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A late 19th century slate cased architectural mantle clock.

Follower of Giovanni Battista PaniniTHREE ARCHITECTURAL CAPRICCIOil on canvaseach 139 x 53cm (3)

A Victorian three-piece clock garniture,the black marble clock of architectural form, the dial with bronze numerals flanked by a pair of classical bronze figures and plaques, the sides with bold lion's mask ring handles, the vases of classical form on bronze-mounted black marble plinths, the rear door to the clock engraved 'Thomas Hubbard Esq., ...August 1882',clock 27cm high, 53.5cm longurns 27cm high (3)

A George III mahogany estate cupboard,with a bold architectural cornice over two panelled doors, enclosing adjustable shelves, on bracket feet,150cm wide61cm deep246cm high

An English Medieval encaustic tile decorated with a white slip inlay of architectural canopies from Great Malvern Priory Church, Worcestershire, 5.75ins square (15th Century)

19th Century French black slate and gilded spelter mounted mantel clock, the architectural case with seated figure surmount, the black dial with Roman numerals and two train movement (a/f)

WALL MIRROR, dome top architectural design with metal frames, 124cm H x 80cm.

A French gilt brass Carriage Clock, of architectural form with fluted columns, the circular dial with Arabic numerals, 6in (15cm) high handle up.

A Black Forest Cuckoo Clock, of carved architectural form, the case bearing a label for "Camerer, Kuss, Tritschler & Co, 22in (56cm) high.

Three Edinburgh Architectural Association Sketch Books, 1875-76, 1887-79, 1880-82, printed by George Waterson & Son Edinburgh, (a/f to print cover), also with "A Civic Survey and Plan for Edinburgh City and Royal Burgh", first edition 1949 (4)

An Edwardian black slate mantel clock of architectural form having an enamel dial with Arabic numerals and eight day movement

A large Victorian black slate mantel clock of architectural form having a matt dial with Arabic numerals and eight day movement

An Edwardian mahogany and chequer strung mantel clock of architectural form having an enamelled dial with Arabic numerals and eight day movement, together with one other oak cased mantel clock (2)

A box of miscellaneous items to include slate mantel clock of architectural form, Henry Watson pottery storage jars, art glass vase etc

A medium Oak gingerbread kitchen mantle Clock, with architectural, carved, fret cut and pierced upright case with pointed top, Gothic style, single pane, decorated glass door. Alloy trimmed white Roman numeral face, 30 hour movement, single bell chime, decorative alloy pendulum, on a moulded lower platform with square feet. 13 1/4" wide x 22 3/4" high x 5" deep.

Beautiful 18th Century Dutch gold box, Amsterdam, maker Jean Saint (1698-1769), the box engraved and chased all over with a central figure surrounded by bowing figures within an architectural setting with high walls and a tower, the box in cartouche shape with undialting sides, back and front, Assay marks to the external and internal lip, 71.4 grams, 5.5cm wide, 4.5cm deep, 2cm high

A Victorian French slate mantel clock of architectural form having white enamel dial and Roman numerals, indistinctly signed the brass movement no 65560 by Henry Marc Paris some chips to case, minor scratch to dial and script rubbed, pendulum No 65560 and marked Thieble dial including bezel 12 cm x 26.5 cm high

An Edwardian mantel clock in oak architectural case

A decorative Victorian mantel clock in enamelled brass case, having two train movement hour and half hour striking on a gong, the gilt and black dial with white hands, the back plate stamped "46" and in architectural case surmounted by an urn and champleve black and enamel decoration, with pendulum and key, 33cms high

Two Russian silver-gilt and niello goblets, one by Pyotr Loskutov, Moscow, 1853, with foliate decoration, the other by Andrei Beckman, Moscow, circa 1859, with scrolling foliage between architectural panels on textured ground, 10 cm. and 9 cm. high respectively, wt. 113 gm.

