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

A four piece silver tea set of plain boat form having fruit wood handles, gadrooned rims and scallop shell decoration to architectural style handles on sugar and cream, Sheffield 1945, Stower & Wragg Ltd, approx 1742.6g

ARCHITECTURAL STYLE GARDEN MIRRORS, a pair, metal framed with an arched top and opening grill, approx 78cm W x 180cm H. (2)

WALL MIRROR, 19th century Italian giltwood of architectural form with arched mirror and Classical cornice, 123cm W x 210cm H.

An early 20th century marble cased mantel clock of architectural form, having enamelled dial with Arabic numerals and eight day movement, with presentation plaque

A circa 1900 black slate mantel clock of architectural form having a gilt dial with Roman numerals and eight day movement striking on a gong, width 36cm

19th century large slate mantel clock, architectural case with triangular pediment, gilt metal mounts and Corinthian columns, black enamel dial with gilt Roman numerals, signed 'Gowland Sunderland & Paris', W53cm, H44cm CLOCKS & BAROMETERS - as we are not a retailer, these items are sold as seen and may or may not be in full working order, if you would like any advice on buying clocks or barometers, or a full condition report, please contact our valuation team Condition Report Click here for further images, condition, auction times & delivery costs

A collection of unframed prints, including some architectural examples

A box of assorted postcards to include scenic, architectural etc

A selection of nine Prattware pot lids depicting various scenes to include architectural, boating scenes etc

A Late XIX Century Black Slate 8 Day Mantel Clock, of architectural form, marble columns, ivorine chapter ring, Arabic numerals.

EARLY 20TH CENTURY INDIAN HANDPAINTED BRACELET painted with panels of figures and architectural scenes, with turquoise set clasp, 20cm long

MID 20TH CENTURY CHINESE WOOD SEWING CHEST the lid lifting in two sections, carved with shipping, architectural and figural detailing across the chest, 70cm high, 47cm wide; along with a similar blanket chest with carved scenes, 100cm wide (2)

PAIR OF EARLY 20TH CENTURY CHINESE SILVER VASESthe vases with pierced borders and floral and architectural detailing, highlighted in enamels, stamped 90, 14cm high; along with a similar lidded box with bird finial and floral motifs, engraved with crest, on three feet (one foot lacking), stamped 90, 9cm high; and a tray with fruiting branches and presentation inscription, also with enamels, stamped 90, 20cm wide, 374g gross (4)

Four 19th Century wrought iron architectural canopy supports, two being corner pieces together with two conforming flat pieces, 192cm high approx Condition: Please see extra images and TELEPHONE department if you require further information

Victorian metal architectural window rail having floral decoration, 131cm wide Condition: Please see extra images and TELEPHONE department if you require further information

Pair of large wrought iron architectural strap door hinges, 111cm wide x 90cm high Condition: Please see extra images and TELEPHONE department if you require further information

Two Medieval limestone architectural fragments, each carved in high relief with figures, largest 35cm by 33cm, one mounted onto a display stand (2)

A box of 19th century architectural plaster mouldings.

