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Early 20th century mantel clock with ivorine dial, in architectural walnut case, 30cm high 

David Roberts (Scottish 1796-1864), Brittany Architectural Scene with Figures, signed lower left and inscribed verso ?urlaix, Brittany, D. ROBERTS, oil on canvas, 25.5cm by 20.5cm, in damaged old gilt frame.

A Large French Late 29th Century Slate and Marble Architectural Mantel Clock for Restoration

SCOTTISH ROSEWOOD, IVORY, MOTHER-OF-PEARL, ABALONE, AND BRASS INLAID STICK BAROMETER, GARDNER GLASGOW MID 19TH CENTURY the Gothic style architectural case inlaid with foliate scrolls, flowers and urns, with dual inscribed gauge plates and a thermometer tube to the body mounted on an ivory scale with Fahrenheit and Recaumier measures; mercury filled 98cm high

French black marble mantel clock, architectural case, with a cast a frieze and fluted columns, ivorine chapter-ring, cylinder movement striking on a gong, width 46cm.

David Linley; a walnut and mahogany writing table of architectural Carlton House form, with marquetry decorated galleried top, resting on reeded tapering supports, stamped "David Linley 1994" 136cm wide, 97cm high, 80cm deep. Provenance; property from the late Sir David TangThis lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 20% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.

A 19th century gilt brass and silvered metal mantel clock, J W Benson, London, having white Roman dial and ornate architectural case with flame finial height 38cm

Original vintage travel poster for Iran Persia featuring a great photo by Asad Behroozan of the Main Entrance to Mosque of Gowhar Shad, Mashad. Issued by Iran National Tourist Organisation. (INTO) Printed by Offset Press Inc, Tehran, Iran. Good condition, tears and creases in margin. Goharshad Mosque is a former free standing mosque in Mashhad of the Razavi Khorasan Province, Iran, which now serves as one of the prayer halls within the Imam Reza shrine complex. It was built by the order of Empress Goharshad, the wife of Shah Rukh of the Timurid dynasty in 1418 CE. The architect of the edifice was Ghavameddin Shirazi, who is responsible for so many of Shah Rukh's great buildings, with the architectural and decorative manpower supplied from Shiraz and Isfahan. The mosque underwent some renovations during the Safavid and Qajar eras. It has four iwans and a courtyard measuring 50 m × 55 m (164 ft × 180 ft), as well as several shabestans. The double layered dome of the mosque was severely damaged in 1911 in bombings by troops of the Russian Empire. County: Iran, year of printing:1960s, designer: Asad Behroozan, size (cm): 98x67

GIOVANNI FRANCESCO VENTURINI (1650-1710) Italian, After GIOVANNI FRANCESCO GUERNIERO (1665-1745) Italian, Architectural Study, engraving on laid paper, framed and glazed

Victorian Walnut Overmantle Mirror of Architectural Form with Shelves, 118cms high x 104cms wide

Victorian Walnut Overmantle Mirror of Architectural Form with Shelves, 125cms high

A large late 19th century veined marble and gilt brass mounted clock garniture of architectural form, the clock with paper dial and Arabic numerals, the garnitures each with central figure within four columns, height of clock 42cm

A Victorian polished slate and marble presentation mantel clock, of architectural form with circular Roman numeral dial, bearing engraved presentation plaque dated '1888', 27.5cm high

'Norwich Pictures. A Collection of Permanent Photographs with Descriptive Sketch', Norwich, Jarrold & Sons, circa 1900, parts I & II, 16 tipped in architectural and street scene photogravure views of Norwich as called for, each folio, original stitched pictorial printed wraps

The architectural antiquities of Great Britain by John Britton, F.S.A. published by M.A. Nattali, 1835 in five volumes.

Cuitt, George. Wanderings and Pencillings Amongst Ruins of the Olden Time, London: Nattali and Bond, 1855. Folio, half crushed oxblood morocco, raised bands, black title label, marbled endpapers. Illustrated throughout with etched plates depicting architectural and topographical views, as well as mounted vignettes within the text (73 etchings on 51 plates, 13 text illustrations). Presentation label to front pastedown: 'University of Bradford, Presented to Lord Wilson, KG OBE FRS, 8 November 1985, Chancellor of The University of Bradford 1966-1985'. Good, clean, bright

A copy of an architectural plan of a dwelling and another plan of an old orangery.

