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

A late 19th Century French rouge marble clock The central clock of architectural form with domed top and cast gilt metal plasters enclosing a glazed circular front revealing a white enameled dial with black Arabic numerals.Together with associated garnature.

A Regency mahogany glazed bookcase on twin pedestal desk The bookcase with an architectural pediment above two glazed doors enclosing an arrangement of shelves raised upon an associated mahogany twin pedestal desk, each pedestal with a single frieze drawer and cupboard door raised upon turned legs, 131x218x50cm.

A late Victorian walnut mirror back chiffonier sideboardThe architectural high back with carved panels and a central arched mirror plate flanked by shelves supported on tapering reeded uprights, the base with a break front molded top above leaf carved frieze and a cupboard door centred with a carved panel depicting a campana style urn with leafy swags, flanked by arched recesses and and a pair of conforming carved short cupboard doors, raised upon turned feet, 152x255x51cm.

A late 19th Century brass skeleton clockOf architectural form, the pierced and articulated panels rising from four circular and knopped feet extending to a single fusee movement and applied with a cut out silvered and chaptering with black Roman numerals, housed under a dome and ebonised plinth base, 79cm high.

Two vintage clocksTo include any Aynsley architectural form mantle clock within an 1930's oak cased Enfield mantle clock with silvered dial. (2)

A late 19th Century mahogany and ebonised Vienna wallclockThe architectural casing applied with barley twist column stems, the glazed door revealing white enameled dial with subsidiary second dial, sold with weights and pendulum, 110cm long.

An Edward Gustav Becker eight day Westminster chime mahogany bracket clockOf architectural form inlaid with ribbon tied swags, the glazed circular door with silvered dial, black Roman numerals, raised on brass tapered tab feet, 41cm high

A large carved oak architectural door pedimentThe carved scroll sides extending to a arched top, carved in high relief with depiction of a lion set within canthus scroll and petal form outer borders, 93x33cm.

A brass architectural skeleton clock, cased

An oak cased bracket clock, early 20th century, Roman dial, chiming eight day movement, architectural detail

A Victorian black slate architectural mantel clock, with presentation plaque

Karl Singporewala (b.1983). Ace of Diamonds. Laser cut conservation board. Signed. 54 x 38.6 x 4cm. Framed. Karl Singporewala: Karl Singporewala is a sculptor, architect and co-director of Barbara Weiss Architects. He joined BWA following ten years at Ian Ritchie Architects. Working on a large number of international projects (Ireland, Kazakhstan, Turkey and Malta) and projects in the UK, ranging in scale from city masterplanning to unique sculptures. Notable works as part of the team at iRAL included King Solomon Academy, the Farsons Old Brewhouse & Business Park, stainless steel sculptures at Turville Park, Sussex House in Covent Garden and the Sainsbury Wellcome Centre for Neural Circuits and Behaviour at UCL. The SWC won a number of prestigious awards include the British Construction Industry (BCI) Major Project of the Year award 2016 and the RICS Project of the Year award 2017, as well as the RICS Innovation by Design award 2017, the European LEAF Façade Design and Engineering award, the LEAF Overall winner award and the German Design Award 2017 for Excellent Communication of Design and Architecture. Why did you want to take part in this fundraising initiative A fantastic brief, an amazing line up of artists and throughly worthwhile charity.Can you tell us about your artwork What inspiration did you draw on to create your design When making a charity artwork, the importance is in creating something unique to the cause. But creating a special artwork is only half the story, it also requires a buyer/collector to dig deep and purchase it to help raise those vital funds. For me, the team of Jennie and Aimee was the inspiration - The TLC team on top of St Paul’s reaching for the moon, taking their work from England to the rest of the world. They are surrounded by diamonds in the sky, each one a life saved. What is it about the charity Transplant Links that made you want to support them TLC’s two person mission to help save lives deserves all the support and exposure it can get to help achieve their goals. Where knowledge and wisdom can help save the lives of children and adults, you want to support this however you can. I can’t perform kidney transplant surgery... but I can create fine art. We do our bit, so they can do theirs. A graduate of De Montfort University Leicester (RIBA/ARB Part I), University of Brighton (RIBA/ARB Part II) and the Bartlett School of Architecture, UCL (RIBA/ARB Part III). He has won numerous international architectural and graduate awards for his personal work, which includes being voted ‘One of the UK’s Young Creative Heroes’ by Channel 4 and the Nagoya University Excellence in Architecture award. In 2014 his art work won him the 'People's Choice' HIX Art Award at the Cock 'n' Bull Gallery, Shoreditch London in a competition by chef/restaurateur Mark Hix and artist Tracy Emin aimed at new contemporary artists. Karl’s art work is held in both public and private collections world-wide and he has exhibited at the Saatchi Gallery, the Royal Academy of Arts, Onassis Cultural Centre Athens for the Lumen Prize, V&A digital futures and the New York Institute of Technology. In New York his art work is currently represented by the Saphira & Ventura Gallery. www.singporewala.co.uk. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Vanessa Gardiner (b.1960). 7 of Diamonds, 'Godrevy Point 2017'. Acrylic on paper. Signed verso: 'Godrevy Point, Acrylic on paper, Vanessa Gardiner, 2017'. 21 x 15cm. Framed. Vanessa Gardiner was born in Oxford in 1960 and studied Fine Art Painting at Central School of Art and Design in London. Her distinctly linear, geometric style of painting is inspired by the elemental coastal features of cliff and sea. She says of this painting of Godrevy Point in Cornwall:I went there for the first time last year, to discover for myself this darkly slated promontory, ending with a small island bearing a lighthouse. With its deep turquoise inlets and precipitous cliffs, there are certain echoes of the architectural formations that I know so well up the coast at Bostcasle, yet excitingly it also offers new configurations of shape and structure. She has had solo exhibitions since 1991 in London and her work is held both in private and public collections worldwide. I was particularly drawn to the innovative idea of using a pack of cards chosen for the Transplant Links auction this year and it struck me as an interesting quandary to try to incorporate a playing card it into my work, especially as it is not something I’ve done before. The dramatic cliffs at Godrevy Point in Cornwall is a coastline I’ve been working from for a while, and so when I was invited to participate I was intrigued to see if I could use a vertical image of the landscape into the design.I’m delighted and honoured to be able to help TLC; since participating in the auctions, I’ve discovered more and more about the charity’s amazing achievements and it’s a real pleasure to be involved in this way. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Communication I', etching, image size 27 x 22cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Sat Study I', etching, image size 22 x 18cm. Signed and numbered 3/30. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Sat Study II', etching, signed and numbered 13/30. Image size 22 x 18cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Sat Study IV', etching, signed and numbered 7/30. Image size 41 x 39cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Dome II', etching, signed. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Ian Chamberlain. 'Dome I', etching, signed and numbered 4/6. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

