A pair of composition stone sphinx,20th century, each seated on a rectangular plinth,100cm high99cm longPurchased from Charlie Wearn (1905-1975) who, based at The Old Forge in Wendens Ambo, Essex, was an almost legendary local figure in the years following the Second World War. Wearn demolished London properties, rescuing valuable architectural features and sculpture for resale. Many country houses in Eastern England provenance their sculpture and interesting architectural features to Charlie Wearn. Here he is, photographed in his pomp, beside one of the pair of sphinx offered in this sale.
Henry Marc a Paris: an Egyptian Revival variagated marble and black slate mantel clock, second half 19th century, of architectural form, gilt metal and bronze mounted with Sphynx, the two part circular white enamel dial with visible escapement and slow/fast regulation, the 8 day movement striking on a gong, 43cm high, 37cm wide.Illustrated.
A French black marble mantel clock, circa 1880, by S.Marti, the carved architectural style case inset with coins, the eight day movement with visible escapement and striking on a gong, 36.5cm wide, applied with a presentation plaque dated 1883.
A gold painted mantel timepiece in architectural style case and a pair of slate and gilt metal garniture figures, each with domed top, five finials, having gilt metal classical figure beneath the arch, with four columns, on plinth base
Northern Wei Dynasty, 386-534 AD. A carved stone architectural panel depicting a seated Buddha on a throne, the right hand extended in the gesture of charity; the figure carved in the half-round in a rectangular recess with decorative upper border; traces of blue pigment to the robes. 2.95 kg, 31.5cm (12 1/4"). UK art market, acquired prior to 2000. . Fair condition.
15th century AD. A carved wooden architectural figure of a saint(?) or dignitary in loose robes, with neat beard and styled hair, right hand clasped to the chest; later suspension loop to the reverse with old collector's paper inked label stating 'Mediaeval Figure / Ripon Cathedral / 15th century'. 1.1 kg, 35.5cm (14"). Property of a Kent collector; by inheritance 1970; formerly property of Jack Smith, antiquarian and collector of Hebden Bridge, Yorkshire, UK, acquired 1920s-1960s. There has been a church on the site of Ripon Cathedral since at least the 7th century AD; the present structure is mainly medieval and was largely completed by the late 15th century but the tower remained incomplete in 1547 when, under Edward VI, the college of canons was dissolved; the minster church was designated as a cathedral for the new diocese of Ripon in 1836, the first since the period of the Reformation. [No Reserve]. Good condition, left arm absent, some old worm holes, light wear to face and lower body.
Walter Frederick Osborne RHA (1859-1903)The Hurdy-Gurdy Player (c.1887)oil on panel signed lower right 37 x 25½cm (14 x 10in)Provenance: Purchased from the Cynthia O'Connor Gallery 1980; Important Irish Art, Adam's, Dublin 4th December 2012 Lot 62; Private CollectionExhibited: Recent Acquisitions, Cynthia O'Connor Gallery, May-June 1980, cat. no. 10; ''Ireland: Her People and Landscape'' The AVA Gallery, June - Sept 2012, Cat. No. 42 "Ireland: Her People and Landscape'' Exhibition Catalogue, illustration p.49;Literature: Important Irish Art, Adam's, Dublin, 2012, illustrared p.80-81; Walter Osborne spent much of the 1880's dividing his time between Ireland and England.During several summers he worked in English villages and small towns, in 1887, for example, in Berkshire and Hampshire. It is possible that the present painting 'The Hurdy-Gurdy Player' is set in Newbury, Berkshire. Osborne enjoyed observing daily village life, with a cross-section of local people going about their business: walking, shopping or plying their wares, women chatting, and children going to school, and so on. On the right side there is a group of people, including a girl with red scarf, a boy with cap and a woman with black scarf. To the left stands the hurdy-gurdy man playing his instrument and there are other figures in the background. The hurdy-gurdy was a stringed musical instrument which was played by turning a handle to produce a background drone, and the pressing of keys to play the tune. The instrument dated to the early middle ages and became popular among travelling musicians in Savoy and in the low counties in the 17th and 18th Centuries. The player and his instrument aroused the curiosity of some artists, who represented them in their paintings. In Osborne's picture, the street is in shadow, but sunlight falls upon some upper walls and chimney stacks. The artist employs warm reddish-browns, burnt sienna and amber tones. The figures are painted skilfully, while there are deft horizontal brushstrokes in the foreground and blurred 'square-brush' strokes in the chimney stacks. Interesting architectural features in 'The Hurdy-Gurdy Player' are the diagonal 'hipped' edge of the high roof, (to protect against high winds), and the tall chimney stacks. Julian Campbell, November 2016
