame, another similar single column decoration, both with associated chains; a pair of teardrop earrings each with architectural views, unmarked gilt metal frames, earrings 77mm drop, pendant 65mm drop (4)

A 19th century micro mosaic panel bracelet, composed of six oval black panels each individually inlaid with traditional temples, ruins, and architectural views ring dividing links, united by a cabochon mounted plain clasp, unmarked metal frame, approx 19cm long, 31mm wide

A 19th century giltwood Country House architectural pelmet, boldly carved with scrolling acanthus, 246cm long

A 19th century carved softwood and gilt gesso country house architectural fretwork panel, the centre with an anthemion-capped lyre flanked by ferocious rearing manticores and startled eagles, on a ground of leafy scrolls, the sides with interlaced knots culminating in flowerheads, hexafoil floral bosses at angles, 72cm x 88.5cm; another en suite, smaller, 72cm x 45cm (2)

A 19th century walnut and ebonised Vienna regulator wall clock, 16.5cm enamel dial with Roman numerals, subsidiary seconds dial, the architectural case with canted angles and turned underfinials, 109cm long, c.1870

A GERMAN WALNUT AND BURR WALNUT ARCHITECTURAL CASED MANTEL CLOCK WITH CARVED PEDIMENT, FLUTED PILASTERS AND PANELLED SIDES, LENZKIRCH TING TANG MOVEMENT, 38CM H, EARLY 20TH C

A SEPIA PRINT IN ARCHITECTURAL OAK FRAME AND BRITISH SCHOOL, FISHING BOATS ON A SUNLIT BEACH, INDISTINCTLY SIGNED, OIL ON CANVAS, 55 X 33CM

ARCHITECTURAL DRAWING. RODERICK LOVESEY - A NEO-CLASSICAL BUILDING, SIGNED, WATERCOLOUR, 44 X 76CM, UNFRAMED, NEWSPAPER - THE TIMES, APRIL 15 1948 AND MISCELLANEOUS PRINTS AND WATERCOLOURS, UNFRAMED

A late 19th century Mortlake type stoneware triptych panel, each moulded in low relief with dancing children and musicians representative of angelic spirits, architectural mahogany fielded panelled frame with stepped cornice, 16.6cm x 34cm

Kevin Blackham Two Architectural Drawings; the first depicting "La Maison Majestueuse I", showing exterior view, floor plan and some detail, approx 46 x 67 cms, signed lower right with stamp of authenticity; the companion drawing depicting "La Maison Majestueuse II", showing exterior view, floor plan and some detail, approx 46 x 67 cms, signed lower right with stamp of authenticity. (2) 

A gold collar necklace by Lalaounis, of architectural form and set in yellow gold, signed, 11.5cm diameter

A pair of large coloured etchings, architectural Cathedral scenes, together with a large coloured print framed (3)