§ Rudolf Belling, (German, 1886-1972), Cubist Composition, bronze, signed in the bronze and dated 1950, Noack, Berlin foundry stamp 50cm (20in) Other Notes: One of the most eminent German sculptors of classical modernism and a pioneer of sculptural abstraction, Rudolf Belling originally started out as a stage and costume designer. He produced sculptures and props for the theatre and films, notably receiving commissions from Max Reinhardt (1873-1943). A prolific and eclectic artist, Belling did not limit his work to sculpture alone, working also as scenographer, designer and architectural sculptor. Belling was much influenced by Expressionism, particularly by the painter and architect Hans Poelzig (1869-1936), however, he had the talent to move between styles. His artistic development was shaped by a variety of styles including futurism, constructivism, abstraction and naturalism. In 1919, he produced the first non-figurative abstract sculpture in the German-speaking world - 'Dreiklang' (Triad) - an iconic and pioneering example of abstract sculpture in Germany. Against the predominant theories of his time, put forward by the German sculptor Adolf von Hildebrand (1847-1921), Belling conceived his sculptures in space, adopting the so-called 'Belling System'. The present sculpture, which can be viewed from different perspectives, is an example of this then revolutionary approach to sculpture, as it encourages the observer to circle around it. One of the founding members of the artists' association, 'Novembergruppe', in Berlin, his political views did not conform with the Nazi ideology. Shortly after being elected a member of the Prussian Academy of Arts in 1931, he was forced to resign and he was banned from working in Germany, with his works being labelled as 'degenerate'. Unable to stay in his home country, Belling emigrated to Istanbul, where he lived for thirty years before being allowed to return to Germany at the age of 80. In the year before he died, Belling created the bronze sculpture, 'Blütenmotiv als Friedenssymbol' (Flower Motif as a Peace Symbol), which became the international landmark of the 1972 Olympic Games in Munich.

WILLIAM MAKEPEACE THACKERAY, "The Newcomes" 1854/55 first edition in 2 volumes, together with W Collectt-Sandars "Hand Book of Architectural Styles" 1886

A large collection of approximately 14 architectural salvage cast iron Lion mask door knockers, some with black and gold paint.  

An oak floor standing corner cabinet, architectural pediment, two astragal glazed doors flanked by barleytwist columns. barleytwist forelegs, bobbin turned rear leg. 208cm high x 109cm wide x 55cm deep.

An early 20th century mahogany arch top architectural mantel clock, eight day movement, Arabic numerals on silvered dial, 36.5cm high

Early 20th Century Indian School eight enamel miniatures, depicting figures and architectural scenes, largest 5.7 cm x 4.7 cm, framed and glazed as one (af)

A Victorian oak cased clock and barometer, with thermometer, the case of carved classical architectural form, with key, 84cm H.

A fine pair of Regency oak bookcases of outstanding provenance, of early 19thC construction and later adaptation, having been originally fitted but then subsequently converted to free-standing bookcases, each with moulded cornices above a pair of brass-grille doors enclosing adjustable shelves, and with open shelves below; painted with inventory numbers, and with later paper property labels for HRH Princess Margaret, 230cm high, 146cm wide and 44.5cm deep.Provenance: Almost certainly commissioned by Augustus Frederick, Duke of Sussex (1773-1843) for his Library at Kensington Palace, where they remained until dismantled by Princess Louise, Duchess of Argyll (d.1940). The Kensington Palace bookcases, with their golden trellis grills, were made for the Library forming the South Range of the Palace's Clock Court. The Library , which was drawn by George Cruikshank (d.1878), was illustrated in T.J. Pettigrew's, Bibliotheca Sussexiana 1827-39. The bookcases, which would have been designed under the direction of the King's Architectural Board of Works, may have been executed by the Mount Street firm of Thomas Dowbiggin (d.1854) Formerly in the Collection of H.R.H. The Princess Margaret, Countess of Snowdon. Purchased by the current vendor at the Christies Sale 14th June 2006, lot 585, and until recently positioned at Woodcroft Castle, Nr. Peterborough.