Patrick Scott HRHA (1921-2014)Guelin - Bambootempera on canvas signed & titled on reverse 61 x 61cm (24 x 24in)Provenance: Private CollectionPatrick Scott was born in County Cork, in 1921. He trained as an architect and spent 15 years working with Michael Scott in the architectural practice of what became Scott Tallon Walker, where his innate talent as an artist and designer developed in unison. He became a leading graphic designer with the Signa Design Consultancy (set up in 1953 by Michael Scott and Louis le Brocquy), all the while continuing to test various ideas in his painting. On winning a National Prize at the Guggenheim International Award in 1960 and representing Ireland at the XXX Venice Biennale in the same year, Scott became a full-time artist. Scott was perhaps best known for his gold paintings, abstracts incorporating geometrical forms in gold leaf against a pale tempura background. He also produced tapestries and carpets.His paintings are in several important collections including the Museum of Modern Art in New York. His works are distinguished by their purity and sense of calm, reflecting his own interest in Zen Buddhism. On 11 July 2007, Scott, who was a founding member of Aosdána, was conferred with the title of Saoi, the highest honour that can be bestowed upon an Irish artist. The President of Ireland, Mary McAleese, made the presentation, placing a gold torc, the symbol of the office of Saoi, around his neck. No more than seven living members may hold this honour at any one time.
John Piper, mid century coffee table with under tier, the rectangular top depicting various illustrations of architectural landmarks in London including St Paul's Cathedral and Lincoln's Inn, height 36cm, length 114cm
EPHEMERA/ TRADE CATALOGUES. Iron Fencing & Gates Catalogue No 08 plus Sloan & Davidson Ltd Architectural Sanitary & General Ironfounders Carrick Foundry Stanningley Leeds. Plus Frederick Braby & Co General catalogue No 16 & Ornamental Rain-Water Heads Sloan & Davidson Ltd Carrick Foundry Stanningley Leeds. Superb! (4) NR
'COMMON CLOSE 3' BY ANDREW HURSTartist's proof giclee print, signed and titled, with off-white mount and slate textured mid grey frame, image size 45cm x 45cm, frame size 65cm x 65cmNote: This artwork is a result of an extensive study of Glasgow's sandstone tenement decorative tiles. The tiles have been composed and individually colour treated to achieve a balanced creative artwork, mixing tradition with modernity.Andrew Hurst worked for 30 years in the commercial screen printing industry as a Production Artist before becoming an independent photographic artist, with the urban, architectural streets of Glasgow as his palette.
LONG UNISEX BARCODE DESIGN SCARF BY OLIVE PEARSON DESIGNSin 100% felted lambs wool, 192cm x 26cm Note: Olive Pearson Designs create bespoke and limited edition collections of contemporary knitted accessories. Inspired by geometry, manhole covers and architectural details, she creates colourful designs that play with perceptions. All products are 'slow fashion' - designed and made entirely by hand in Glasgow, Scotland.
'STREETGLASS ILLUMINATED 2' BY ANDREW HURSTartist's proof giclee print, signed and titled, with black mount and slate textured mid grey frame, image size 45cm x 45cm, frame size 65cm x 65cmNote: This contemporary artwork uses wrought iron framed reclaimed glass skylights. It is a composite image of worn smooth heavy glass custom coloured and re-imagined to become a beautiful and original statement piece.Andrew Hurst worked for 30 years in the commercial screen printing industry as a Production Artist before becoming an independent photographic artist, with the urban, architectural streets of Glasgow as his palette.
GLASS III MAN HOLE COVER BY OLIVE PEARSON DESIGNSmixed media, representing the texture and colour of the man hole cover, 23cm x 23cm Note: Olive Pearson Designs create bespoke and limited edition collections of contemporary knitted accessories. Inspired by geometry, manhole covers and architectural details, she creates colourful designs that play with perceptions. All products are 'slow fashion' - designed and made entirely by hand in Glasgow, Scotland.