An architectural slate-case mantel clock, length 38cm

SWEDISH SCHOOL (18TH CENTURY) Portrait miniature of Frederika Charlotta Insenstierna (1757-1811), wearing the sash and order of the Vadstena adliga Jungfrustift, column background with draped fabric, c.1761 The reverse indistinctly inscribed with sitter's details and collection lable Watercolour on vellum Shaped and gilded frame Rectangular, 74mm high Thanks to a faded and barely-legible inscription on the reverse of this miniature, its sitter has recently been identified as Fredrika Charlotta Insenstierna. Born in 1757, Fredrika was the daughter of Fredrik Ulrik Insenstierna, a senior official at the court of the Swedish king, Fredrik I (1676-1751). Fredrik Ulrik had begun his career by serving as the head of the household of the Crown Prince Adolf Fredrik, who later succeeded Fredrik I as king. From this, he ascended to positions of ever-increasing seniority in the administration of the royal court, before eventually attaining the illustrious role of Hofmarskalk, making him one of the highest-ranking figures within the court. His duties involved the organisation of the many spectacular court ceremonials and entertainments, including dances and banquets. It was a position of considerable stature and was one for which he must have been rewarded handsomely, as is attested by the stout double chin that can be seen on his portrait by Gustaf Lundberg in the Nationalmuseum, Stockholm, which was made at around the same time as the present miniature. Indeed, given that both portraits were executed around 1761 – the year in which Fredrik was made Hofmarskalk – it does not seem unlikely that they might have been commissioned to commemorate his appointment to the post. As well as his highly-coveted function at court, Fredrik also served as the governor of Västmanland Province.   Fredrika Charlotta is shown in a grand and imposing setting that alludes to the prestigious nature of the role that her father performed at court. She stands in a vast, marmoreal architectural space from which a swathe of delicately damasked drapery falls behind her, which is echoed in the folds of the shawl that seems to be in the process of slipping off her right shoulder. Despite her young age – Fredrika was likely no older than five years old when the likeness was made – the sitter has a commanding demeanour. This is, however, mitigated by the delicacy of the palette such as can be seen in the blues of Fredrika’s dress; these are carefully echoed in the frills of her sleeve and neckline, in her bracelet and also in the ribbon that she wears in her hair.   The prominence in the blues of the sitter’s dress is not likely to have been coincidental as light blue and white – the colours of the sash that Fredrika wears – were the colours of the newly-founded Vadstena adliga Jungfrustift, an order of which the young Fredrika seems to have been an early member, as is indicated by the sash and order that she wears.  Founded in 1747, when it first began to accept members, it was a secular order of nuns that was intended to provide for unmarried female nobles. Patronage of the Jungfrustift by Princess Luisa Ulrika – the wife of future king Adolf Fredrik – and the injection of funds that it promised inspired the founders of the nunnery to noble dreams for its future. Teachers were acquired for the boarding school that was to be housed in the disused Vadstena Castle (also noted on the reverse of the miniature and possibly the setting for the portrait) and further ambitious plans were formulated. Disappointingly for Luisa Ulrika – by now queen – sufficient funds for an endowment were never raised and in 1758 she relinquished her patronage for the project. Nevertheless, the project continued in the guise of a fund to provide for unmarried daughters of nobles on the condition that they never married so long as they were receiving its support. Fredrika Charlotta never did marry and died aged fifty-four in 1811.  

A mid century 14ct gold and lapis lazuli bracelet. The bracelet having six oversized architectural links in a textured openwork design, each having bezel set lapis lazuli plaques of 9mm square. Completed with hidden clip clasp with twin safety clasps. Measures approx 7 1/2 inches. Total weight approx 71.6g. Marked 585, 136 twin acorn. French shell assay mark to clasp.

SUBSTANTIAL CIRCA 1900 OAK COMBINATION WARDROBE with Art Nouveau carved detail and architectural pillars flanking twin upper central doors over six opening drawers between two mirrored full length doors on a splayed foot base, 217cms H, 220cms W, 53cms D

A Late 19th Century Black Slate Mantle Clock Surround with Presentation Inscription Dated 1891, Architectural Form, 38cm Wide

A fantastic large antique hand carved stone mask of the Gorgon Medusa on scrolled mount back. Single piece carved and formed to imitate Siena marble. Applied decorated lead snakes to hair. Circa 1900. The face modelled with eyes closed and open mouth. Impressive piece of architectural decoration,. Measures: 58cm x 34cm.

A believed 17th century carved vernacular oak panel wall hanging portraying the facade of God's Providence House, Chester, the thick cut panel of pointed form with relief carved detail of the house as it stood upon it's completion in 1652, with a single figure standing at ground level, balcony above, beside a single staircase. The mid-beam inscribed 'Gods Providence Is Mine Inheritance', below a top beam with central initials WR flanked with dates 1652. Carved letter to back FS. Measures: 19cm x 11.5cm x 4.5cmThe name Gods Providence House is reputed to have been given due to the legend surrounding the building that stood here prior to the construction of this house. The original property, which is believed to date from the 13th century, is reported to have been the only one in a considerable area whose inhabitants escaped the plague that swept through Chester in 1647-48, which killed some 2000 in the city (the population at the time is estimated to have been only around 5000 or so) The original building was destroyed and the current house built in 1652. The facade of the house differing slightly in the postcard photograph as this details the later Victorian work visible today. The house's future looked uncertain in the 19th century as the then owners looked to demolish it but were pressured not to do so by The Chester and North Wales Architectural, Archaeological and Historical Society who campaigned against the loss of ancient and historic buildings in the city. Instead, the 19th century owners enlisted James Harrison in 1862 to add a more contemporary feel to the ancient facade in keeping with the trends of the day, resulting in the more decorative look that the building adopted from this time. known as a pioneer of 'black-and-white revival', Harrison's work here has been described as "the first conservation case in the modern sense"*. God's Providence House is located at No. 9 Watergate Street, Chester, Cheshire. The grade II listed house incorporates part of the Chester Rows. *As referred to in Cheshire, The Buildings of England, New Haven and London, Harwell, Hyde and Pevsner.