Albert Irvin RA (1922-2015)Glenmore (1985)Acrylic on canvas, 153 X 213 cm (60 X 84”)Signed and dated (19)’85 versoProvenance: From the collection of the late Gillian Bowler.Exhibited : “Albert Irvin Exhibition: Paintings and prints 1980 - 1995”, RHA Gallagher Gallery, Dublin Nov/Dec 1995, Catalogue No. 7.Literature: Albert Irvin Exhibition catalogue 1995, full page illustration p.27.Albert Irvin grew up in London until he was evacuated to Northhampton following the outbreak of World War II in 1939. He won a scholarship to Northampton School of Art in 1940, but his only formal education as an artist was disrupted by conscription a year later. He became a navigator for the RAF and flew on bombing missions into Germany as a member of 236 Squadron. He returned to London after the War and immediately began a precarious career, supported in this by his artist wife, Betty, whom he had met as a student and by working as a screen printer on Laura Ashley’s first fabric designs. Associated with the Saint Ives’ painters Terry Frost and Peter Lanyon in the 1950s and 60s, his career as a painter began to come together after he had been exposed to shows of American Abstract Expressionism in the 1960s, when he also began to teach part-time in Goldsmith’s College, London. His large scale, flamboyant paintings became popular only in the 1980s and 90s, when he was in his sixties, and when he was a prominent figure in reviving British Painting. Bert, as he was known to his many friends, was recognized in Ireland from the early 1980s when he was included in ROSC 1984 and given a solo exhibition at the Butler Gallery a year later.Irvin’s abstract paintings are thoroughly informed by his urban background, although his vision must also have been influenced by seeing the cities of Germany from the air and through the prism of navigational maps. As he put it, ’The traversing of the canvas with a loaded brush stands in direct relation to the traversing of the spaces in which I live and have my being’. Even their titles bear witness to this. From ‘Soho’ (IMMA, Collection), to ‘Battersea’, ‘Piccadilly’, and ‘Clapham’, they spell out a sense of the energy and bustle he found as he travelled between his home and his studio. The architectural nature of cities explains the importance of the rectangle and the square for him, as he points out they echo the ‘given of his world’. Oval canvases attracted him but he found that they dominated the painting. The more static rectangle gave him the scope to play off the energy in the painting against its outer edge, and that energy is the subject of his work.‘Glenmore’ is a little different. The title and date suggests that it was prompted by his visit to Kilkenny and rural Ireland in 1985, although painted in his London studio. “I don’t make use of direct appearances so there is no way in which I’ll produce holiday snaps”, (1) he told Peter Hill, so ‘Glenmore’ offers nothing superficially descriptive of the place it references in the title, it remind us, instead, of Irvin’s love of music and his belief that art is most effective when communicating through a language of abstract form and rhythms. Thus the open composition employed in ‘Glenmore’, the more expansive areas of yellow, when compared to his busier, urban paintings, suggest a relaxed lyricism. The spatial relationships and softer open curvilinear marks here speak of ease and pleasure. Irvin continued to visit Ireland on numerous occasions with Betty, was given a retrospective exhibition at the RHA in 1995, to which this painting was lent, and even curated an exhibition at IMMA in 1991, dedicated to his friend, the Irish artist, Tim Mara. He died at the age of 92 in 2015, painting right up to his death. He is survived by his wife Betty and their daughters.Catherine Marshall, April 2017(1) Albert Irvin, interviewed by Peter Hill, in 'Albert Irvin', Butler Gallery, Kilkenny, 1985.

Folder of mid 20th century prints & architectural drawings

Architectural salvage - a wrought iron garden gate, 92cm x 92cm

17TH CENTURY CARVED OAK ARCHITECTURAL SCULPTURAL FRAGMENT, carved in relief with two female figures and a satyr above their heads. 72cm x 34cm wide, max. Together with a 19th Century oak heavily carved, relief panel depicting mother and child monkeys within an arcaded frame. 52cm x 28 approx. Together with an oak furniture fragment with carved text dated: 1721. 105cm long. (3)(B.P. 24% incl. VAT) CONDITION REPORT: The early fragment is split, dry, rotted in places, with losses to the carving and has metal straps to centre holding the planks together. The monkey carving is very dry and grubby but appearing basically good with minor surface wear and the furniture fragment is cracked through in places and has an old repair panel to the back also.

LATE 19TH CENTURY FRENCH BRONZED SPELTER FIGURAL MANTEL CLOCK, the architectural clock with enamel face having Arabic numerals and marked: E. Dade, Egreville. The case supported by a female figure and a cherub emblematic of Cupid on a veined marble base. French brass two train drum movement striking on one bell. 48cm high.(B.P. 24% incl. VAT) CONDITION REPORT: Overall rather grubby, the larger figures arm has been repaired, there are scuffs and minor damage with age generally, includes pendulum.