'GLASGOW GIRL IN BLUE' BY ANDREW HURSTartist's proof giclee print, signed and titled, with off white mount and slate textured mid grey frame, image size 45cm x 45cm, frame size 65cm x 65cmNote: This artwork is deconstructed Arts and Crafts style glass panel discovered in a townhouse in the West End of Glasgow. Multiple studies of the window were tinted and re-composed elementally to achieve the final result.Andrew Hurst worked for 30 years in the commercial screen printing industry as a Production Artist before becoming an independent photographic artist, with the urban, architectural streets of Glasgow as his palette.
A good quality early 20th c. Slate and Marble architectural Mantle Clock with brass trim bevel plate door with enamelled face and Roman numerals, eight day movement, Lion mask detail to the sides and standing on bracket feet, marked 33681, 87 inside, 8 3/4'' x 9 1/8'' x 5 1/2''.
A Victorian black slate and marble Mantel Clock, of architectural form, the circular dial above scrolled shoulders and fluted pilasters flanking a window revealing the mercury balanced pendulum, the brass 8-day movement striking on a bell, 14½in (37cm) high.
AN IMPOSING FRENCH SLATE & MARBLE MANTEL CLOCK GARNITURE of architectural form with flanking side pedestals, each element mounted with bronzed metallic panels of cherubs, the drum timepiece with Arabic numerals over a glass pane exposing the mercury pendulum, striking on the quarter, by Jules Rolez, Paris, 47cms high
A FRENCH TORTOISE SHELL & ORMOLU MANTEL CLOCK of architectural form with white enamel dial bearing Roman numerals over a decorative cameo-style pendulum, inscribed LEROY A PARIS and the back-plate stamped with the same and serial number 1356, 56cms high
AN EDWARDIAN INLAID ROSEWOOD CABINET-SIDEBOARD of architectural form having a four mirror top with shelves, the base composed of two cabinets flanking a centre long drawer and two short, all raised over an open platform base, 153cms wide
POST-EDWARDIAN INLAID OAK MANTEL CLOCKof architectural form, with enamelled dial with Arabic numerals, two train movement striking on a gong, movement signed by Junghans; together with two Art Deco mantel clocks of typical form (3)
Two American Painted Fiberglass Architectural Casts, from molds taken from elements of the Carson, Pirie, Scott and Company Building, Chicago, after designs by Louis Henry Sullivan (American, 1856-1924), h. 85 in., w. 30 1/2 in. and h. 49 1/2 in., w. 30 1/2 in. Provenance: Property of the New Orleans Museum of Art, sold to benefit the acquisitions fund
Achille Peretti (Italian/New Orleans, 1857-1923), "Interior at St. John the Baptist Catholic Church", 1899, oil on canvas, signed and dated lower right, "Artists' Association of New Orleans" exhibition label with artist and title en verso, 38 in. x 28 1/2 in., period frame. Note: St. John the Baptist Church’s golden steeple has long been an architectural landmark in New Orleans. Built in the late 1860s and early 1870s, the church’s formal dedication was January 7, 1872. The original structure still stands today. Although the floor plan has not been altered, the interior has undergone several campaigns of restorations. The current lot provides a fascinating view into the original design of the interior. The renowned stained glass, which is now featured in the side windows of the church, had not yet been installed in every window. The stained glass was donated over a course of almost a century – the first donation occurring in 1874 and the last in 1962. In 1963, the church underwent a more extensive renovation and restoration. Unfortunately, the ornate altar featured in this painting was damaged beyond repair by termites and was replaced. In 2002, a renovation took place that saw to the repainting of the interior and the gilding of the column capitals and other details throughout the church.The figures portrayed in the church give the viewer a sense of the Catholic community in the late 19th century. The women depicted are, based on their clothing, fashionable ladies of means, adhering to the latest styles of dresses or blouses and skirts with high necks and long gigot sleeves. Hats with flowers, ribbons, or other decorations were extremely popular during this time period; ladies’ heads would have remained covered in a church during the late 1800s. The inclusion of an African-American woman in the painting indicates that St. John the Baptist Church had an interracial congregation in the 1890s, a circumstance that was more common during