The bejewelled figure standing with his right foot raised astride a cobra beneath an architectural arch flanked by two attendants, all raised on a lotus base, mounted on a later pink marble base28cm highPROVENANCE:The Clayton Holliday Collection

Each deep rounded bowl embossed with a village narrative illustrating figures at various pursuits within architectural landscapes 11cm diameter, 249g (2)

Two architectural prints of a church and the facade of a Naval School, 19th century, 45 x 34 cm

Architectural style mantle clock with brass face and Roman numeral chapter ring

Architectural marble mantle clock with brass repousse plaque and columns

A box of postcards including shipping and architectural postcards.

George Mackley MBE (1900-1983), 'Moorings', signed in pencil, numbered 29/75, wood engraving. Measurements 14 x 11cm (SH) together with another signed wood engraving titled 'The House by the Lake', by the same hand (2) (Qty: 2) George Mackley MBE (1900-1983) was a British 20th Century wood engraver. Born in Huntingdon, he attended the Goldsmiths College in London before finding his niche under the tutelage of engraver Noel Roche in 1935. Mackley specialised in nautical, architectural and botanic scenes and is celebrated for his precise and energetic compositions. His book Wood Engraving, published in 1948, is still one of the leading manuals on wood engraving today.

Pair of Hardwood Bookcases of Architectural Form, each with Four Shelves, 58cms high x 150cms high

A pottery Janus two-handled vessel after the antique with a satyr opposing a woman, a pottery ?pilgrim? flask, probably 18th century, a facsimile votive Roman figure, an ancient pottery anthropomorphic architectural fragment and a collection of ancient pottery fragments and sherds. (qty)

Junghans walnut three train bracket clock, the 6.25" brass arched dial with subsidiary chime/silent and slow/fast dials, the movement playing on five rods, within an architectural stepped case with gilt metal mounts, surmounted by a square caddy top with three turned vase finials, 24" high (pendulum)

Collection of five Victorian chromolithographic mechanical Christmas & New Year cards: 1) c.1870 card depicting bouquet of flowers, opens to reveal elaborate three-dimensional representation of family skating on a frozen lake and, above, an interior scene with family decorating Christmas tree; 2) c.1870 mechanical peepshow, four-card construction, central oval picture opens to reveal 3-D winter landscape with sea and sailing vessel; 3) c.1870 pop-up card, Gothic windows opening to reveal interior setting with girl and printed message, 'A Happy New Year to you all'; 4) c.1890 New Year card depicting dove and flowers at a window, opens to reveal boy and girl beneath an arch; 5) c.1890 Christmas card, opens to reveal elaborate architectural scene with peacock and flowers, figure at a window, some wear and loss (5)

Good Eureka 'La Madeleine' electric mantel clock, the 4.5" white dial signed Eureka Clock Co. Ltd, London, over the movement inscribed No.104, Patent No. 367856, 1906, over a slow/fast star dial, within an architectural bevelled glazed four glass case with stepped base and surmounted by a triangular pediment, 15" high *This clock was named after the famous La Madeleine church in Paris

Victorian walnut framed overmantel having architectural pediment, 149cm high

19th Century rectangular gilt framed wall mirror having architectural pediment, 98cm high

Early 20th Century German ebonised two train mantel or bracket clock, Winterhalder & Hoffmeier having 6" square brass dial, two train movement with ting-tang striking, in architectural case with brass swing handle on scroll feet, 26.5cm high

An Edwardian carved oak mantel timepiece, in an architectural style case, brass dial with silvered chapter ring, the movement stamped W & H Sch, 32cm high.

