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

Continental 19th Century and later A mixed lot of wood carvings and architectural elements To be sold without reserve

Continental 19th Century and later A mixed lot of decorative carvings and architectural elements To be sold without reserve

FOUR ARCHITECTURAL BUILDING CONSTRUCTION BLUE PRINTS TO INCLUDE ONE FRAMED

A Victorian black slate mantel clock, the circular white enamel dial bearing Arabic numerals, with visible brocot escapement, eight-day movement, with coil strike, the case of architectural form with mask ring handles, 45cm high.

A 16th Century French architectural fragment carved with a central male head flanked by trailing vines issuing from grotesque heads, 140cm x 23cmSome repairs to edges at back. Otherwise good. Part of a larger piece.

Britton (John) The Architectural Antiquities of Great Britain, London: M. A. Natali, 1835, 5 volumes, 4to, rebound as a set in gilt tooled half green calf and marbled boards, marbled endpapers, volume 5 of another edition, London: Longman, Rees, Orme, Brown and Green, 1826, engraved additional titles and copiously illustrated with plates (5)A Gloucestershire book collector

A Charles I oak livery cupboard, of architectural form, the upper section with central arched panel flanked by doors with lozenge carved panels and with projecting column supports above an open shelf with similar column supports, 127.5cm wide, 55cm deep, 122cm highOverall appearance good, general wear, knocks and splits commensurate with age. The roof board with repaired front corner (using original piece), shrinkage gap to roof board has been filled with a fillet. Later locks. One applied moulding to front of bottom shelf is missing. Feet original with pleasant level of wear. One column has replaced section of capital but is hardly noticeable.

An Early 20th Century Vienna Style Wall Clock, with Pendulum and Key, the Brass and Enamel Face Having Roman Numerals, Architectural Case with Turned Pilasters

An Early 20th Century Oak Cased Vienna Style Wall Clock, with pendulum and Key, the Brass Face with Enamel Chapter Ring Having Roman Numerals, Architectural Case with Reeded Pilasters, 65cm high

A Late Victorian/Edwardian French Black Slate Mantel Clock of Architectural Form, Some Condition Issues, 37cms Wide and 40cms High

Peter Nelson (1928-2009), an 'FA2' polished aluminium twin floor lamp, for Architectural Lighting, fitted with two adjustable lights, on a circular stand,137cm high, anda conforming desk lamp,with a single light,61cm high (2)Condition ReportNot currently working and will need new bulbs or rewiring. Both shows minor signs of wear commensurate with age. Please see the additional images.

A folio of architectural drawings, c.1950, to include watercolours, pencil studies and lithographs, comprising 'Flats at Limehouse', 'An Inquiry Kiosk', 'A House at Chiswick', largest 80 x 57cm (qty.)

A set of four 19th century cast iron architectural wall sconces. The sconces having shaped arms with recessed decorated panels, and scrolled details to exterior. Having pierced shaped baskets to ends.27x14x40cm approx

A pair of architectural salvaged wrought iron and cast garden post / gate mounted sculptures in the form of crowns. Each with finial tops52x40x40cm approx