A BELGIAN SLATE AND LIVER AND WHITE MARBLE ARCHITECTURAL CASED MANTLE CLOCK, THE ANSONIA MOVEMENT WITH VISIBLE ESCAPEMENT, 29CM H, LATE 19TH CENTURY

A mixed selection of ivory, ivorine and silver-backed dressing table brushes with two framed London architectural prints*

Group of assorted small furnishing pictures and paintings, including landscapes, architectural studies, river scenes etc. (5)

Jerome and Co., New Haven, USA, two train architectural mantel clock.

20TH CENTURY CHINESE BLUE AND WHITE VASE with figures on the water and architectural features, mark to base, 24cm high

A walnut encased Vienna type wall clock, the white enamel dial set with Roman numerals with twin train striking movement, the case with architectural crest and ebonized adornments, 122 cms

A rare Ethiopian Menelik II King's Guard Sword, 83cm curved fullered blade profusely etched with geometric designs of an architectural form and with the Lion of Judah and a profile of Menelik II to either side of the forte, regulation white metal stirrup hilt ribbed, ergonomic celluloid grip, contained in its leather scabbard. Menelik II (1844-1913) reigned from 1889-1913 confronting and defeating the Italians in their attempts to expand their empire. See Islamic and Native Weapons of Colonial Africa 1800-1960 by Anthony C. Tiri, pages Figures 2-8 on page 72.

Harry Kernoff RHA (1900-1974) QUEEN'S MEWS COURT, STORE STREET, DUBLIN, c.1939-1940 oil on panel signed lower right; inscribed with title [Queen's Mews Court, Store Street, Dublin (Now Gone), 1940] and artist's address [Stamer St., Dublin] on reverse 21 x 20in. (53.34 x 50.80cm) Acquired directly from the artist by the present owner's family 'Loan and Cross Section Exhibition of Contemporary Paintings', October 7-31, 1939, catalogue no. 51; 'Recent Work of Harry Kernoff, RHA,' Victor Waddington Galleries, Dublin, 11-19 June 1940, catalogue no. 20; RHA Annual Exhibition, 1940, catalogue no. 22; 'Exhibition of Old and New Paintings by Harry Kernoff RHA', Studio Arts Club, 6 - 20 October 1942, catalogue no. 44 Brightly coloured and filled with bustling detail, this painting is characteristic of Kernoff's views of streets and lanes around Dublin.No longer part of the city's streetscape, Queen's Mews Court was located at the junction of Mabbot Street and Store Street, almost tucked under the overhead railway track. The original function of the Court was to serve as stabling for the Custom House, and in his seminal text Dublin 1660 - 1860 Maurice Craig described it as 'the Custom House Stables, Store Street'. (1) Kernoff has filled the composition with small details evocative of daily life in this small corner of the city. Clean laundry appears to waft gently in a breeze, casting strong, dark shadows on the pink wall of the terrace. The pavement is neat and tidy, save for a lingering puddle. The small black dog in the left hand corner can be found in many of Kernoff's Dublin paintings, such as Liberty Hall, Dublin (Night), (Whyte's, 1 October 2012, lot 64). The stance and braided hair of the young girl in on the right hand side is also repeated in other works, for example, Sunny Day, Dublin, 1943 (Crawford Art Gallery, Cork). A preparatory sketch in the collection of the National Gallery of Ireland (NGI.7766.411) is dated to 14 August 1939, and a comparison of the two works show that Kernoff made a number of changes to the composition in the finished painting. In the drawing, a steam engine is coming into sight on the railway bridge, while above the 'Kosy Kottage', two advertisements can be seen. In the present work, an eye-catching blue and white sign touts cut price cigarettes - a notable change from eggs, as seen in the drawing. The addition of the woman pushing a cart of laundry bags at the edge of the canvas, draws the viewer's eye, and we cannot but help follow her glance towards the children playing to the side. Dr Kathryn MilliganESB Fellow, ESB Centre for the Study of Irish Art, National Gallery of IrelandApril 2016Footnote:1. Maurice Craig, Dublin 1660 - 1860: a social and architectural history, Dublin, Allen Figgis Ltd., 1969, plate XLI. P

SAMUEL PROUT (BRITISH 1873 - 1852), A SERIES OF FIVE ARCHITECTURAL STUDIES watercolour on paper, signed Each 27cm x 20cm Each mounted, framed and under glass

ARCHITECTURAL MIRROR, arched metal frame, 206cm x 110cm.