Colin Middleton RHA RUA MBE (1910-1983)Torso II (1967)Oil on board, 60 x 60cm (23¾ x 23¾)SignedProvenance: With David Hendriks Gallery, Dublin.Exhibited: Ten Year Travelling Exhibition, ACNI and An Comhairle Ealaíon, 1969-1970, Dublin and Belfast.In the 1960s Colin Middleton’s work took on an austerity and subtlety that might in part be seen as a reaction to the vivid colours and expressive surfaces of his paintings during the previous decade. This interest in abstraction and his subtle exploration of the texture of the surface and support brought Middleton’s own technical concerns close to those of near contemporaries such as Ben Nicholson and Victor Pasmore, while he also continued to develop the alignment of his depiction of the landscape with the female form, a theme which had consistently occupied Middleton from the early 1930s.Torso II, one of four ‘torso’ paintings included in his 1968 solo exhibition at the Hendriks Gallery, exemplifies Middleton’s ambitions during this time. Description is refined to a highly abstracted linear treatment of the female form, with occasional passages of paint and tonal variations across the prepared board increasing the sense of volume and space. The horizontal banding of the painting, with its mostly vertical bands of paint leading towards an implied horizon, demonstrates how closely Middleton integrated figure and landscape, giving the female archetype attributes of fertility, regeneration and strength that many of the female figures across all periods of his work characterised.This decade of Middleton’s work demonstrates his ability to create complex images and convey ideas using a minimum of means. The 1960s also saw elements of design become more overtly important in Middleton’s painting again, and the various murals and works in mosaic and tiles that he made to be integrated in houses and buildings most of which were designed by Noel Campbell also increased the architectural structure and balance within his work, which are evident in Torso II.Dickon Hall, 2019

BRITISH SCHOOL (LATE 18th CENTURY) THE SERAPEUM, HADRIAN'S VILLA, TIVOLI pen & ink with grey wash & sanguine chalks 26.5 x 39.0cm / 10 1/2 x 15 1/4in Hadrian's Villa in Tivoli was popular with artists on their way through Italy, and a number of important watercolourists have painted this particular view of the Serapaeum (a temple to the Greco-Egyptian God Serapis), including Francis Towne, Sir Frederick Morton-Eden and Charles-Louis Clérisseau. The Emperor Hadrian's villa incorporated numerous architectural motifs from across the Roman Empire and the Mediterranean to emphasise the Emperor's cosmopolitan sophistication. A serapeum was a temple to the Egyptian god Serapis, who by Hadrian's time had become a syncretistic deity derived from a number of Greek and Egyptian gods. This particular serapeum was more of an architectural folly than a functioning temple, and was used as a triclinium (dining area). A number of works found within this area of the villa are now housed in the Vatican Museums.

CIRCLE OF MARY BEALE (1633-1699) Portrait of a lady with shoulder length curly hair and wearing a dress décolletté within an oval architectural surround 75 x 62cm

A late 19th century mahogany mantle clock of architectural form having flat shaped finials and white enamel dial with Roman numerals

WILLIAM BURGES INTEREST VICTORIAN GOTHIC REVIVAL SIDE CABINET, CIRCA 1880, WITH LATER DECORATION the pitched roof cornice with single open compartment above twin doors, opening to reveal a fitted interior with shelves and pigeon-holes, the base with two further doors enclosing a fitted shelf, the whole later painted to the interior and exterior by Peter Farlow Decoration, London to the designs of William Burges (Dimensions: 103cm wide, 234cm high, 48cm deep)(103cm wide, 234cm high, 48cm deep)Footnote: Literature: The Strange Genius of William Burges, South Western Printers, 1981, p.72-85 Note: This cabinet demonstrates stylistic characteristics of furniture produced by John Starling Chapple and The Cardiff Workshops of Lord Bute. The top of this cabinet has a pitched roof with a gable, and includes other architectural arrangements observed on Burges’ Great Bookcase, with carved columns as seen on Burges’ Yatman' Cabinet and Writing Cabinet, the latter a collaboration between Burges and W. Gaulbert Saunders. Originally plain the cabinet has been decorated, circa 2000, as a homage to the work of William Burges and the decorative schemes for his home, the Tower House, in London. The sides of the cabinet bear later painted panels celebrating the two elements of Burges’ career, set under depictions of heavenly gardeners. In one, after Burges as Architect by Frederick Weekes, Burges works alongside a model of his Holland Park home, The Tower House. In the second, Burges is shown in his capacity as a builder. Centrally, five painted scenes represent the trades of carpentry, pottery, metalwork, stone-masonry and leather-work, in the style of Henry Stacy Marks RA, who completed a number of murals and tiles for The Tower House. Four designs on the inside of the cabinet doors show craftsmen's tools and materials within gold borders, referencing those found within the library's bookcases in the Tower House. The feet of the cabinet are further decorated with armed mice and toads, in battle: such characters are seen on beams in the Butterfly Room at The Tower House. Somewhat an homage to Burges, painted borders include porcupine motifs and gold branches set against red ground, found on Burges’ Architecture Cabinet and Sideboard respectively. Further details include five-petal floral motifs and quatrefoils, as well as depictions of the Green Man.