A Monumental Italian Cabinet with StandIn ebony and ebonized wood, featuring an architectural-inspired structure, pietra dura inlays, and gilt bronze mounts. The front of the cabinet presents a symmetrical arrangement with a central niche, flanked by two rows of six drawers richly adorned with pietra dura panels, including various semi-precious stones and different types of marble, such as lapis lazuli, agate, jasper, brocatello rosso, rosso antico, alabaster, cipollino, and porphyry, arranged in geometric patterns. The central niche, also lined with pietra dura panels depicting shell-shaped cartouches, is decorated with architectural elements, including lapis lazuli columns and a portico with a triangular pediment supported by two gilt bronze Atlas figures. The ceiling of the niche is painted in trompe l'oeil, and the base is adorned with parquetry work. The sides of the cabinet, with pietra dura panels, replicate the composition of the central panel, framed by the portico. The top, with a row of five drawers decorated with red porphyry panels, is surmounted by four putti playing musical instruments. The base, with four drawers and a small central drawer, features a carved apron decorated with carved volutes. The original construction of this cabinet dates back to the 17th century, showing evidence of alterations, possibly during the 19th century, with the addition of decorative elements and structural modifications. The stand, of later construction, with four drawers and volute-shaped front legs, maintains decorative consistency with the cabinet, featuring the same type of panels with pietra dura inlays. A small drawer at the base of the cabinet has an interior label reading 'Ant.(?) Burg(...)rgasse.Graz,' with a handwritten note in French stating: "Furniture from the imp(?) Palace of Burg(?)... brought here by Archduchess Maria of Bavaria 1571-1616, with all her luxury objects from Munich." Although uncertain, this reference seems to suggest a connection between the cabinet and Maria Anna of Bavaria (1574-1616), daughter of William V, Duke of Bavaria, and wife of Ferdinand II (1578-1637). The piece also bears two other inscriptions: one in black ink at the bottom of the left drawer of the cabinet base — "Stockholm(...) 18/8 - 1947/ H HALKJAER./ Dansk" and "HÖRN 1955-1965/ CORMÉRY"; and another handwritten in pencil in Swedish, at the bottom of the left drawer of the stand — "The cabinet was bought in the 1940s from Consul General Jean Jahnsson, formerly at the Van Der Nootska Palace, when we moved to Östermalmsgatan 21 Stockholm/ A big move when Stensund and Van der Nootska were left./ Eugène CORMERY/ Strangnäs July 1996." (minor losses and defects)193x204.5x62 cmNote: The pietra dura technique has its origins in the Florentine Renaissance, reaching its peak at the end of the 16th century. This technique is characterized by the meticulous use of semi-precious stones, such as lapis lazuli, jasper, agate, and porphyry, carefully cut and arranged to create intricate decorative patterns. The development of pietra dura as an art form was strongly promoted by the Medici family in Florence, culminating in the foundation of the Galleria dei Lavori in 1588, which became a center of excellence for the refinement and dissemination of this technique. In the context of the cabinet now presented for auction, the presence of pietra dura panels is a testament to the mastery of this technique, highly valued by the European aristocracy of the 17th and 18th centuries. This cabinet shares similarities with a distinct group of pieces produced in Rome in the 17th century. Notably, a particularly significant cabinet was sold by Sotheby's in London on 6 July 2011 for £668,450. Other comparable cabinets are part of renowned collections, such as that of the Duke of Hamilton, the Demidoff Cabinet (sold by Sotheby's in 1992), and an impressive example in the Kunsthistorisches Museum in Vienna. The central niche of the cabinet, with lapis lazuli columns and shell-shaped cartouches—likely an addition or later alteration—as well as elements like the central arched panel, its pediment, and the design and decoration of the side drawers, remain faithful to the style of the aforementioned cabinets, making it a monumental example of the extraordinary decorative craftsmanship developed in pietra dura furniture. Robert de Balkany Collection Carlucci Gallerie Antiquarie, Rome Jean Jahnssen Collection, Van der Nootska Palace, Stockholm

After Charles Barry (1795-1860, British), 'The Palace of Westminster', a selection of prints of architectural drawings/plans of the palace, to comprise 'The Principal Floor' measuring 75cm x 90cm, and five limited edition printed illustrations of details of the facades and its sculptures comprising 'The Central Elevation of the Riber facade', 10/1500, 'The North and South Facades', 10/1500, 'Another Part of the Riber Facade', 10/1500, 'The Sculptural Decoration of the North and South Facades', 10/1500, and 'The Sculptural Decoration of the Riber Facade', 10/1500, the largest sheet of these measures 53cm x 78cm overall

Janet Gatley (20th Century, British), mixed media on card/canvas, Street scenes and seascapes plus an architectural drawing of Christian Science Church in Windermere, the largest measures 38cm x 54cm

BRONZE BUST OF THE DUKE OF WELLINGTON, signed to the reverse C. Marochetti pub'd November 4th 1852 on integral socle, 28cm; a bust of Caesar, a Classical marble sculpture of a lion attacking a horse, a jade dish, two Timothy Richards architectural models of TYL Theatre in Prague & Reddish House in Salisbury, a comport and hammered metal bowl.

Edwardian satinwood bow-front display cabinet, the frieze inlaid with ebony stringing and flanked by pierced architectural design galleries, the bowed glazed central doors flanked by astragal glazed panels with central star motif, enclosing two shaped shelves, raised on square tapering supports with pierced scrolling foliate brackets, united by a shaped under-tier, terminating to spade feetDimensions: Height: 181cm  Length/Width: 124cm  Depth/Diameter: 47cm

John Glashan (Scottish,1927-1999), watercolour on paper, inscribed in pencil "Enchanting Architectural configuration - behind you is the Bank of England... Let me know when it's up for sale...", signed and dated '81 in pencil, framed and glazed.Staining to left side of inner frame mount.