the antebellum period than in the later part of the century. Many slaves were baptized and attended the same churches as their owners. After the Civil War, African-American Catholics began forming their own communities. Orders such as the Sisters of the Holy Family, which had been founded in 1842 by Mother Henriette Delille, evangelized and converted both slaves and free persons of color before the war and expanded into full congregations after the war. St. Augustine Church was another community where interracial worship was common. Free black and white people rented approximately the same number of pews, raised funds, and sang in the choir together. Post-Civil War, as more black Catholic communities were formed and money from religious leaders such as Sister Katharine Drexel was donated to those communities, interracial Catholic congregations became less common.Although depictions of exteriors of the beautiful churches of New Orleans are quite common, views of the interior of a house of worship are relatively rare. Peretti, from the time he arrived in New Orleans in 1885 from his native Italy, had an interest in religious art. In addition to painting a number of varied subjects, he also worked decorating churches in Bay St. Louis, Mississippi at Our Lady of the Gulf and in New Orleans at numerous churches, including St. John the Baptist, St. Stephen’s, and St. Patrick’s. Through this fascinating look at a slice of life in the New Orleans Catholic community in the late 1800s, Peretti is able to provide some introspection into both the racial and religious history of the city. Ref.: Nolan, Bruce and Pastor Lori Renee. “Black Catholicism: Religion and Slavery in Antebellum Louisiana.” M.A. Thesis. Dallas: University of Dallas, 2003; Dobie, Ann B. “Achille Peretti.” KnowLA: Encyclopedia of Louisiana. Sept. 12, 2012. www.knowla.org/entry/1328. Accessed Oct. 21, 2016; “History of the Church.” St. John the Baptist Catholic Church. www.goldensteeple.com. Accessed Oct. 21, 2016.
William Woodward (American/New Orleans, 1859-1939), "On Chartres Street (Rue de Chartres) - Horse and Wagon Days - In 1905", 1905, Raffaelli oil crayon on board, signed, dated and inscribed "Rue Chartres, N.O." lower right, sight 21 1/4 in. x 27 in., framed. Provenance: By descent in the family of the artist. Ill.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938, pl. 3. Note: Through his paintings of New Orleans, William Woodward was intent on capturing the French Quarter in the late 19th and early 20th centuries. He depicted street scenes of iconic structures that still exist today, such as the St. Louis Cathedral, the French Market, and the Arsenal, as well as private homes and commercial structures, some of which were later lost. Woodward’s intent – to preserve a moment in time of a city that constantly changed and morphed – yielded important and revered works of art such as the one offered here. The current lot depicts 522 and 524 Chartres Street in 1905, the location of the Ibos Brothers Tinsmith and Plumbing Company and a residence.Based on city directory records, Bertrand Firmin Ibos and Joseph Baptiste Ibos owned and operated the Ibos Brothers company on Chartres Street until 1923. In the scene, one can see a horse-drawn cart traveling down Chartres with an “Ibos Bros. – Tin Smiths – 524 Chartres Street” sign on the side while two children stand in the archway of the building. The attention to detail and sensitive use of color attest to Woodward’s skill as an artist and his goal of architectural preservation through his paintings. Later in Woodward’s life, he began a group of etchings based on his sketches and paintings; fifty-four of them form a book printed in 1938, French Quarter Etchings of Old New Orleans. While working on that group of etchings, Woodward meticulously noted the state of the buildings depicted, many of which had changed greatly in the 40 years since he painted them. Of the Ibos Brothers building, he wrote, “This shop and residence at 524 Chartres Street no longer exists. It was probably built in the late 1790s as its site was directly in the path of the great fires of 1788 and 1794 which deprived New Orleans of 1068 houses of the older type of Creole construction.” These two small buildings, sadly now the site of a parking lot, are forever commemorated due to Woodward’s superb efforts.Ref.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938, pl. 3; Hinckley, Robert, ed. William Woodward: American Impressionist. New Orleans: MPress, 2009.
