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

A French Slate and Marble Architectural Mantle Clock with Eight Day Movement, 33cm High

A folio of Architectural drawings etc by Eden King

MIRRORS, a pair, late 19th/early 20th century Italian giltwood, the surround carved with architectural, foliate, rockwork and cornucopia and simulated marble, each with a cartouche shaped plate, 120cm W x 182cm H. (2) (with faults)

Late 19th century French rouge marble mantle clock, architectural cased with gilt metal columns, twin train movement striking the hours and half on coil, W41cm Condition Report Click here for further images, condition, auction times & delivery costs

A Set of Four 1980s Le Corbusier et Pierre Jeanneret (1922-1940 and 1951-1967) Timeline Prints, depicting architectural projects and furniture, mounted in green frames, 90cm by 64cm

JOHN PIPER framed coloured print - architectural study of Caernarfon Castle, 33 x 49cms

A pair of 17th century oak architectural fragments, each carved with crisp acanthus, 31cm x 25cm, c.1660

A hardwood corbel or architectural section, carved in relief with a lion passant, 27.5cm wide

A late Victorian presentation mantel clock of architectural form, the central circular dial with gilt Roman numeral chapter ring flanked by four Roman Ionic fluted columns, above a Neoclassical frieze and serpentine entablature, below a presentation plaque dated '4th February 1901', 36cm

A large quantity of unframed engravings and drawings, to include botanical and architectural examples, all loose (a lot)

A late Victorian black slate mantel clock; together with one other similar architectural example (a/f) (2)

A Victorian black slate mantel clock of architectural form having an enamel dial with Roman numerals and eight day movement, width 43cm

John Player & Sons Architectural Beauties 1937 set L 25/25 EX

EARLY 20TH CENTURY JAPANESE FOUR PANEL SCREEN, of lacquered wood and with architectural landscape decoration

A Black Slate Mantel Clock, of Architectural form, fluted decoration on a plinth base, white enamel dial, makers mark rubbed, length 44cm, height 20.5cm.

A Black Slate Mantel Clock, of architectural form, marble highlights on plinth base, white enamel dial, Roman numerals.

A XIX Century Black Slate Mantel Clock, of architectural form, shaped arched pediment with applied embossed brass plaque depicting cherubs holding an urn, ivory chapter ring with Roman numerals flanked by mask heads, and twin brass handles, plinth base with marble highlights, 48cm high.