* Crichton-Stuart (John Patrick, 3rd Marquis of Bute, 1847-1900). Court dress in tin trunk, comprising: a black wool tailcoat by Meyer & Mortimer, 36 Conduit Street, London, with their printed label at nape annotated in contemporary manuscript 'Marquess of Bute', 6 self buttons to front, 3 to each cuff, and 2 to reverse, black braid to front, cuffs, and ornamental pocket flaps, black silk rosette to reverse of neck, and ribbon bows to shoulders, black silk lining; black wool breeches, knees with self buttons, buckles, and black grosgrain ribbon bows, a few tiny holes in rear; a black silk bicorn hat by Meyer & Mortimer, embellished with interwoven black braid, and grosgrain ribbon with matching button, black silk lining, with maker's name in gilt, some light spotting to crown; a black wool and silk waistcoat by Meyer & Mortimer, with their label to verso of rear belt annotated in contemporary manuscript 'Marquess of Bute', with pockets, and 5 self buttons, lined with ivory silk; a long white cotton shirt by Thresher & Glenny Outfitters, 152 Strand, London, with their oval printed label at nape, cuffs with lace frill, a 'B' surmounted by a coronet embroidered in red cross-stitch to right side of front, foxed in places; 5 silk bow ties; and 3 pairs of silk stockings, one pair with 'B' surmounted by a coronet embroidered in pink thread, generally in good condition, various sizes, all contained in a large black metal trunk, with engraved brass plaque lettered 'Marquess of Bute' below the badge of H. Poole & Co., Army & Navy Tailors, 52 Saville[sic] Row, and 4 Old Burlington St, London, height 12 cm (4.75 ins), length 104 cm (41 ins), depth 32 cm (12.75 ins) QTY: (1)NOTE:Provenance: Private Collection, Derbyshire.John Patrick Crichton-Stuart acceded to the title 3rd Marquess of Bute at the tender age of six months, whereupon it was said that his inheritance made him the richest person in the world. He became an industrial magnate, antiquarian, scholar, philanthropist and architectural patron. His collaboration with architect William Burges led to the creation of two of the finest examples of late Victorian Gothic Revival architecture, Cardiff Castle and Castell Coch. When he died at the age of 53 his heart was buried on the Mount of Olives in Jerusalem. He was a Knight Grand Cross of the Holy Sepulchre, Knight of the Order of Saint Gregory the Great and Hereditary Keeper of Rothesay Castle.Prestigious bespoke tailors Meyer & Mortimer, Thresher & Glenny, and Henry Poole are all still in operation today.

A late Victorian black slate cased mantel clock of architectural design with dial marked for Russells Ltd., Liverpool, with French eight day gong striking movement

A Sunday Mercury and West Bromwich Building Society award: Midlands Hall of Fame XI (1953-2003) to Trevor Francis (Birmingham City/Nottingham Forest) the chrome award of architectural outline centred with an inscribed football pitch and mounted on a rectangular stepped base.25cm high, 26.5cm wide.*SOLD WITH A LETTER OF CONFIRMATION STATING THE ABOVE LOT HAS COME FROM THE ESTATE OF THE LATE TREVOR FRANCIS*

Alan Boyson - A set of fourteen architectural ceramic tiles of rectangular form, relief decorated to each with a variant of an abstract block and line motif in white glaze over a black manganese glaze ground, each highlighted with a panel of high glaze colour with a crackle finish, each tile 11cm x 23cm, unsigned. NB - These unique mid Century ceramic tiles were designed and made for Architect Alan Richards in November 1965 for his home in Wolverhampton at a cost of £42.00 for thirty. He commissioned sculptor Alan Boyson (1930-2018) to make them having met him at Wolverhampton School of Art.

Alan Boyson - A set of fourteen architectural ceramic tiles of rectangular form, relief decorated to each with a variant of an abstract block and line motif in white glaze over a black manganese glaze ground, each highlighted with a panel of high glaze colour with a crackle finish, each tile 11cm x 23cm, unsigned.