An architectural drawing

An Ekco type RS2 AC wireless receiver,1931 – the ‘Odeon’ set,TRF chassis in architectural brown Bakelite case, lacking back panel.

John Gadsden (20th century): An architectural design study for a seaside pavilion, watercolour, signed & dated 1952, H 69 x W 100 cm; together with two further mechanical studies signed M. Jonas (3)

An enamel decorated gilt bronze, probably Russian, desk clockOf Gothic Revival architectural form, the white enamelled dial with Arabic and Roman numerals, above the twin doors enclosing an enamel decorated religious icon. 13.25 cm high. CONDITION REPORTS: Generally in good condition, some gilt wear/loss, base loose, general wear.

A 19th century gilt metal mounted white marble triple clock garnitureThe white painted dial with Arabic numerals and decorated with floral swags, the bell striking barrel movement signed Japy Freres and numbered 2532, the architectural case with acorn finials, the garnitures twin handled urns en suite. The clock 38 cm high. (3) CONDITION REPORTS: Generally good condition, expected wear, some staining to marble, dial could do with a clean, old repaired chip to marble.

In the manner of Louis Apol, winter landscape of river running through forest, oil on canvas,39 x 49cm with companion study and Bevert ?, 20th C Dutch school, architectural study of church interior, oil on canvas, signed lower right, 39 x 29cm

SECRETAIRE CABINET ON STAND, 19th century tortoiseshell, ebony and burr walnut, incorporating 17th century oak carvings with two doors enclosing an architectural mirrored interior above a leather lined and fitted writing drawer, 163cm H x 116cm W x 50cm D. (with faults)

A 19thC Italian black marble micro mosaic paperweight, of serpentine rectangular tablet form, inlaid with five oval architectural panels, 6.25” x 4.5”. SEE ILLUSTRATION

A 19th century Dutch walnut three seater sofa of imposing proportions, having upholstered over-stuffed seat and carved architectural panelling, (216cm wide, 144cm tall).

A group of geometric puzzles by Naef, Spielzeug c.1980s. Bauhaus, Panton and architectural cubist modular design with book, including MOMA magnetic geometric puzzles.

Ken Kirkwood: black and white architectural photographs, 24 by 16cm. (13) and one album.

A FLEMISH PART 17TH CENTURY, PROBABLY MALINES, EBONISED WOOD AND CARVED ALABASTER TABLE CASKET, having hinged sloping lid, inset needlework panel, to the front and back architectural devices of columns and arcading, on stepped base, blue silk lined, 27cm wide

A 19TH CENTURY SINO-TIBETAN BRONZE BODHISATTVA AVALOKITESHVARA BUDDHA. His hair adorned with a miniature Buddha, two hand gestures on the right, Vitarka Mudra (gesture of transmission of Buddhist principles), to the left hand, the Bhumisparsha Mudra (earth touching gesture). The Mandorla is ornamented with Lotus and Mythic Dragons, the architectural plinth throne base with Pala influenced figures, evidence of gilding, 88cm high (Vendor's provenance - formerly in the collection of a friend Dr. P .B. (Studied Oxford Buddhist Iconography, Tibetan and Chinese languages has been published in this area by the National Geographic Society and is a Professor of Tibetan History in the U.S.A.)

AN EARLY 19TH CENTURY OAK LONGCASE, having 30-hour movement, brass face with silvered chapter ring, bearing the name "Lakin - Tamworth", having architectural pediment with blind fret carved frieze, plain glazed door with pilaster sides, long single d oor and a stepped box base, 203cm high with pendulum and weight

A BLACK FOREST CUCKOO CLOCK of architectural form, with carved fruiting vine decoration to the front and balcony, 26cm wide x 37cm high, together with a wall mounting BRACKET

A 19th Century mahogany Architectural form table top mirror with two drawer base a/f, 76cm tall

John Ridgewell (1937-2004) Tree in a surreal landscape Signed and numbered 590 on a label verso, oil on canvas, together with a signed oil study of an architectural ruin by the same artist, 29.5cm by 24.5cm, and 21.5cm by 14.5cm (2) Provenance: From the Artist's estate

An early 20th century oak wall clock, of architectural form, with fusee movement and 14 inch circular dial, with presentation plaque, 96.5cm high.