NICHOLAS WALFORD OF AYLESTONE A GEORGIAN DESIGN MAHOGANY CASED STICK BAROMETER, having architectural pediment, 96cm high

J SOMALVICO OF LONDON A 19TH CENTURY MAHOGANY CASED STICK BAROMETER having engraved silver plate with calibrations, case with architectural pediment, 98cm high

A collection of books about fans including "A Collectors' Guide to Fans Over the Ages" by Bertha de Vere Green, "Fans & Fan Makers" by Clive and Yvonne Willcocks, "Fans, Ornaments of Language and Fashion" by James Mackay, "Fan Lights, a Visual Architectural History", with drawings by Charlotte Halliday, "From Court to Confectionery des Courtisan aux Artisans" by Paul van Saanen and Peter Greenhalgh, etc (21).

A 19th Century Mahogany Long Case Clock, the architectural hood with turned pilasters above a panel door and conforming plinth base, the brass dial inscribed Joshua Farrer and with later electric movement

Victorian malachite and slate mantel clock of architectural form with blue enamel Roman chapter and Brocot escapement, the cylinder movement striking on a bell, 36.5cm. CONDITION REPORT: Chips to edge of pediment and corners of base. Dial good condition (attractive colour). The chips are not large so an attractive slate clock.

Early 20th century French cased brass repeating carriage clock, the silvered architectural dial with Roman chapter, striking in a gong, 18.5cm.

A quantity of various architectural prints

An Edwardian rosewood music cabinet, with a central urn and architectural pediment, mirrored back and shelf, the base with a rectangular top and glass door with a base drawer on square legs, 66cm wide x 154cm high

Good English triple fusee boardroom table clock and wall bracket, the substantial movement playing on a nest of eight bells, four gongs and striking the hours on a larger gong, the 6.5" brass arched dial with subsidiary chime/silent, slow/fast and Westminster chimes/chime on eight bells subsidiary dials over a silvered chapter ring enclosing a matted centre, within an architectural pillared case surmounted by a moulded rounded arched cornice and five ormolu pineapple finials, 25" high (excluding bracket) (pendulum)

Good English oak triple fusee boardroom mantel clock, the movement chiming the hours and quarters on five gongs, the 9" brass arched dial with subsidiary slow/fast and chime/silent dials to the arch over a silvered chapter ring enclosing a matted centre, within an architectural gabled case, the roof carved with tiles and surmounted by a lion salient holding an armorial shield, 36" high (pendulum and keys) *This clock was previously owned by the first mayor of Smethick, Jabez Lones (1899- 1901)

Walnut and ebonised Lenzkirch double weight Vienna regulator wall clock, the 7" circular dial within a long glazed pillared case surmounted by an architectural pediment, 51" high (pendulum)

Good early Dutch staartklok, the movement striking on a bell, the 12" green painted arched dial with subsidiary central alarm dial above a calendar aperture and below a moon phase to the arch, the case with an architectural hood enclosing good period painted glass panels above the arch and to the sides, 63" high (pendulum)

Brass two train mantel clock garniture, the Mougin movement striking on a gong, the 4.25" cream dial within an ornate pillared breakfront architectural case surmounted by a seated soldier, 19" high (pendulum); also a pair of matching urn side pieces, 10.5" high