A George IV mahogany and ebony twin train bracket clock by L. Vick of Stroud - the architectural case with turned acorn and urn finial, twin gilt brass loose ring handles and arched, scale design grilles to the sides and gilt brass ball feet, the signed, Roman 7 ¾ inch dial in the original painted finish, fronting a twin train hour striking fusee movement with anchor escapement, with case and winding keys, 50.8 cm high.

A fine quality late-Regency satinwood, mahogany and marquetry stick barometer - by George Purchon of Glass House (probably Leeds, Yorkshire), the architectural top with barber's pole and toothed banding, above a glazed door fronting a signed, painted 'Summer - Winter' dial with floral and foliate spandrels and sliding brass vernier marker, the trunk with inlaid bell flower meanders, over a marquetry cistern cover with oak leaves and acorns, 99.5 cm long. 

A French green-stained tortoiseshell, ebonised and gilt-brass mantel clock by Henri Marc of Paris - second half 19th century, the signed, 11 cm white Roman dial fronting a twin train Japy Freres movement, no. 28634, further signed by Henri Marc, with outside countwheel strike, half-hour striking on a bell, in a drum case atop an architectural base with Corinthian columns and a bevelled glass front with visible enamelled pendulum, 42.25 cm high.

A Japanese red and black lacquered folding wall bracket - Meiji period, of architectural form with peaked roof, decorated in gilt with a bird in flight above trailing wisteria and reeds, 33 x 30cm.

A carved pink sandstone architectural doorway framing fragment depicting a Guardian Lion, probably Cambodia, Bantay Srei Period style, possibly 11th-12th century, approx. 50.5cm high (inc. stand) x 19.4cm wide. Provenance: Purchased by the current vendor from The Ashwood Gallery, receipt dated 16th November 1996 HK $25,000.00. Also certificate of authenticity from the gallery 16.11.1996.

3 Gilt framed architectural prints

A MAHOGANY HANGING BOOKCASE IN GEORGE III STYLE 19TH CENTURY With 'Chinese Chippendale' fretwork throughout, the architectural pediment above a pair of two doors enclosing shelves, and with two drawers below, atop conforming wall brackets 127cm high overall, 74cm wide, 25cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe red fabric to the doors is worn and torn, also discoloured and marks - this is loose and could be replaced Some splits and cracks, chips and losses, fretwork to one sides with a loss to upper angle - this part is present but detached at time of report, there are also some cracks ands splits through - lattice doors appear to be intact, fretwork supports appear to be later these are in presentable order but have some domestic paint marks and depositsOne upper support for the broken-swan-neck pediment is loose and needs gluing back in place The shelves appear to be later, the backboards also, there are holes through these to secure to the wall as well later brackets and hooks - it will be up to the buyer to decide how best to secure for installation Please see additional images for visual reference to condition Condition Report Disclaimer

ATTRIBUTED TO GEORGE JACK, FOR MORRIS & CO., A MAHOGANY OCCASIONAL TABLE CIRCA 1890 The underside stamped Morris & C0 / 449 Oxford STW / 530 and a paper label with ink inscription 'WILLIAM MORRIS/ used to work at his designs /for the KELMSCOT CHAUCER/ in the studio at The Grange/ on Sunday Mornings/ while my father Edward Burne-Jones/ worked at his drawings for the/ same book. Morris used this table' and further label with ink inscription 'This Table/ left/ to/ CLARE' 65cm high, 61cm wide, 61cm deep  Provenance:According to paper label the table belonged to Sir Edward Coley Burne-Jones (1833-1898) and was used at The Grange, Fulham; By descent to his daughter Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent.  This occasional table was almost certainly a popular model, designed by George Jack (1855-1931), and supplied by Morris & Co., Oxford Street, London, in the late 19th century. An identical table sold Christie's, London, 13 May 2014, lot 162. George Washington Jack, architect, furniture-designer and wood carver, was chief furniture designer for Morris & Co. from 1890 onwards. Jack was born to Scottish and Irish parents in Long Island, New York in 1855 but on his father's death in 1860 the family returned to Glasgow. Jack was articled to a number of architectural practices in Scotland and London before joining Philip Webb's firm as a draughtsman and site architect in 1882. Webb introduced Jack to William Morris and from 1885 Jack began to work for Morris & Co. as chief designer while simultaneously working for Webb. This table in Jack's preferred 18th century revival style probably dates from c. 1890 suggested by its relationship to another similar walnut table now in St. Louis Museum of Art (189:1990). Jack was elected a member of the Art Workers Guild in 1906, and exhibited at the Arts & Crafts Exhibition Society. Another table designed by Jack and exhibited as per above was described as: 'a table [with piecrust top] six carved legs, executed by Sidwell and Thatcher, carving by H. Dodd, exh. Morris & Co. (cat. no. 415). In the Morris & Co. catalogue of this year it featured as No. 376, priced at 8 guineas, and a plain version No. 370 was available in oak or mahogany for £4 10 0' (). Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Old surface marking, small water stains, rings, surface scratches throughout and small dents to legs. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer

Ɵ&nbspGeorgian Society (The) Records of Eighteenth-Century Domestic Architecture and Decoration in Dublin, 5 vol., limited editions (300, 400, 550, 550 & 600 copies respectively),1909-13; Sadleir (T.U.) & Page L. Dickinson. Georgian Mansions in Ireland, one of 700 copies, 1915, together 6 vol., first editions, lists of members or subscribers, plates and illustrations, foxing to text, original cloth covers to vol.1-5 bound in, handsome dark blue half morocco, gilt, t.e.g., 4to, Dublin, for the Society or the authors at the Dublin University Press Rare complete set of this important Irish architectural record, and including the final complementary volume. Library Hub lists only a handful of copies at Oxford and Birmingham University, and at the National Library of Scotland. Condition Report: Overall pages with foxing, some to varying degrees Vol 1 particularly heavily foxedPlates appear in better order - probably due to the use of higher quality paper used for these Some marks and knocks to the covers and bindings from handling, age, and usePlease see additional images for visual reference to condition and appearance overall  Condition Report Disclaimer

CONTINENTAL SCHOOL (EARLY 19TH CENTURY) A BLUE AND YELLOW MACAW IN AN ARCHITECTURAL LANDSCAPE Oil on canvas 96 x 66cm (37¾ x 25 in.) In a white-painted Neo-Classical frame probably designed by The Hon. Claude J. Yorke. Provenance: Probably The Hon. Claude J. Yorke, and thence by descent

A 19th Century French bronze and gilt bronze portico mantel clock of architectural form, the movement of drum form with circular enamelled dial and Arabic numerals, stamped "3" verso, within four reeded column supports on a stepped base and squat bun feet, 11.5 cm wide x 21.5 cm high

Three boxes of assorted books relating to art and antiques, together with a folio containing various blueprints, architectural drawings, etc.

A 19th Century French gilt bronze cased mantel clock of architectural form, the surmount with side facing gryphons on column supports of tapered porcelain puce and gilt decorated form, on an ornate bracket foot and foliate decorated base, the eight day movement by Achille Brocot, with porcelain dial decorated with Venus and Cupid, within a chapter ring of Roman numerals, 30 cm wide x 35 cm high, on a carved giltwood plinth base, bearing initials "DS" and remnants of old label, bears inscription to reverse of door "William Evill from his affectionate Mother-in-Law June 8th 1869"

PAPAL STATES, Restoration of the Colosseum, 1806, a copper medal by T. Mercandetti, bust of Pius VII left wearing cap, cope and stole, rev. façade of the Colosseum, 68mm (Patrignani 45; Bartolotti 78; Weber 232). Minor die flaw at lower right on reverse, otherwise extremely fine or better, an impressive piece of architectural engraving £150-£200

An Art Deco Modernist frosted perspex dressing table mirror, architectural form, the bevelled U shaped frame on central block plinth with chrome metal sides, bevelled glass rectangular mirror, unsigned, 55 x 40cm.

An archive of books and catalogues on sculpture, including; RBS Modern Sculpture, Modern Architectural Sculpture by W Aumonier, Sculpture in Holland Park, 1975, Patronage & Practise Sculpture in Merseyside, Sculpture Battersea Park, 1951, Sculpture in the Open Air, 1966, A silver Jubilee Exhibition of Contemporary British Sculpture, Eyes on the Wall, Paul Manship by Edwin Murtha, British Sculpture in the 20th Century (Whitechapel), Sculpture Theme and Variation by E H Ramsden, Sculpture of Today, Gilbert Bayes, True & Pure Sculpture Frank Dobson 1886-1963, and Modelling and Sculpture in the Making by Sargeant Jagger, The Sculpture of David Wynne (1949-1967) and (1968-1974), The Sculpture of Eric Kennington, The Sculpture of Leon Underwood, (75)Provenance The Collection of the Late Howard Duckworth