KIRKPATRICK IVONE: (1897-1964) British Diplomat who served with the Royal Inniskilling Fusiliers at the outbreak of World War I. Kirkpatrick was severely wounded in action against the Turks during the Battle of Gallipoli in August 1915 and resumed his war service in 1916 employed in intelligence and propaganda activities for the GHQ intelligence service. During the last year of the war Kirkpatrick served as a spymaster in Rotterdam, running a network of Belgian resistance agents operating in German-occupied Belgium. A fascinating original manuscript written by Kirkpatrick, being an account of his visit to the Gallipoli Battlefields and Greece, the typescript comprising eighteen pages, folio, n.p. (London), n.d. (1927), on the blind embossed stationery of the Foreign Office, with some holograph corrections and signed ('I.K.') by Kirkpatrick with his initials at the conclusion. The typescript begins with a brief introduction explaining that the account is based on notes made during a recent trip to the Eastern Mediterranean and 'as no-one will have the time or the energy to wade through the whole work' it is divided into three parts, the Gallipoli battlefields, Crete and the Dodecanese, and continues, in part, 'On arrival at Constantinople we had to obtain permits for Gallipoli through the Embassy and wait for the first boat to Chanak….The embarkation was preceded by a scene of hideous confusion on the quay. Swarms of men, women and children were struggling to have their papers stamped at each of three little windows, so arranged that anyone who had finished his business at one window was unable to leave it  owing to the crowd surging round the other. Further confusion was caused by the Customs…..The S.S. Asia was a squalid little boat…..Eatable food is not procurable on board any Turkish ship, so we brought our own…..Needless to say no effort was made to sail punctually…..The night was distressingly uncomfortable…..At 11 a.m. we arrived at Chanak. The War Graves Commission's launch met us…..we went to the police office to have our papers stamped. There we were told that they were not in order and that three photographs were required…..Bored and hungry and dissatisfied we were led through the streets of Chanak to a photographer's booth….our photographs were eventually taken….After an hour we secured the still wet photographs and returned in triumph to the police office, where the same police officer informed us blandly that we had put ourselves to unnecessary trouble, since photographs were not required. The War Graves man with us showed no surprise or irritation at the behaviour of the Turkish police; he was evidently accustomed to it…..at last we crossed the straits….to Kilia Bay, where the War Graves Commission have their establishment. We were met by Captain Rule-Jones, the officer in charge…..Captain Jones gave the impression of ruthless efficiency. He has a difficult task both in dealing with the Turks and in keeping his gardeners, masons and mechanics up to the mark. He told us numerous stories of Turkish official obstruction. Sometimes his letters are returned to him on the ground that the stamp has not been put on straight…..he is not allowed to walk from Chanak to Nagara Point on the ground that he should stick to his own graves and mind his business…..Nevertheless he seems to cope most successfully with his difficulties, and he deserves the greatest credit for the condition of the cemeteries and the battlefields. There are thirty-two cemeteries in all, which have to be visited two or three times a week each. They are beautifully sited and well looked after……The battlefields are almost exactly as they were left in 1915. It is quite easy to find any given portion of trench…..On the afternoon of our arrival we motored to Anzac. The following day we spent on the Suvla battlefield and the following day at Helles. The obelisk at Helles on which are inscribed the names of the 30,000 British missing is extremely fine. It stands as a land mark at the mouth of the straits and can be seen for forty miles…..we made an expedition by car from Chanak to Troy. There is little to be seen there…..Running over the mound of Troy was a Turkish entrenchment built during the war to resist a landing…..', the second part of Kirkpatrick's account relaying his visit to Crete, Mitylene and Smyrna, 'So far as I could judge….the island looked more prosperous than when I was there in 1915…..The town of Smyrna is a melancholy spot, rather like Arras in 1918. Only the Turkish bazaar and the Turkish houses on the hill behind it remain. The rest is a mass of dusty ruins…..We were told that the destruction of Greek villages and the expulsion of the inhabitants all over Asia Minor was having a disastrous effect upon the economic life of the country……Sir Percy Loraine had written to recommend us to Major de Lacy of McAlpine and Sons, who are building a port at Candia, and we therefore expected that he would show us some civility…..We spent four days at Crete. During this time we visited the excavations at Knossos by Sir Arthur Evans and those at Phaestos by the Italian school…..Major de Lacy told us that the incompetence of the Greek administration of Crete did not end with the port. No effort is made to develop the rich resources of the island…..the local officials are as corrupt as they can be…..The population of the island look far from prosperous. We were told that they lived on a little coarse bread and a few olives…..Nevertheless the Cretans have for three thousand years been famous for the docility of their disposition, and there seems to be no reason to anticipate a revolution……The Greeks do absolutely nothing to preserve monuments or antiquities….' and the third part relating to Rhodes and some Dodecanese Islands, including visits to Patmos, Leros ('The only local industry here is Greek millionaires, who own villas and yacht during the summer. On the other side of the island there is an Italian naval base which no one is allowed to visit'), Kalymnos ('It is the only productive island….and exports about one million kilograms of tobacco a year - approximately 12 per cent of the total consumption of Italy'), Cos and Symi ('The local industry is sponge fishing. The fishermen sail as far south as Tripoli in Africa to find their sponges…..It may be of interest to note that Sir Rennell Rodd is an honorary citizen of Symi.') before arriving at Rhodes, 'Certainly the work that the Italians are doing in Rhodes is extremely impressive…..the greatest pains has been taken to maintain the architectural traditions of the island….The island outside the town also bears witness to the material prosperity brought by the Italian occupation…..We were told that the inhabitants still hanker after Greek rule, but we saw no evidence of this. They looked extremely contented and had been well drilled in the Fascist salute, which they executed on any provocation…..There is no British colony in Rhodes. The only British subject is the consul, Mr. Perkins, who is also Lloyd's representative. He is an amiable old gentleman who enjoys the esteem of the Italian authorities…..In Turkey and in Greece the tourist is obstructed rather than helped, but in Rhodes we were encouraged to go everywhere and see everything…..I attach a few picture postcards produced by the Italian official propagandist service….' and finally returning to Athens six days later via the island of Patmos ('The Governor told us that he was taking tactful steps to see that the valuable library in the monastery should be properly looked after') before sailing to Marseilles for their voyage back to England.OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CANNOT BE DISPLAYED - PLEASE CONTACT IAA Ltd FOR FURTHER INFORMATION 