Andrew LaMar Hopkins (American/New Orleans, 20th c.), "A Typical Day in Antebellum New Orleans", 2015, acrylic on canvas board, signed and dated lower right, signed, titled, dated and artist's card en verso, 20 in. x 16 in., framed. Note: Born in Mobile, AL, Andrew Hopkins’ art is greatly influenced by New Orleans and his love of all things French. Hopkins, an avid student of history, meticulously researches and immaculately executes his historic tableaus of the 18th and 19th centuries, resulting in beautifully rendered architectural interiors with period dress and exacting detail such as the work offered here. Each object included in his composition is period correct and often inspired by items within Hopkins' own collection of antiques.A person of Creole descent, Hopkins is passionate about his ancestry, and his subjects typically focus on Creole and free people of color in New Orleans. On his paternal side, he is a direct descent of Nicolas Baudin, who obtained a land grant in 1710 for an island south of Mobile, which he named Mon Louis. As a descent of Baudin, Hopkins is related to several French governors of Louisiana. As evidenced in “A Typical Day in Antebellum New Orleans,” Hopkins creates scenes that are both familiar and intriguing. Combining his period subject matter with simple, non-dimensional renderings of people reminiscent of the Early American Primitive School of portrait painters, Hopkins is often compared to artists such as Joshua Johnson and Julien Hudson. However, his contemporary use of color and often whimsical elements imbue his works with a style uniquely his own. Ref.: Cutrone, Lee. “Andrew LaMar Hopkins.” New Orleans Homes & Lifestyles. Spring 2015. www.myneworleans.com. Accessed Oct. 23, 2016.
One Box: assorted ephemera, mainly East Anglia interest including hand coloured architectural plans for Theatre Royal, Norwich, circa 1945 plus small quantity East Anglia newspapers circa 1887-1906 plus five manuscript clippings 1758-1765 of a maid servant's wages, each signed Mary Turpin, housed in glazed display etc
Circa mid-20th century snapshot photograph album containing approx 130 snapshot photographs, mainly depicting various locations in Indian sub-continent, many river scenes depicting local inhabitants working on various types of boats, barges, one image captioned "Murliganj" ? possibly several images of this town and environs, present day Madhepura district, Bihar, India, plus images depicting local inhabitants with European gentlemen on bicycle rickshaws, local women and children, British? military personnel and vehicles, street and architectural scenes of larger city, probably in India, depicting various temples and colonial style buildings, railway lines, trams, sports field etc
ROLAND FREART AND JOHN EVELYN: A PARALLEL OF THE ANTIENT ARCHITECTURE WITH THE MODERN ..., London, for D Brown et al 1707, 2nd edition, with large additions, engraved vignette title, numerous head and tail pieces, vignettes, and full page illustrations in text, folio contemporary half calf v worn, boards detached but present, plus EILEEN HARRIS: BRITISH ARCHITECTURAL BOOKS AND WRITERS 1556-1785, Cambridge University Press, 1990, 1st edition, original cloth, dust wrapper (2)
G PARKER: PIERRE AND HIS PEOPLE, TALES OF THE FAR NORTH, Leipzig, 1893, old half calf + THE CARAVAN MANUAL, London, The Caravan, circa 1938, 2nd impression, original boards, dust-wrapper + “A WALKING GENTLEMAN”: HIGHWAYS AND BYWAYS; OR TALES OF THE ROADSIDE; PICKED UP IN THE FRENCH PROVINCES, London, Whittaker, 1824, 3rd edition, 2 volumes, rebound half calf gilt, spine gilt in compartments, + D TEW: CANAL INCLINES AND LIFTS, 1984 1st edition, original cloth, dust-wrapper + M & A LLOYD: THROUGH ENGLAND’S WATERWAYS, 1948, 1st impression, original cloth, dust-wrapper + GORDON STABLES: LEAVES FROM THE LOG OF A GENTLEMAN GIPSY; IN WAYSIDE CAMP AND CARAVAN, London, Jarrold & Sons [1891], 1st edition, original pictorial cloth gilt worn + G L GOMME (EDITED): INDEX OF ARCHAEOLOGICAL PAPERS 1665-1890, 1907, original cloth gilt + G F BLACK: A GYPSY BIBLIOGRAPHY, privately printed for the members of the Gypsy Lore Society, 1909, “provisional issue”, rebound cloth gilt + T STACKHOUSE: COPIES OF DRAWINGS ILLUSTRATIVE OF A COURSE OF LECTURES, ON THE ARCHITECTURAL AND OTHER REMAINS OF BRITAIN, circa 1833, 40 lithographs with contemporary broadsheet advertising the lecture loosely inserted “Chichester Literary and Philosophical Institution, 2 lectures on the antiquities of England” (10)
LARGE CHINESE CARVED WOODEN WALL PANEL, deeply and well carved with many figures and architectural features within geometrically moulded framing, having portrait mask carved to each corner. Ebonised outer frame. 55 x 95cm overall. CONDITION REPORT: Appearing in good condition with no obvious damage, detailed condition report on request.