An Edwardian Sheraton revival mahogany library bookcase, the architectural pediment inlaid with satin wood bat wings, enclosing the vase shaped finial above a dentil cornice and a pair of glazed doors enclosing three adjustable shelves, the base with a rectangular moulded top over two frieze drawers applied with brass swing handles, and a pair of cupboard doors centred with inlaid foliate urns within a burr thuya border, raised upon a plinth base, 232cm H x 107cm W x 46cm DCondition reportVery light wear only, no obvious faults damage or repairs.Some evidence of light/sympathetic restoration.Drawers and doors run smoothly, cabinet appears structurally sound.

William Beswick (British, 20th century),A portfolio of architectural sketches, to include cathedral interiors, church interiors and exteriors, street scenes, etc,Pencil on paper,Some sheets initialled, some with hand written notes,Most sheets approximately 51cm x 38cm,All unframed (Qty)BIOGRAPHICAL NOTE: William Beswick was born in Chester in 1888. He studied architecture under Maxwell Ayrton (who designed Wembley stadium’s iconic towers), and in the 1930s worked with Maxwell on the renovation of the German Embassy in Carlton House Terrace. He painted throughout his life, and was particularly drawn to church architecture.

A George III oak cased thirty hour longcase clock, signed Walter Thomas, Whitchurch, the architectural pediment and freestanding pillars enclosing the 28cm painted square dial, signed with the makers name, along with the thirty hour movement striking on a saucer bell, all to a plain case with a shaped and moulded door, 200cm high, weight and pendulum

MACKAY HUGH BAILLIE SCOTT (1865-1945) FOR JOHN P. WHITE, THE PYGHTLE WORKS, BEDFORD ARTS & CRAFTS 'DAFFODIL' DRESSER, CIRCA 1901 oak, painted wood, with beech inlay, bronze, bears label to reverse, G. H. MORTON & SON LTD, BOLD STREET, LIVERPOOL, retains original keys 170cm wide, 168cm high, 59cm deep Provenance: Sotheby's London The Fine Art Society; 142 Years on New Bond Street, 5th February 2019, Lot 272 Exhibited: London, Fischer Fine Art ‚ Truth, Beauty and Design: Victorian, Edwardian and later Decorative Art, May-June, 1986Cambridge, Kettle's Yard, Baillie Scott, Sept-Oct 1995Cumbria, Blackwell Arts and Crafts House, The Lake District and beyond: Arts and Crafts Designs and Interiors by MH Baillie Scott and CFA Voysey, July-October, 2011 Literature: Furniture made at the Pyghtle Works, Bedford by John P. White designed by M.H. Baillie Scott, Pyghtle Works sales catalogue, 1901, fig. 18 Gotch J.A. ‘Modern Furniture', The Art Journal, January 1904, p. 133Adrian J. Tilbrook and Fischer Fine Art Limited, Truth, Beauty and Design: Victorian, Edwardian and Later Decorative Art, exhibition catalogue, Fischer Fine Art Limited, London, 1986, p. 66, fig. 163The Fine Art Society Spring 1990, exhibition catalogue, The Fine Art Society, London, 1990, illustrated p. 51, fig. 50Note: The son of a wealthy Scottish landowner, Baillie Scott was born at Beards Hill, near Broadstairs in Kent. the second of ten children. His rural upbringing and deep love for nature profoundly influenced his later work. Initially, Baillie Scott pursued agricultural studies at Cirencester Agricultural College, but soon shifted his focus to architecture. In 1893, Baillie Scott moved to the Isle of Man, where he lived for several formative years. This period was crucial in shaping his architectural and design philosophy. While on the island, Baillie Scott established his architectural practice and began to gain recognition for his innovative designs. The Isle of Man, with its rugged landscapes and natural beauty, further deepened his connection to nature, a recurring theme in his work. It was during this time that he began to publish his ideas on domestic architecture, advocating for homes that were both functional and aesthetically in harmony with their surroundings. His designs from this period often incorporated local materials and reflected the Arts and Crafts ethos of simplicity and craftsmanship. His work on the Isle of Man helped establish his reputation.Baillie Scott began his professional relationship with John P. White, head of the Pyghtle Works in Bedford, in 1898. White’s workshop was known for producing high-quality Arts and Crafts furniture, and Baillie Scott’s designs were perfectly suited to this ethos. The two men formed a close friendship, and in 1901, Baillie Scott moved with his family to Bedford, where White's workshop was located. This collaboration marked one of the most fruitful periods of Baillie Scott’s career.The present lot, crafted in John White’s workshop, is a prime example of Baillie Scott’s furniture design from this era, around the time he was completing his architectural masterpiece, Blackwell, a country house near Windermere. Completed in 1900, Blackwell remains one of the finest examples of Arts and Crafts architecture, and the present furniture piece echoes the same focus on craftsmanship, nature-inspired motifs, and functionality.