Junghans oak three train mantel clock striking on three rods and a gong, the rectangular brass engraved dial with silvered chapter ring, also with chime/silent and slow/fast subsidiary dials, within an Arts & Crafts style oak case, 16.5" high (pendulum and key); also a black slate and green marble two train mantel clock striking on a gong, the 3.75" cream chapter ring enclosing a gilt recessed centre signed Samuel Edgcumbe, Cornwall Street, Plymouth, within an architectural stepped case, 12.25" high (2)

A gilt brass lantern style mantel clock of architectural form, twin winding holes, Roman numerals, striking on a bell, key 37cm high

A Victorian burr walnut salon display cabinet, architectural fretworked pediment, four mirrors, shelf and turned finials to the top, projecting breakfront base, blind fretworked panelled doors to cupboard flanked by short drawers over mirror backed recesses, turned supports, c.1905

A late 19thC Architectural cased mahogany bracket clock, silvered dial beneath foliate scroll arched top case, glazed front door, the rear door with pierced brass ware, the mechanism marked W&H SCH, 22.5 x 14.5 x 14.3cm

A THIRTY FIVE DAY WALL CLOCK, with silvered shaped dial with Roman numeral chapter ring inscribed Chas Frodsham maker to the Queen 84, Strand London, No.1308, gold medal of honour Paris Exn 1885, within ebonised architectural case, with canted corners, glazed panel door to double mercury weight pendulum, approximately 28cm x 19cm x 115cm high (winding and door keys)

A late 19th / early 20th century French gilt metal portico clock, the circular pink enamel dial with tablet Roman numerals, the elaborate architectural case with urn finial and ribbon fold design, with pendulum in form of a child on a swing, raised on a circular stepped base within a glass dome. H. 38cm

Lister & Sons, Newcastle-on-Tyne, a 19th century rosewood mantel clock, the rectangular architectural case with bevelled side and top glasses surmounted by an ormolu carrying handle, the rectangular gilt brass dial profusely-engraved with foliage and signed on the chapter ring, the signed twin-fusée repeating movement with visible escapement and slow/fast, striking on a gong with loud/soft adjustment, 27cm high. (one side of cornice lacking, one foot lacking, movement operates, striking chain operates, unchecked.)

A late 19th century wood cased architectural mantle clock.

A Victorian walnut cased eight day striking bracket clock The silvered 6" arched dial with Roman numerals, subsidiary slow/fast dial and engraved scroll spandrels, the signed four pillar Lenzkirch movement striking on two gongs and numbered 321778, the domed architectural case with gilt metal mounts and pierced panels. 39.5 cm high. CONDITION REPORTS: Generally in good condition, expected wear, some shrinkage cracks, finials lacking, silk lining tired and discoloured, dial could do with a clean.

A 19th century glazed mahogany stained Vienna-type wall clock, featuring an architectural pediment with rearing horse surmount above the enamelled circular dial with twin winding holes and subsidiary seconds dial above the twin brass weights and pendulum, complete with key.

A 19th Century glazed walnut cased wall clock, of architectural form, having enamelled and gilt brass circular dial incorporating twin winding holes, above ornate pendulum, complete with key.

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"). Good condition, left arm absent, some old worm holes, light wear to face and lower body.  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]

15th-16th century AD. A gesso corbel or architectural moulding of a human mask with deep-set eyes, aquiline nose and puckered mouth, wavy locks to the hair and beard; painted surface, iron attachment points to the reverse. 764 grams, 15cm (6"). Fine condition, paint abraded. From an old North Country collection; formed between 1970-2000. 