A pair of Edwardian rosewood armchairs, with lion rampant finials, carved architectural scroll decorated frames, upholstered seat and back with yellow patterned fabric, on x stretchered legs and lion paw feet (2) 121 x 61cm (47 x 24in)
Roman School (18th Century) and Gianni Basoli (Italian, 18th Century) Architectural studies for room designs; and seven other early 18th Century monument and room designs pen and ink and grey washes on paper, unframed (9) 26 x 42cm (10 x 16in) Unframed. Some foxing. Stuck down.
An early Victorian mahogany ballot box, of architectural form fitted with a circular aperture, the top and two fitted drawers painted 'YES' and 'NO', numbered '14' 40 x 32 x 35cm (16 x 12 x 14in)
A Turkish prayer rug, mid-20th Century, the claret mihrab with stylized hanging lanterns and coffee pots flanked by architectural columns, within an ivory border, approx 260cm x 133cm.
A 17th Century silver thimble cover probably German, the chain ground with four architectural pillars rising to a decorated apex, the rim to fit onto a lining. See Holmes-Thimbles Page 12 Illus. 4 _ where the same thimble cover is illustrated dated 1594, Zeeus Museum, Middlesburgh (From the collection of the late Helen Eastgate).
RICHARD CATTERMOLE (ENGLISH, 1795-1858)Peterborough Cathedral. The west frontWatercolourSigned on the reverse and further signed by the publisher, John BrittonA working design for the engraving in John Britton's Architectural Antiquities of Great Britain. Published in nine volumes between 1805 and 1814.The view of Peterborough Cathedral appears in Volume V, Plate I, with the description: Drawn by P.Williams from a sketch by R. Cattermole. Engraved by H. Sands, London, published June 1 1827 by Longman & Co.Paternoster Row.Provenance: A private collection of English and Irish watercolours15 x 10_ inches (39 x 27 cm.)
A good mid-19th Century mahogany cased month going "Vienna Regulator" Laterndluhr, the 6.25ins diameter white enamel dial with Roman numerals, within cast gilt brass leaf pattern bezel, to the month going single train weight driven movement, the replacement steel pendulum with heavy brass bob, contained in mahogany case inlaid with boxwood stringings, the whole of attractive proportions with moulded architectural pediment, arched glazed centre door, square glazed lower door and in-curved apron, 37ins high
A late Victorian walnut cased wall mounted timepiece, aneroid barometer and thermometer, by Short & Mason Ltd, London, the clock and barometer with 5ins diameter silvered dials (clock now with later quartz movement), and with central mercury thermometer, contained in carved walnut case of architectural design, 16ins high
Max Holfer (1892-1963):A quantity of early, original pencil & watercolour studies of various subjects, predominantly architectural studies of scene to include Hampton Court, St Albans, Canterbury etc, variously signed, the majority dated 1911, unframed (19)
A cased set of six silver teaspoons celebrating the Silver Jubilee 1935 having embossed portraits to terminals, Birmingham 1935, Barker Brothers Silver Ltd, and an HM silver spoon of architectural design
A Small Continental Oak Cupboard on Stand inlaid with decorative bands and adorned with figured elm columns and veneers. The upper frieze housing a drawer above an architectural door front with break arch pediment centred by a cherubs head over an arched niche flanked by columns and fitted with a sprung iron lock & key. The integral side columns enriched with blind-fretwork and raised on break-front plinths. The base with further drawer, standing on knopped baluster legs leading down to a base platform, 60½ ins (153.5 cms) high, 28 ins (71 cms) wide, 17 ins (43 cms) deep.