Victorian black slate architectural style mantel clock having spelter figural decoration depicting classical figures, white enamel dial with Roman numerals, French brass movements striking on a bell Condition:

Pair of Wedgwood cane on black basalt Library Collection architectural boxes and covers, 11cm high, together with a similar plant pot Condition:

L.B. Whitehead - Watercolour - Ben Venue, 37cm x 27cm, another watercolour - figures on a path beside an estuary, three 19th Century English School watercolours and a collection of five 19th Century coloured engravings depicting fashionable ladies, birds and architectural studies, all framed and glazed Condition:

A Belgian Black Slate Architectural Clock Finished with Rosso marble pillars and inserts, black dial with Roman numerals, marked William Campbell to dial. In as found condition, untested, please see accompanying image.

RICHARD TAYLOR BELLHOUSE, urban and architectural Artist exhibited 1880-1894, a gilt framed and glazed watercolour study of early style buildings, monogrammed lower right, 32cm x 19.5cm

NO RESERVE Architecture.- Britain.- Atkinson (T.D.) An Architectural History of the Benedictine Monastery of Saint Etheldreda of Ely, Cambridge, 1933 § RCHM. City of Cambridge, 3 vol. including box of maps, 1959; Dorset, 5 vol. in 8 [complete set], 1952-75 § Mallet (C.E.) A History of the University of Oxford, 3 vol., facsimile reprint, New York & London, 1968, maps, plates and illustrations, original cloth, all but the first and last with dust-jackets, some a little rubbed; and c.40 others on British towns and universities, Oxford, Cambridge, York etc., many RCHM or VCH vol., v.s. (c.55)

NO RESERVE Medieval Art.- Böker (Johann Josef) Architektur der Gothik; Gothic Architecture: Catalogue of...Gothic Architectural Drawings in...Vienna , Salzburg & Munich, 2005 § Kahn (D.) The Romanesque Frieze and its Spectator, 1992 § Little (C.T.) Set in Stone: The Face in Medieval Sculpture, New Haven & London, 2006 § Demus (Otto) Romanesque Mural Painting, 1970 § van Marle (R.) Iconographie de l'Art Profane au Moyen-Age et à la Renaissance, The Hague, 1931, plates and illustrations, original cloth, all but the first and last with dust-jackets; and c.25 others on medieval art & architecture, v.s. (c.30)

NO RESERVE Architecture.- Dal Co (Francesco) & Kurt W. Forster. Frank O.Gehry: The Complete Works, New York, 1998 § Hadid (Zaha) The Complete Zaha Hadid, expanded edition, 2009 § Libeskind (Daniel) Radix-Matrix: Architecture and Writings, New York, 1997 § Curtis (W.) Le Corbusier: Ideas and Forms, Oxford, 1986 § Martinell (C.) Gaudi: His Life, His Theories, His Work, Barcelona, 1975 § Rukschio (B.) & R.Schachel. La Vie et l'Oeuvre de Adolf Loos, Salzburg, 1982 § Sekler (E.F.) Josef Hoffmann:The Architectural Work. Monograph and Catalogue..., Princeton, 1985 § Svacha (R.) The Architecture of New Prague 1895-1945, Cambridge, Mass., 1995, illustrations, original cloth or boards with dust-jackets; and c.40 others on modern architecture, v.s. (c.45)

An architectural mantel clock in black marble with brass dial

An architectural mantel clock in black marble with French movement

CIRCLE OF NICCOLO CODAZZI (1642-1693) A PAIR OF ARCHITECTURAL CAPRICCI oil on canvas 60.8 x 73.2cm / 23.9 x 28.8in Provenance: Collection Pérez de Vargas, Counts de la Quintería, from the 19th century; Ilustrísima. Sra. Doña María Carmen del Valle, 1960s; The Property of a Spanish Noble Family. (2)