Prints - topographical. Samuel and Nathaniel Buck, "The North View of Tynemouth Monastery & Castle....” and similar architectural studies, 18th Century engravings, 19cm x 36cm, framed. (7)

20th Century British School - Architectural elevations for the Borough of Doncaster Infectious Diseases Hospital, pen, ink and watercolour wash, 76 x 54cms, framed. (a pair)

Late 19th century black slate and marble two train architectural mantle clock. (B.P. 24% incl. VAT)

A box of assorted books and ephemera to include; Dennis Wheatley 'Who killed Robert Prentice' book, architectural etchings, Fox's book of Martyrs etc. (B.P. 24% incl. VAT)

Marie Vorobieff Marevna (Russian, 1892-1984) AN ARCHITECTURAL VIEW OF ROME Inscribed l.l., charcoal 44 x 61cm

Cast iron fireguard in the architectural Gothic taste and flatware 

An inlaid Edwardian mahogany freestanding corner cabinet in the Georgian style enclosed by two doors, the upper section astragal glazed beneath a broken swan neck architectural pediment

Late 19th century oak Arts & Crafts ecclesiastical board room clock, the architectural case with arched glass front enclosing two train dial and holosteric barometer, with silvered chapter rings on worked gilt base, 46 cm high (AF)

Vienna regulator wall clock, the architectural case flanked by twin bevelled mirrors and shelves, the twin train enamel dial with chapter ring with Roman numerals and subsidiary secondary dial, mounted by a twin winged eagle, 130 cm high, pendulum and weights

Good quality twin train wall clock barometer thermometer with typical architectural case, the twin train dial with enamelled chapter ring and Arabic numerals with silvered thermometer and barometer with open workings, 67 cm high, pendulum

A pair of plaster pedestals in the form of architectural cylindrical reeded columns with doric capitals, 74 cm high

Gustav Becker twin train Vienna regulator wall clock with fancy paint enamel chapter ring, Roman numerals, subsidiary second dial, architectural case, 125 cm high, pendulum and weight

Edwardian walnut barometer thermometer, with silvered back plate and architectural case, 67 cm high

A set of five 19th century finely detailed architectural pencil drawings of church interiors, tombs, etc, signed Nash 10 x 14 cm approx, framed, together with a portfolio of pen and wash architectural sketches inscribed Bishops Cleeve Church Gloucestershire, sketches by T Clarke - Archer for Mr Britton (six pages), total dimensions 52.5 x 35 cm approx

* Howard (Henrietta Elizabeth, circa 1806-1892, & others). A large family archive of sketchbooks and drawings, comprising approximately 50 sketchbooks, containing a wide variety of pencil sketches, pen & ink drawings, and watercolours, including: topographical scenes, including Gloucestershire, Berkshire, Yorkshire, Somerset, Wales, Scotland, etc., e.g. views of Castle Howard (one entitled 'From my window'), Siddington Manor, Newstead Abbey, Naworth Castle; many scenes of foreign travel, including France, Germany, Italy (Rome, Florence, Venice), Canada, and many other places; portrait sketches and figure studies; a few cartoons; landscapes and seascapes, and a number of sketches of mountains, including Mont Blanc; costume studies; architectural details and stained glass windows; animal studies, one album incorporating mounted pressed botanical specimens, mainly ferns, mosses, and seaweeds, some books with blank leaves, and many with manuscript notes, most albums with ownership names and some with inscriptions, many titles and dates to drawings, various bindings and sizes, some loose leaves, but generally in good condition, plus a number of loose watercolours and drawings (including some miniature drawings) and photographs (Qty: approximately 50)NOTESHenrietta Wright was the daughter of Ichabod Wright and of his wife Harriet (née Day). In 1824 she married The Very Rev. The Hon. Henry Edward John Howard DD (1795-1868), Dean of Lichfield and son of Frederick Howard, 5th Earl of Carlisle. Also included in the lot are works by their son, Captain John Henry Howard RN (1827-1925) and grandson Commander Robert John Howard RN (1878-1965), as well as other family members, such as Elizabeth Howard, Edith Howard and Emily G. Howard.