RICCIARDO MEACCI (1856-1938) THE VIRGIN WITH ANGELS watercolour and gouache, signed lower left R. MEACCI, framed  25.5cm x 12cm (frame size 35cm x 19cm) Provenance: Christies South Kensington, British and Continental Watercolours and Drawings, 24th April 1997, Lot 194 Sienese born artist Ricciardo Meacci painted predominantly religious subjects, blending traditional medieval elements from his ‘Purismo’ school training with influences from the Pre-Raphaelite movement. He executed church frescoes as well as works in watercolour and gouache, the latter gaining favour with English royalty and aristocracy. His paintings are further prized for their ornamental frames which incorporate gilt architectural elements. 

GILBERT BAYES (1872-1953) 'AN INVOCATION', CIRCA 1902 bronze, dark brown patina, unsigned 70cm high Literature: Irvine L. and Atterbury P. Gilbert Bayes: Sculptor 1872-1953, Richard Dennis, 1988, p. 104-105, p. 104 illus.The Studio, 1902 Vol 25, p. 278, illus.Koch A. (ed.) Sculptures from "Academy Architecture", Academy Architecture, London 1905, p. 37, no. 838Note: Gilbert Bayes' long and illustrious career began as a student under Sir George Frampton and Harry Bates at the Royal Academy Schools. As a result he became associated with the British New Sculpture movement and its focus on architectural sculpture, and was particularly influenced by Frampton and also by Alfred Gilbert. Like them, he was interested in polychromy in sculpture, the use of mixed materials and, especially in his early years, in Arthurian, Wagnerian and medieval subjects, as found in the present example. This rare and possibly unique figure in bronze was exhibited at The Fine Art Society in 1902 (where the plaster version sold for £40); Birmingham 1903; Glasgow, Portrait Painters 1905; Royal Academy, Wolverhampton 1912; Leicester Galleries 1914; and Sculpture Gallery 1915 where sold.  

ATTRIBUTED TO CHARLES HARDGRAVE (1848-1920) FOR JAMES POWELL & SONS, WHITEFRIARS ‘OPUS SECTILE’ MOSAIC PANEL, CIRCA 1870 painted coloured glass and mother of pearl, framed   71cm x 29.5 (frame size 73cm x 31.5cm) Provenance: Collection of John Scott, LondonThe Fine Art Society Exhibited: London, The Fine Art Society The John Scott Collection: James Powell & Sons, Whitefriars Glass 1860-1960, no. 83Literature: Powell’s Opus Sectile Locations, The Tiles & Architectural Ceramics Society (tilesoc.org.uk)Note: Opus sectile, a decorative technique originally developed in ancient Rome, involves the meticulous inlay of materials such as marble, stone, or mother-of-pearl into walls and floors to create intricate images. This method experienced a revival through the work of Powell & Sons, who introduced their innovative use of coloured and textured glass, expanding upon their established tradition of providing stained glass for ecclesiastical settings. The materials supplied by the firm were often offered as individual elements, such as quarries, or as prefabricated or custom-designed panels.According to analysis by Dr. Dennis Hardley, evidence from Powell’s Cash Window Books demonstrates that Powell & Sons had been producing reredoses, altar panels, and wall panels using the opus sectile technique as early as 1873. By the 1890s, the firm had expanded their operations internationally, exporting these works to countries such as India, the United States, France, Ireland, and Denmark for both religious and commercial commissions.The lily panel examined in this context is reminiscent of one installed in the Church of the Holy Cross in Owlpen, Gloucestershire, in 1887. This work is attributed to Charles Hardgrave, a key artist in the firm’s production during this period.