A late 19thC Vienna regulator wall clock, with white enamelled dial and eight day movement, in an architectural figured walnut case with arched pediment and flat reeded pillasters to the single glazed door, 131cm H.

A late Victorian oak aneroid wheel barometer by Maple & Co, of architectural form, having an urn and scroll pediment, carved frieze, corinthian column enclosures to the silvered thermometer, over a 19cm Dia. dial marked MAPLE & Co Ltd, LONDON, 108cm H.

A late 19thC German walnut cased longcase clock, circular silvered dial bearing Roman numerals, Lenzkirch single train movement, the case of architectural form with a triangular pediment over a square hood embellished with turned roundels, over a plain trunk with glass front revealing the pendulum, on a plinth base.

An architectural mirror.

A miniature apprentice chest, miniature architectural staircase, small Indian Hoshiarpur style folding table, and an arts and crafts shelf

A collection of printing blocks , to include Austin A55, Union flag, Architectural, and Machinery (Qty.)

......re Des Andes An ARCHITECTURAL STUDY in a maple frame, 84 x 69cm

A Victorian mahogany chest of 5 drawers, or architectural form, with Ionic columns, on bun feet, W113cm

Five photograph albums, 1940's and 1950's, covering Egypt, Eritrea, Ethiopia & Somalia, Libya and Sudan. Egypt albums include views of pyramids and tombs, Luxor temple and mosque of Abo-el- Haggag, flying boats, Tutankhamun and other postcards. Sudan album contains many photos of Khartoum and Omdurman including mosques, museums and zoos, daily life. Libya album contains architectural photographs and Roman ruins at Sobratha. Each album has approximately 100 pages, with at least 2 photos per page, some pages may have brochures, maps, leaflets, postcards and locally bought photographs too.

A French Black Slate Mantle Clock of Architectural Form with Eight Day Movement, 41cm Wide

A Carved Wooden Mantle Clock of Architectural Form with Replacement Quartz Movement, 30.5cm Wide

A pen and ink architectural design signed D. Stephens, 56 x 75cm

2 watercolours - Architectural

A single volume titled Modern Architectural Metal Work by The Morris Singer Company in 1932 as a 100th anniversary of their establishment.

Late 19th /Early 20th Century Postcard Album Containing Approx 462 Mixed Cards Mostly 20th Century to include topographical, architectural, transport, advertising, industrial etc.

A 19thC slate and marble mantel clock, the 11cm Dia. Arabic dial before an 8-day movement in an architectural design case, 47cm H.

A 19thC French brass mantel clock, marked V A B Brevete, the 9.5cm Dia. Roman numeric dial in an architectural case, set with four columns revealing a keywind movement, marked to the back plate, 23cm H.

CLARK G. T.  Medieval Military Architecture in England. 2 vols. Illus. Orig. red pict. cloth gilt, rubbing & wear. 1884; also various others, mainly architectural reference.

PUGIN AUGUSTUS.  Examples of Gothic Architecture Selected from Various Ancient Edifices in England. Vols. 1 & 2. Col. frontis & many plates. Quarto. Orig. dark cloth. Edinburgh Architectural Library Association labels to inside of upper brd. Edinburgh, 1895; also 4 other vols.  (6).

Architecture & Architectural History.  A carton of various vols.

A collection of architectural engravings together with other decorative pictures and prints

Gilt cloisonne stupa Chinese, 19th Century the stupa of architectural form with a crown bumper, the neck surmounted by twelve discs raised on a stepped base 38cm high including base Provenance: The Desmond Morris collection

A collection of four daggers (jambiya), comprising: a Moroccan example with multi-fullered blade, white metal mounted wooden hilt with peacock fan terminal; another with copper scabbard overlaid in brass and white metal with architectural decoration, and a large wooden hilt with top and bottom mounts in the same style; another with plain brass hilt; the last a Syrian example with brass inlaid hilt. [4]

A 17th Century Italian miniature dagger, conforming generally to the cinquedea type, rapidly tapering blade 7.5 in., with medial ridge and a U-section fuller at the forte; steel hilt, drooping cross piece with pierced arms, the grip with moulded chevrons at front and back, the large terminal etched with architectural motifs, wooden grip panels pierced with three holes closed at either end with small gold grilles (one missing).