VICTORIAN BLACK SLATE MANTEL CLOCK, two train eight day movement, visible escapement, the black chapter ring with gilt Roman numerals, contained in an architectural case engraved with stylised foliage, 38cm high

ARCHITECTURAL MANTEL CLOCK, two train eight day movement, the painted white dial with Roman numerals, contained in a glazed architectural case, 49cm high

EBONISED METAL MANTEL CLOCK, two train eight day movement by Ansonia, white enamel chapter ring with Roman numerals, architectural case with spelter mounts, on front scrolling bracket feet, 26cm high

VICTORIAN ORMOLU AND ONYX MANTEL CLOCK, two train eight day movement by AD Moulins, the gilt dial with Arabic numerals, Corinthian pillared, architectural case, 38cm high

Reproduction Elliott polished walnut architectural mantel clock

A Corinthian-type architectural antique standard lamp with stepped brass platform base.condition:Yes the lamp is adjustable.

A pair of antique rosewood architectural form side cabinets with foliate brass inlay to a centre panel (lockable keys with saleroom), 70cms wide x 90cms highThere is some brass missing and some of the brass above that is coming away. The other panel is fine.

A green onyx architectural mantel clock

PAIR CAST IRON ARCHITECTURAL LIGHTS, c. 1900, of torch form mounted on scrolling wall plates, height 68cm x width 13cm x depth 32cm (2)

Percy Goddard Stone "The Architectural Antiquities of The Isle of Wight" in two volumes CONDITION REPORTbindings a bit tatty

A Victorian black slate and marble architectural style mantle clock, 44cm

A Victorian mantle clock of architectural form, the eight day movement by J W Benson, 25 Old Bond Street London, with circular enamelled dial and Arabic numerals

LARGE CHINESE QING DYNASTY BLUE AND WHITE VASE, painted with figures within architectural and floral features, double ring mark to base, 60cm high

EARLY 20TH CENTURY JAPANESE LACQUERED WOOD PHOTOGRAPH / POSTCARD ALBUM, the silk pages painted with flowers, architectural features, island scenes, and with red thread corner markers for photograph/postcard inserts, the front cover painted with Mount Fuji and architectural coastal scene, the front cover 35cm x 27.5cm