Late 3rd century BC. A large ceramic vessel consisting of a pedestal base decorated with diagonal lines of cream, pink, brown and red paint; a bowl shaped body decorated with applied relief consisting of acanthus leaves, rope decoration and a central head of Medusa flanked by a floral scroll, traces of paint; lid painted with a scene of a woman in yellow and white robes seated on a throne, left arm reaching forward; in front winged Eros kneeling and reaching both hands towards an altar; on other side of altar a female (Aphrodite?) seated on a throne and looking towards the altar, Eros and seated female, wearing white and yellow robes; behind another seated female looking towards the other figures and wearing white and brown robes; below painted scene applied rope decoration with applied lion heads below; finial connector painted with flowers, possibly myrtle, on the bulbous body, top with turned grooves and hole in the centre, underside with projecting funnel; possibly a further section absent; on top a sitting dove, head turned slightly to the left, in a white slip. 10 kg, 94cm (37"). Fine condition, restored. Extremely rare. Property of a German gentleman; acquired 1980s, previously in the Antoine Sanna collection, Belgium, since the late 1960s. Cf. Mayo, M. The Art of South Italy: Vases from Magna Graecia, Ricmond, 1982, pp.282-285. For a similar example see the Metropolitan Museum of Art, accession number 30.11.4a–c; and the Museum of Fine Arts, Boston, accession number 1970.478. Accompanied by an Art Loss Register certificate. This lidded bowl is known as a lekanis and belongs to a unique local tradition of pottery known as Centuripe Ware which was manufactured in eastern Sicily in the third century BC, at a time when the island was a Greek colony. Vessels of this type have been discovered in tombs near the towns of Centuripe and Morgantina, close to Mount Etna, and usually depict women performing religious rites. These vessels are distinguished by the application of tempera paints after firing, which allows for a wider range of colours than is found in the conventional black and red figure traditions. The background of the painted scenes is usually painted a rosy red, and the figures are often made up of pastel colours such as pink, blue, yellow, or purple.The beautifully modelled figures and complex colour combinations look beyond conventional Greek vase-painting practices to traditions of monumental painting, of which few contemporary examples survive; one notable surviving example of this genre is the painting of the abduction of Persephone over the entrance to the tomb of Philip II, father of Alexander the Great, at Vergina. Painted and gilded terracotta appliques, some of which recall architectural details, were also added to these vessels. Although the majority have been found in funerary contexts they have also been found at temples. At Morgantina the majority of the vessels have been found in sanctuaries and all of the temples in the area dedicated to Demeter and Persephone have produced examples, as well as sanctuaries to Aphrodite. Some examples have also been found in domestic contexts.The scenes painted on the vases generally have a ritual character that has been explained as depicting marriage ceremonies, usually of the gods, and the examples found in private houses have been explained as wedding gifts that were displayed to commemorate the marriage of the owners. The deities represented on the scenes have been interpreted as the marriage of Persephone to Hades, with the rituals being presided over by Aphrodite and Eros; the presence of a dove on this piece would tie in well with marriage rituals as the dove was sacred to Aphrodite, goddess of love. The importance and expense of this type of pottery would have led to them being re-used in funerary contexts, particularly the idea of love extending beyond the grave. 

17th century AD. A carved wooden architectural figure, St Benedict (?), a bearded monk with tonsured hair looking downwards, holding his folded robe to his chest with his right hand; old collector's paper label to the reverse marked 'Jervaulx Abbey circa 1500'. 3.9 kg, 44cm (17 1/4"). Fine condition. [No Reserve]  Property of a Kent collector; by inheritance 1970; formerly property of Jack Smith, antiquarian and collector of Hebden Bridge, Yorkshire, UK, acquired 1920s-1960s. Jervaulx Abbey in Yorkshire, England, was founded in 1145 by the Savigniac order and later transferred to the Cistercians. It was a major landowner in west Yorkshire and reputedly the originator of Wensleydale cheese. It was dissolved in 1537. Its last abbot, Adam Sedbar, was hanged for taking part in the 'Pilgrimage of Grace'. Elements of the abbey's fittings and furniture are still found in churches in the Aysgarth area. 

An Edwardian freestanding ebonised display cabinet with broken swan neck architectural pediment over a pair of threequarter length glazed panelled doors revealing two lined shelves to interior over a long drawer and shaped cabriole supports

An early Victorian mahogany chiffonier, the lower section enclosed by two arched and panelled doors over two cushion moulded drawers, raised back with architectural outline supporting a further shelf, 125 cm