A FRENCH ARCHITECTURAL STYLE BRASS MANTEL CLOCK, THE PILLARD CASE WITH URN FINIAL, THE MOVEMENT STRIKING ON A COILED WIRE GONG, 32CM H, LATE 19TH C

A 19th century gilt-metal mounted mahogany bracket clock, in the mid-18th century taste, 18.5cm square brass dial, silvered chapter ring inscribed with Roman and subsidiary Arabic numerals, twin-winding holes, 8-day movement striking on a gong, the architectural case with domed cresting and pine cone finials, canted angles, lion paw feet, 64cm high, c.1880

A 19th century Vienna walnut and ebonised regulator, 17cm circular enamel dial inscribed with Roman numerals, subsidiary seconds dial, twin-winding holes, 8-day movement, architectural case with turned finials, 110cm long, c.1870

A George III mahogany bow-front linen press, broken architectural pediment crested by an urnular finial and flanked by four further, at angles, barberpole banded Gothic frieze above a pair of oval fielded doors outlined in satinwood and circular batwing paterae, the chest base with an arrangement of two short and two long drawers, bowed apron, sabre feet, outlined throughout with boxwood stringing, 228cm high, 125cm wide, c.1800 Condition Report: Four trays present, see images for examples of condition, areas of loss, cracks, splits, knocks, scuffs, lifting etc.

A George III oak splay fronted floor standing corner cupboard, moulded cornice above two pairs of raised and fielded panel doors, flanked by reeded architectural pilasters, shaped shelves, slide to frieze, plinth base, 209cm high, 129cm wide, c.1770

A pair of 18th century French architectural wainscote pictures, painted en camaieu with scantily clad putti in an Arcadian idyll, on canvas, arched mounts, 43.5cm x 95cm

A substantial 19th century Continental architectural gilt-metal mounted walnut musical bracket clock, 19cm rectangular bras dial with silvered chapter ring inscribed with Roman and subsidiary Arabic numerals, triple-winding holes, 8-day fusee movement striking and chiming on 8 bells, the case surmounted by a figure of Neptune and his trident and flanked by flaming finials, above a broken architectural pediment, a deep frieze and pillars, drawer to base, decorated in gilt with scrolling leaves and debased classical motifs, bun feet, 101cm high, conforming bracket en suite, 138cm high overall, c.1870

A Victorian Gothic Revival oak bracket clock, 16.5cm shaped ogee brass dial with silvered chapter ring inscribed Thomas Yates, Preston, Arabic numerals, tracery spandrels, twin-winding holes, 8-day movement striking on a gong, the architectural case crested by ecclesiastical spires and flanked by cluster-columns, 65cm high, bracket en suite, c.1870

Albert Ernest Carrier-Belleuse (French, 1824 - 1887), a sculpted terracotta bust of a maiden in Belle Epoque taste, her serene visage turned to sinister, her hair, loosely plaited and adorned with flowers, falling to her breasts, signed to the reverse; atop a glazed terracotta block, with ebonised wood socle, 73cm high overall, 35cm wide Provenance: previously with Hazlitt, Gooden & Fox Ltd of Bury Street, St James's, purchased there by the Gibbs family in 1987 CATALOGUE NOTES: A versatile and prolific sculptor, Carrier-Belleuse's career began as a goldsmith's apprentice. Over the course of his life he not only contributed monumental sculptures to landmark buildings such as the Paris Opera House, but also worked as a designer for porcelain manufactories in England and France, including Wedgwood, Minton and Sèvres. He was made an officer of the Legion d'Honneur in recognition of his efforts. Auguste Rodin famously worked in his successful studio as an assistant in the late 1860s and early 1870s.In addition to his architectural commissions and academic works for the Salon, Carrier-Belleuse created smaller terracottas and bronzes for the emerging middle class market, such as the present example. This bust may portray the French actress and comedian Sophie-Alexandrine Croizette (1847-1910), who is known to have inspired several of Carrier-Belleuse's 'bustes de fantaisie'. The floral adornments and youthful ease of the model's hair could indicate that she is represented in the guise of Spring, or Flora