§ William Black, (British, 20th century), UAngelic Form, 1967, a patinated copper alloy sculpture, signed, titled and dated to underside 42cm (16in) Other Notes: Having worked as an architect after the Second World War, William Black went on to work as an artist following the inheritance of money in the early 1950s. He was a self taught artist, producing numerous deconstructivist sculptures in the 1960s. He moved to St Ives in Cornwall where he collaborated with artists such as Ben Nicholson, Barbara Hepworth and Naum Gabo. There is a clear architectural element to his sculptures. They illustrate an assemblage of fragmented shapes and forms of a deconstructivist nature.

After John Piper (English, 1903-1992)Architectural Study Print53 x 36cm *This Lot may be subject to Artist Resale Rights

An assortment of sketches of architectural ruins and scenes from near Naples, dated mid-19th century, the largest of which measures 25 x 17.5cm, loose in a sleeve (qty)

A large quantity of ephemera, including photographic material from a number of London theatres, architectural scenes, portraits, and an image depicting a family from the Kasai Province of the Congo in 1961, together with a number of prints and postcards (qty)

Architectural interest. A superb pair of large 19th Century painted and gessoed carved wooden figures of sphinx, 119 x 47 x 78cm.

Oak late 16th Century thickly carved oak panel with folk art depiction of 'St Clare' carrying a monstrance, within an architectural niche (panel shrinkage). 48cm x 24cm in width.

A tall 19th Century split columnal architectural decorated walnut eawing, with 'Acorn and leaf' repeats. 166cm height x 18cm width.

Antonio Senape (Italian) 1788 - 1850"Il Palaggo Meale Preso Delda Fontana, del Sebto, Naples," pen and ink, a finely detailed architectural study, approx. 20cms x 30cms (8" x 10") inscribed and framed. (1)

Lawrence Stangroom"Blythswood, Osbourne Road, Newcastle-Upon-Tyne" - an architectural elevationPen, ink and monochrome gouache27.5cm x 46cmSigned, inscribed with title. Condition Report. Good condition, slight foxing.

French early 20th century mantle clock with green onyx case of architectural form, 38cm.

Architectural designs,including two housing schemes and four designs from the Northern Polytechnic London, School of Architecture,largest 64 x 98cm (6)

WWII German book Das Bauen Im Neuen Reich showing Nazi architectural subjects

A late 19th century chiming bracket clock in architectural case, with 6 inch dial, subsidiary chime / silent and speed regulator dials, with gilt mask and spandrels, in arched case with column uprights and stepped base, 42cm high

SIR ALFRED GILBERT R.A. (1854-1934)COMEDY AND TRAGEDY: ‘SIC VITA’bronze, raised on a stepped ebonised wood plinth34cm high (bronze), 39cm high (with plinth)Provenance: The Fine Art Society, LondonNote: New English Sculpture was a dynamic movement at the end of the 19th century which injected energy and naturalism into English sculpture. The medium had been dominated by a neo-classical style seen as rigid and irrelevant to human experience, so much so that Baudelaire even wrote a critique of the Paris Salon in 1846 titled ‘Why Sculpture is Boring’. The term ‘New English Sculpture’ was coined in Edmund Gosse’s article ‘The New Sculpture’ which was published by Art Journal in 1894, where he defined the movement as ‘a close and reverent observation of nature’. Leading sculptors such as Lord Leighton, Alfred Gilbert and Hamo Thornycroft revived the Italian Renaissance art of ‘lost wax’ bronze casting in order to finely render surface details like musculature and facial expressions in a more naturalistic manner. This approach was introduced by Aimé-Jules Dalou, who disseminated the French method of direct modelling during the period he spent teaching at South Kensington School of Art from 1877 to 1880. This combination of traditional and modern continental influences prompted these artists to recast well-worn classical myths in a distinctly original and relatable style. The movement re-established the relevance of sculpture within society by embracing the statuette, which bridged the divide between high art and decorative art without compromising on the standard of craftsmanship. Until the 1860s sculpture was primarily limited to the marble portrait bust or large classical figure, but these smaller bronze casts created a new sculptural category which suited the scale and price desired by homeowners. The cult of the statuette was a popular feature in late Victorian and Edwardian architectural design and enabled the classical heroic figure to fulfil a new decorative role within a domestic setting.