HENRY WILSON (1864-1934), W.E. MICKLEWRIGHT (MAKER) ARTS & CRAFTS 'ZODIAC' CHEST, CIRCA 1920 oak, with twelve relief carved Zodiac panels, each with inscription, cast brass lock plate 162cm wide, 84cm high, 60cm deep Provenance: W.E. Micklewright, Norton-sub-Hamdon, SomersetPurchased from his workshop by the father of the current owner. Literature: The Studio, vol. 86. 1923, p. 265 where a similar chest, exhibited at the British Institute of Industrial Art of the same year is illustrated.Note: The Arts & Crafts designer Henry Wilson trained initially as an architect under J. D. Sedding (1838-1891), who had himself been apprenticed to the leading Gothic revival architect George Edmund Street (1824-1881). Wilson continued his architectural commissions as his career progressed, but worked increasingly in metalwork, sculpture and jewellery. The Zodiac chest was illustrated in the Studio Magazine, Vol 86, 1923, and the relief carved panels are said to foreshadow the more sculptural bronzes Wilson designed in the final decade before his death in 1934.This chest was executed by W.E. Micklewright of Norton-sub-Hamdon, Somerset. Henry Wilson’s connection to the small village began in 1894 when he was engaged to design restoration work required for the parish church, St Mary the Virgin. Another chest by Micklewright still sits at the end of the church’s west aisle. The workshop responsible for completing Wilson’s church designs was Charles Trask & Sons, with whom Sedding and Wilson had collaborated from as early as 1869, on St Martin’s Church, Low Marple near Stockport. When Wilson first came to Norton-sub-Hamdon Micklewright was manager of the Charles Trask & Sons workshop, but by the 1920’s he owned and ran the premises.  A surviving W. E. Micklewright catalogue illustrates items including the zodiac chest, a clock, cabinet and bed. According to the account of Mr Reg. Sweet, an apprentice in the workshop from 1923-25, the business employed at least eight craftsmen carrying out work predominantly in oak and of a religious nature. Sweet recalls Micklewright’s perfectionist tendencies but lack of business sense, the latter a factor presumably behind the workshop’s premature closure in 1925. The current lot was purchased at this time and, until now, has not left Norton-sub-Hamdon.

George V slate two train presentation architectural design mantel clock marked Fattorini & Son Bradford, the silver plaque dated 1911. (B.P. 21% + VAT)

Two trays of David Winter cottages and architectural studies to also include Pershore Mill (cased), David Winter miniature cameos, etc. (2) (B.P. 21% + VAT)

Three trays of David Winter cottages and architectural buildings together with a David Winter 'On the Riverbank' wall plate. (3) (B.P. 21% + VAT)

Four trays of David Winter cottages and architectural studies. (4) (B.P. 21% + VAT)

A late 19thC slate cased mantel clock, circular brass dial with enamel chapter ring bearing Arabic numerals, French eight day movement with coil strike, the case of architectural form, 43cm wide.

A late 19thC American slate marble clock, circular brass dial with enamel chapter ring bearing Roman numerals, eight day movement with coil strike, the case of architectural form, with lion's head handles, raised on four scroll feet, with pendulum, 26cm high, 41cm wide.

A late 19thC slate and marble mantel clock, circular brass dial with an enamel chaptering bearing Arabic numerals, French eight day movement, with coil strike, the case of architectural form, the hood with decoration of cherubs flanking an urn of flowers, 38cm high, 33cm wide.

A late 19thC slate mantel clock, Alexander Philip, Edinburgh, the circular brass dial with black chapter ring bearing Roman numerals, French eight-day movement with coil strike, the case of architectural form, with fluted Corinthian columns, with pendulum, 36cm high, 28cm wide.

A Victorian slate and marble mantel clock, circular brass dial with enamel chapter ring bearing Roman numerals, visible brocot escapement, French eight-day movement with bell strike, the case of architectural form, with pendulum, 33cm wide x 23.5cm high.

A late 19thC slate cased mantel clock, by The Bristol Goldsmiths Alliance, circular enamel dial with gilt chapter ring bearing Arabic numerals, French eight day movement with coil strike, the case of architectural form, with pendulum, no key, 31cm high, 30cm wide.

Pair of Architectural Ornaments, in classicistic style. With two drapped classical females and oval design. Composition stone with remains of brown colours. Weathered. 19Th Century. Each 83 x 40 cm. A pair.