Jan van der Heyden (Dutch 1637-1712) and Adriaen van de Velde (Dutch 1636-1672) A river landscape with a fortified castle and a bridge Oil on cradled panel 70 x 57.5cm (27½ x 22½ in.) Provenance: Jean-Baptiste-Pierre Lebrun (1748-1813) Sale, Paris, Lebrun, 20 March 1810, Lot 161 (421 francs to Lafontaine) Pierre-Joseph Lafontaine (1758-1835), 5 rue de Cleury, Paris, by whom presumably sold to (or bought on behalf of) Johan Gijsberg, Baron Verstolk van Soelen (1776-1845), The Hague, by 1836, from whom purchased en bloc with his collection in 1849 by a consortium and retained by Humphrey Mildmay (1794-1853) Thence by descent to Henry Bingham Mildmay (1828-1905), London Sale, Christie's, London, Old Master Pictures, 9 July 2003, Lot 52 Acquired from the above by The Lord Wraxall Literature: J. Smith, A Catalogue Raisonné, etc., V, London, 1834, p. 397, no. 93.(Possibly) G.F. Waagen, Galleries and Cabinets of Art in Great Britain, London, 1857, p. 342.C. Hofstede de Groot, A Catalogue Raisonné, etc., VIII, London, 1927, p. 372, no. 141.H. Wagner, Jan van der Heyden, Amsterdam, 1971, p. 105, no. 172. Engraved: J.-B.-P. Le Brun, Recuil de gravures au trait, etc., Paris, 1809, no.161 (for the catalogue of his 1810 sale) Jan Van der Heyden was born in Gorinchem, the son of a Mennonite. In 1646, the family moved to Amsterdam where Van der Heyden remained until his death in 1712. Van der Heyden trained under his eldest brother who produced and sold mirrors. It was during this time that he practiced Verre Églomisé and the two brothers went into business with one another. Van der Heyden went on to become one of the leading architectural landscape painters in the Dutch Golden age painting mainly views of Amsterdam and capriccios. Whilst Van der Heyden’s attention to detail was exquisite he did not strive for architectural accuracy but overall harmony through his composition. His true mastery was the way in which he bathed landscapes in light in order to manipulate the atmospheric effect. Jan Van der Heyden worked closely with a number of artists on collaborations including Johannes Lingelbach and Eglon van der Neer. However, his closest collaborator was Adriaen van de Velde, who was an apprentice of Jan Wynants and trained with Philips Wouwerman. Velde painted lively and characterful figures such as the figures on horseback crossing the river in the foreground and the townspeople crossing the river over the bridge to complement Heyden’s atmospheric landscapes.The collection of Jean-Baptiste-Pierre Lebrun, husband of the artist Marie-Elisabeth-Louise Vigée Lebrun, was dispersed at auction in Paris in 1810. His collection today is regarded as a rich and important collection which has ended up in some of the world’s most established museums including the Frick Collection, New York and the Hermitage, St. Petersburg. Mildmay's pictures eventually passed to his son Henry Bingham Mildmay (1828-1905), who became a partner of Barings in 1856. Like so many of his mother's family, he collected pictures. However, the Baring crisis of October 1890 brought collecting to an end and on 24 June 1893 a substantial part of Mildmay's picture collection was dispersed at Christie's. The Bank was bailed out by a consortium headed by Henry Hucks Gibbs (a former governor of the Bank of England) and Antony Gibbs and Sons. That a significant number of important pictures were retained, including apparently the present work, testifies to Mildmay's continuing commitment as a collector.

Isaac Ouwater (Dutch 1748-1793) A view of Amsterdam from the 't Spaarne canal in Slooterdijk with travellers on a towpath by the tollgate and a couple on a ferry Oil on canvas Signed and dated 1782 lower right 32 x 42cm (12¼ x 16½ in.) Provenance: Sale, Christie's, London, Old Master Pictures, 9 July 2003, Lot 54 Acquired from the above by The Lord Wraxall Isaac Ouwater (1750-1793) was an 18th century landscape painter from the Northern Netherlands. During his career he is known to have worked in Amsterdam, Haarlem and Utrecht and is best known for his landscapes and architectural scenes. The t’Spaarne canal was dug in 1631, and subsequently over the following century prompted the construction of more than one hundred country and tea houses along the waterside. A similar view of the canal painted in 1778 and taken from a standpoint a little further forward from that of the present lot surfaced in a saleroom in Amsterdam in 2003.