NORTH ITALIAN SCHOOL (18th CENTURY) ARCHITECTURAL CAPRICCIO oil on canvas 43.0 x 34.0cm / 17.0 x 13.0in

EDWARD MILLINGTON SYNGE (1860-1913) 'Doorway, Doges Palace, Venice', etching, pencil signed in the margin, 34 x 19cm; and three further similar architectural views, each signed in pencil to the margin (4)

F.J. HOWELL AFTER G. HOWELL 'The Blenheim leaving the Star Hotel, Oxford', aquatint engraving in colours, pub. by G Howell, 32 x 48cm; an aquatint engraving in the manner of Samuel Howitt - Pheasant Shooting, 20 x 63cm; and a pair of Italian architectural engravings (4)

‡ A woven wool tapestry in 18th century Chinoiserie taste, 20th century, with figures engaged in the sciences in an expansive Oriental landscape with architectural elements and palm trees, beneath a pagoda with a peacock on the roof, the floral border with armorial cartouches, 250 cm high, 197 cm wide ‡ Indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%). Please see our Terms & Conditions for more information.

Selwyn Image (1849-1930) design for architectural tiles watercolour on paper, framed signed in pencil and annotated 31 x 17cm.

'Wendingen' September 1920 (Series 3 volume 8-9) a Dutch architectural magazine on designs by Josef Hoffmann, with cover design by Hendrik Van Den Eijnde, including Palais Stoclat and designs for furniture and jewellery 32.5cm. square.

A LATE VICTORIAN BLACK SLATE MANTEL CLOCK OF ARCHITECTURAL FORM, enamel dial with Arabic numerals, gong strike (with pendulum and key), height 32cm

A LATE VICTORIAN BLACK SLATE MANTEL CLOCK OF ARCHITECTURAL FORM, black and gilt dial with Roman numerals, (key and pendulum), height 46cm approximately

FOUR PICTURES AND PRINTS, to include a limited edition print by Jane Joseph, titled 'Hammersmith Bridge', signed in pencil 14/50, size approximately 62cm x 90cm, framed, a Walter Richards print of Liverpool dated 1907, size approximately 32cm x 91cm, framed, a reprint of an Architectural drawing of St Pauls Cathedral by John Simon 1675-1751 and an oriental brass rubbing iof dancers (4)

EARLY NINETEENTH CENTURY FIGURED MAHOGANY SECRETAIRE CHEST ON CHEST, the broken architectural pediment with dentil moulded border, above two short and three long, cockbeaded drawers, the lower drawer fitted with pigeon holes, short drawers and moulding drawers, flanking a central aperture (lacking door) and pair of fluted pilaster fronted secret drawers, the conforming lower section with three long drawers, fitted with brass swan neck handles, and raised on ogee bracket feet, 81 ½" (207cm) high, 54" x 23 ¼" (137.2cm x 59.1cm), the lower section lacking escutcheons and the drops to the handles differs slightly

EARLY TWENTIETH CENTURY WALNUT AND STAINED FRUITWOOD MANTLE CLOCK, the 6" silvered Roman dial with pierced gilt spandrels, powered by a movement striking on a gong, and housed in an architectural case with fluted pilasters and shaped plinth base, 14 ¼" (36.8cm) high, supplied with associated stand

MODERN HERMLE & SOHN WALNUT AND LINE INLAID VIENNA TYPE WALL CLOCK, the 7 ½" dial with subsidiary seconds dial to the centre, powered by a movement striking on four rods and housed in a case with architectural pediment and shaped foot, 45" (114.3cm) high, in original box, as new

A FINE IRISH GEORGE II MAHOGANY RECTANGULAR SIDE TABLE, c.1750, the top with moulded rim above a frieze centred by a carved scallop shell flanked by scrolls with carved linen fold swags with rosette terminals on a cross-hatched and punched ground, the decoration mirrored to the sides, with carved acanthus leaf decoration to the legs, on acanthus carved hocks and squared hairy paw feet. 123 x 60 x 79cm Exhibited: 'An Exhibition of Irish Furniture', the Irish Architectural Archive, 45 Merrion Square, Dublin 2, 10th-16th May 2007.