Richard DAVIES (1945-1991) Architectural colour litho of the reception area of the Frederick C. Robie House in Chicago, edition No. 8/125, signed lower right with Retigraphic Society blind stamp, 39" x 46" frame

A Victorian clock garniture, the movement striking on a bell, the face with Roman numerals within a slate and marble case of architectural form surmounted by a brass urn, h. 41 cm, together with the pair of matching three branch candelabrum

A Victorian mantle clock, the movement striking on a bell, the face with visible escapement and Roman numerals within a slate and marble case of architectural form, h. 48 cm

Art Deco Desk Tidy, Marble Base With Recess, Architectural Inkwell And Figural Stand

VICTORIAN DESIGN BOOK: a foolscap volume, title page missing containing architectural designs, lettering, friezes and mouldings, gaseliers, vases etc, in worn and distressed condition (1)

Framed and glazed Roman architectural print, 43 x 57 cm

Bacon (Sir Francis) The Historie of the Raigne of King Henry the Seventh, first edition, second issue (with errata corrected), engraved portrait frontispiece by John Payne, title within engraved architectural border, woodcut head-pieces and decorative initials, with initial blank, occasional spotting or light staining, contemporary ink signature of Oswald Mosley, contemporary calf, rebacked, preserving majority of original backstrip, [Gibson 116b; STC 1160; Pforzheimer 32], folio, Printed by W. Stansby for Matthew Lownes, and William Barret, 1622; and 4 other editions of the same (1629 1629; 1641 and 1676), folio (5)

Baker (Sir Richard) Chronicle of the Kings of England from the Time of the Romans Government unto the Raigne of...King Charles, engraved architectural title with portraits of monarchs by W.Marshall, lacking engraved portrait of Prince Charles, errata leaf at end, modern morocco-backed marbled boards, [Gibson 270; Wing B501], for Daniel Frere, 1643 § Sparke (Michael) The Narrative History of King James, 4 parts in 1, first edition, additional engraved allegorical title with facing letterpress explanatory leaf (both torn and repaired, title with slight loss), engraved portrait of Sir Thomas Overbury but lacking those of Robert Carr and his wife Ladie Frances Holland, with blank V4, browned, contemporary calf, rebacked, worn, [Gibson 589; Wing S4818], for Michael Sparke, 1651 § [Lloyd (David)] The States-Men and Favourites of England since the Reformation..., first edition, engraved frontispiece of portraits of monarchs from Henry VIII to Charles I, title in red and black, lightly browned, cropped, modern half sprinkled calf, spine gilt, [Gibson 476; Wing L2648], by J.C. for Samuel Speed, 1665 § Leycesters Common-weatlh..., staining to upper outer corner of first few leaves, old mottled calf, rebacked, [Wing L968], 1641; and 8 others, mostly history, many with references to Bacon, v.s.; sold not subject to return (12)

TWO ARCHITECTURAL BRACKETS, PROBABLY AHMEDABAD, GUJARAT, WESTERN INDIA, CIRCA 18TH CENTURY wood, each carved on one side with a vyala and a diminutive elephant below 76cm long each approx. Provenance: Henry Brownrigg, London (1943-2016)

˜A POWDER FLASK, PROBABLY RAJASTHAN, INDIA, EARLY 19TH CENTURY wood clad in cloth, ivory finials, together with Two Carved Wood Architectural Elements, Kerala, 19th century, one depicting a figure with bow and arrow, the other a mythical bird, each with traces of pigment 19.5cm long (powder flask); 33.5, 23.5cm (wood items) (3) Provenance: Henry Brownrigg, London (1943-2016)