TWO CARVED OAK ECCLESIASTICAL ARCHITECTURAL FIGURAL PILLARSEARLY 18TH CENTURYin the Gothic style, depicting seated figures on carved uprights with twisted columns on canted stepped bases; the first, carved with a man playing a lute; the second, depicting a lady singing (2) 168cm highProvenance: Arthur A. Seager, Stow-on-the-Wold

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE ALMONRYEtching, signed26cm x 18cm (10.25in x 7in)Provenance:Allinson Gallery, Storrs, ConnecticutNote: This edition is 82 in this state. Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE CRESSETEtching22cm x 30cm (8.75in x 11.75in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE FORDEtching, signed16cm x 28cm (6.25in x 11in) and another etching by the same hand ‘Epiphany’ (2)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)SELLENGER - 1917Etching, signed and inscribed14.5cm x 17.5cm (5.75in x 7in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEMORY OF CLAVERINGEtching, signed in pencil14.5cm x 23.5cm (5.75in x 9.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS (BRITISH 1876-1938)ST BOTOLPH’S BRIDGE NO. 2Etching, 2nd state of three, signed in pencil with initials25.5cm x 21cm (10in x 8.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEPPERSHALL CHAPELEtching, 3rd and final state, signed, dated 1918 and inscribed ‘To J. Short – For his steady kindness and help’16.5cm x 12.5cm (6.5in x 5in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

PAIR OF VICTORIAN GOTHIC REVIVAL GILT METAL TABLE LAMPS19TH CENTURYof architectural design, cast as Gothic columns with faux windows and pillars, on three scrolled feet, wired for electricity with silk pleated shades (2)74.5cm high (excluding fittings)

PIPER, JOHNBRIGHTON AQUATINTS. [LONDON: DUCKWORTH, 1939]Oblong folio, 12 aquatints interleaved with titles and descriptions on blue paper, tissue guards for all but one print present, original pink quarter cloth over patterned paper boards, small mark to upper cover, a few tissue guards creasedNote: John Piper's first sketches, taken as a child before the outbreak of the First World War, were chiefly architectural. He drew the monuments and buildings around his home in Epsom, even turning the work into handmade guidebooks . As an adult, his artistic output ranged from stained-glass to prints, to work with textiles . However, architecture, and the landscape complete with its human constructions, seems to remain a central theme throughout Piper's career. Piper is perhaps best known in the mainstream for his paintings of the destruction of Coventry Cathedral. As an official war artist during the Second World War, he had the opportunity to capture the scenes of the bombed cathedral on the 15th November, the day immediately following the air raid.Piper's "Brighton Aquatints" predates his Coventry Cathedral paintings by nearly a year. The aquatint - a type of copper plate print treated with chemicals to resemble watercolour - was commonly used in late 18th and early 19th century guidebooks, such as those by William Gilpin. Piper employed this technique - used to evoke whimsy and the picturesque - and applied it to a modern exploration of Brighton, with its fittingly early 19th century architecture. Piper perfectly summed-up his view of Brighton:"The regency architecture of Brighton is worth fighting for, not only because it's good Regency, but also because it's good seaside." The "Brighton Aquatints" are fun. They combine the whimsy of the Regency with the joy of the seaside and the exploration of abstraction for which Piper is known.

A SET OF FOUR CHINESE ARCHITECTURAL PINE PANELS, late Quing Republic, each panel 226 cm high x 50 cm wide (approx)

Bapt. Roncheti & Co, a Georgian stick barometer: the brass dial engraved with typical barometer markings, Masonic symbols and signed Bapt. Roncheti & Co, Fecit, with a sliding Vernier gauge, the mahogany case having an architectural pediment with a brass finial, canted corners to the trunk and a turned cistern cover to the base, with a visible tube, height 98cms.* Biography Baptista Ronchetti (sometimes Roncheti) is recorded as working in Spear Street, Manchester from 1785 having come from Tavernerio in Italy, before moving to 15 High Street. His son Joshua joined him from Italy, as did his nephew Lewis Casertelli. Until circa 1800 he was also in partnership with Lomas. Ronchetti was a noted maker of high quality instruments.* Notes Ref: Edwin Banfield, Barometer Makers & Retailers, Pub: Baros Books 1991.* Provenance The late R.B.W.Clarke Esq., Bridwell, Uffculme and thence by family descent.

W. Bean, York a mahogany stick barometer: the brass dial engraved with typical barometer markings and signed W. Bean, York, with a sliding Vernier gauge and inset with a thermometer, the mahogany case having an architectural pediment, fluted canted corners to the trunk and a turned cistern cover to the base, with a visible tube, height 97cms.