A LOUIS XV ORMOLU AND LAPIS LAZULI CASED MANTLE CLOCK, of upright rectangular form, surmounted with a crouching lion guarding a ball above an architectural body, the white enamel dial signed 'E. Chenot, A Paris', contained by a ribbon and foliage swag on a spreading base, set with an oval panel with entwined initials under a crown and raised on chased scroll legs and foliate form feet. 54cm high x 34cm wide x 21.5cm deep

A FINE GOTHIC REVIVAL MAHOGANY SIDE TABLE, after a design by Thomas Chippendale, the rectangular top with round moulded edge, over a blind fret work frieze centred with a foliate design and supported on open squared legs, with staged architectural carving, on conforming block feet. 86cm high, 182cm long, 81cm wide

6x c.1870 Photographs of Venice depicts some beautiful architectural and water scenes, all framed, by Carlos Ponti or a contemporary, measures 52x43cm approx.

Victorian slate mantel clock, architectural case, circular dial, cylinder movement non-striking, 36cm.

A folio of French architectural prints

A mahogany eight day longcase clock, brass dial having silvered chapter ring with Roman and Arabic numerals, subsidiary seconds dial at 12, date aperture at six, the dial engraved 'Lenygon London Fecit', having architectural top, on slender trunk, H.190cm

A late 19th century French brass repeating carriage clock, the convex enamel dial with Arabic numerals, floral decoration to centre, signed Arthur Jack & Co., architectural case with pilasters, chiming gong, in fitted red leather travelling case, H.15cm

WH John Hope, Windsor Castle , an Architectural History, limited edition 1050, 2 volumes and an additional copy of volume one. Signed.

An Edwardian silver-cased mantle clock of architectural form, French mechanism, with dedication, by Henry Matthews, Birmingham, 1904, in working order, 10 x 10 cm; a Victorian Charles Horner silver thimble, Chester, 1894 and a Viner's silver napkin ring, Sheffield, 1932 (3)

A Regency mahogany vanity mirror on architectural supports, drawer under with brass knob, 82 x 39 x 29 cm

A late 19th Century black slate and rouge marble eight day mantel clockThe architectural casing inset with variegated rouge marble panels, surmounted by a cast metal depiction of medieval female figure, the glazed front enclosing white enamel dial with black numerals, 44cm high.

An Elliott mahogany cased mantle clockRetailed by Boodle and Dunthorne, Chester & Liverpool, the architectural cased clock raised on compressed bun feet with silvered chaptering and putti spandrels, 18cm high.

A late 19th Century mahogany Vienna wall clockThe architectural case with carved pillars to the glazed door revealing 7" white enamel dial with black Roman numerals and subsidiary seconds dial, sold with pendulum and weight.

A Winterhalder & Hofmeier German late 19th Century ebonised bracket clockThe architectural casing with tapered bell form upper section terminating at a pine comb silvered finial and raised on four compressed bun feet, the 4" silvered dial with subsidiary seconds dial and further detailed with scroll work and spandrels, the eight day two train movement chiming on two gongs, 42cm high.

An early 20th Century Lenzkirch German mantle clockThe oak architectural casing raised on a stepped base with exterior calved plasters, the casement enclosing a silver chaptering before scrolling foliate and fruiting spandrels and upper cherub mask, the eight day movement striking on a gong, raised on paw feet, 36cm high, sold with pendulum and key.

An architectural painted iron spherical finial Mounted within a circular plinth base, 43cm.

A late 19th Century black marble mantle clockThe stepped gilt lined marble architectural base, adorned with a gilt metal Elizabethan figure and barrel movement and dial, the glazed front revealing a white enamel dial, black Roman numerals, sold with pendulum and key, 32cm high.

A late 19th/early 20th Century black slate eight-day mantel clock The architectural casing inscribed with stylized foliate designs and cast galleried top, inset with a glazed circular front and black dial detailed with inscribed and painted Arabic numerals, 35cm high.