A GEM-SET SILVER BUCKLE, WESTERN INDIA, EARLY 19TH CENTURY the convex roundel with central rosette, set with garnets and rock crystals, surrounded by scrolling foliage and acanthus border around the edge, flanked by similarly decorated rectangular elements attached to loops on either side, the reverse gilded, 6 x 10cm; together with a Large Silver Earring or Button, Northern India, 19th century, of circular form, with central inlaid carnelian surrounded by a floral design composed of appliqué beadwork, fringed with an openwork floral border, attachment loop on the reverse, 6.5cm diam. and a Buckle and a Pendant, Rajasthan, Western India, 19th century, silver, the buckle with square central medallion depicting a flower vase in relief, flanked by attachment loops, the pendant of yoni form with dancing figure of Hanuman, later metal chain, 3.5 x 6.5cm; 5.8 x 3.6cm, and a cast brass cosmetic bottle, India, circa 18th century on four claw feet, the bulbous body with incised foliate cartouches, surmounted by neck with spiralled fluting,13.5cm high, and Two Mughal Brass Spitoons, Probably Lahore, Punjab, India (now Pakistan), 18th century, each of double bell-shaped form, with incised decoration, one with registers of floral panels, the other with repeated loop designs,11cm; 10cm high, and a Mughal Inkwell, Northern India, 16th/17th century, bronze, of octagonal form on eight bun feet, of architectural form, with dome surmounted by hinged lid, 8cm high (8) Provenance: Private Collection, Germany, acquired 1960-78 in Asia by the vendor while working in development assistance.

A CARVED WOOD ARCHITECTURAL FRIEZE, PUNJAB, PROBABLY CHAMBA, 18TH CENTURY carved in low relief, depicting a crowned figure of Ganesha within an arched niche, flanked by four similar niches on either side filled with iris motif 16 x 124cm Provenance: Henry Brownrigg, London (1943-2016)

AN ARCHITECTURAL STRUT, NEPAL, 16TH/17TH CENTURY depicting Padmapani standing under a tree, an elderly rishi with a stick below mounted on stand 104cm high Provenance: Sotheby's London late 1980s; sold in these rooms, 20 April 2014, lot 11; Henry Brownrigg, London

A Winterhalder and Hoffmeier oak bracket clock, architectural pediment, silvered chapter ring, Roman numerals, gilt metal spandrels, flanked by reeded pilasters, stepped base, carved scrolling flora in relief throughout.

A Victorian Duchess dressing table, architectural pediment, carved uprights, three drawers to superstructure, demi-lune top, single drawer to frieze, fluted and lobed forelegs, shaped undertier, circa 1860. 165cm high x 120cm wide x 57cm deep.

Oak two train mantel clock striking on a gong, the 6" silvered square dial signed Thwaites & Reed, Clerkenwell, within an architectural stepped case surmounted by a gabled panelled cornice, 16" high (pendulum and key)

French boulle and brass mounted balloon mantel clock timepiece, 12" high; also a black slate and grey marble two train mantel clock striking on a gong, within an architectural stepped case, 11.75" high (2) (pendulum)

Mahogany eight day longcase clock, the 12" painted arched dial signed W. Drury, Banbury under a calendar aperture and subsidiary seconds dial, the case with long door inlaid with a conch shell and flanked by quarter fluted columns with Corinthian capitals and the architectural hood with rounded shaped cornice, 88" high (door key only)

French onyx and gilt metal mounted two train mantel clock, the S. Marti movement striking on a bell, the 3.25" dial with Roman cartouche enamel numerals signed J.W. Benson, Ludgate Hill, London, within an architectural scrolling stepped wavy case surmounted by a flat urn, 14" high (pendulum and key)