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

A Biedermeier satin birch and part ebonised secretaire abbatant, of architectural form, second quarter 19th century, the upper section with a central cupboard flanked by Corinthian half columns and descending ebonised fret work rails above three short drawers, the bottom section with long shallow drawer above fall front enclosing a fitted architectural interior, and two further drawers, on square tapering feet, 192cm high, 96cm wide, 49cm deepIvory submission reference: QC5VFHX1Condition Report: scratches and knocks throughout, repairs to fretwork, large filled split to each side panel of lower section, various small splits, some lifting to veneer, various pieces of veneer repaired/replaced, minor pieces of veneer missing, structurally sound

A pair of large carved walnut architectural scallop shell crestings, late 18th century, 37cm high, 43cm wide and 38cm high, 44.5cm wide respectively (A/F) (2)Provenance: Christie's, Milan, Importanti Arredi, 11-12 June 2001, lot 495 (according to the paper labels attached).

A Florentine giltwood and painted cassone, possibly early 16th century and incorporating later elements, the panels from the circle of Niccolò Giolfino, Italian, 1476-1555, the central circular panel with two putti carrying a coat of arms, flanked by two further panels depicting a battle scene with soldiers on horseback and a boar hunt respectively, the sarcophagus form body decorated with grotesques and fish-scale motifs overall, the sides inset with two further pokerwork roundels painted with putti and armorials, raised on a stepped base, 77cm high, 173cm wide, 52cm deepProvenance: The George Farrow Collection.Footnotes: Note: The present panels strongly recall the works of Niccolò Giolfino (Italian, 1476-1555) and his circle, who, through the incorporation of lifelike, muscular figures and naturalistic, expansive landscapes, modernised the 15th-century tradition of painted cassone panels for a 16th-century audience.  Giolfino received his training in the Veronese workshop of the renowned painter and miniaturist Liberale da Verona (1445-1526), and stayed in that city throughout his career, receiving commissions for religious works from the local churches.While Giolfino’s meticulous and refined compositions echo those of his master, the artist also appears to have been heavily inspired by the works of other North Italian painters including Andrea Mantegna (1431-1506) and the Venetian Lorenzo Lotto (1480-1556).  The impact of Mantegna’s works in particular can be discerned in the present cassone panels, particularly in the stocky and muscular figures of the soldiers populating the battle scene, and the statuesque amorini flanking the armorials on either side of the chest.  The boar hunting scene, with its strongly delineated architectural background, is reminiscent of Giolfino’s panel depicting St Roch, which sold at Christie’s London, 6 July 2018, lot 187 (£12,500).Cassone or wedding chests first appeared in the late fourteenth century in the republics of Florence and Siena and were used to store the bride's dowry received on her marriage.  They were considered luxury goods and made in specialist workshops, often in pairs, to be paraded through the streets to celebrate the weddings of wealthy families.  The present lot with a curved front profile and flat angled end brackets can be compared to an example in the Museo del Prado (O000460) dated circa 1520 and another in the Rijksmusem (BK-16873) dated to 1500-1600.

JACK FIRTH R.S.W (SCOTTISH 1917-2010) CHARTRES OVER THE FIELDS Signed lower left, watercolour 33cm x 43.5cm (13in x 17.25in) The Open Eye Gallery, Edinburgh Jack Firth was based in Edinburgh for much of his life, but took regular trips to France to paint the countryside. Chartres Cathedral was a subject he continued to return to, and his studies of the medieval architectural masterpiece evidence a fascination with its distinctive profile and Gothic articulation. 

A Grand Tour bronze architectural model of the Arc de Triomphe in Paris, late 19th century, set to a slate base, 20cm high overall CONDITION REPORT:The model shows wear and tarnish to the patinated finish, areas of polish and dirt build-up, and the odd small area of white residue.  The slate base shows chips and nibbles to all edges and corners. 

A Gothic influence pine box settle, late 20th century, the architectural back rest with quatrefoil motifs over arcaded panels and a hinged box section, conforming front panel and plinth base, 97cm H x 85cm W x 45cm D, along with a similar open armchair, the lancet shaped back with a quatrefoil aperture and arcaded rails over a board seat, 111cm H x 56cm W x 42cm D (at fault) (2)Condition reportCat scratches to both arms of the throne chair, please see additional images, otherwise light and minor wear only with the chair, structurally sound little or no play in the joints.Very light wear to the box settle only, no obvious faults or damage. 

A pair of glazed brass lantern form candle holders, late 20th/early 21st century, of domed, hexagonal architectural form, with a hanging loop and integral door, upon cast scroll feet, 80cm high (2)

An unusual white marble heraldic plaque, late 19th or early 20th century, relief carved with the coats of arms of England, Scotland and Ireland above a floral spray, the English arms surmounted by a crown, the Irish and Scottish by a rampant lion and unicorn respectively, resin bonded fixing bolts verso, partial architectural salvage label applied to the top edge, the plaque 64.5cm W x 5.5cm D x 91.5cm H NOTE: The plaque was previously inset above a fireplace, but is not believed to be part of its original structure. The inclusion of the Scottish and Irish coats of arms without Wales may suggest the plaque is pre-1707, but we believe it to be later. The presence of the Irish coat of arms suggests it was made before the creation of the Irish Free State in 1922. CONDITION REPORT:The piece shows various chips and nibbles to the edges.  The English, Irish and Scottish arms all show dirt marks, and the piece shows further dirt build-ups in the crevices.  The marble ground shows some areas of staining.  The crown may be missing its finial. 

Two 19th century spherical architectural finials, each with a flattened underside upon associated sandstone blocks, 76cm and 73cm high (4)

A large unmarked plastic clay architectural plastic clay tile panel, hand decorated in under glaze blue with three military figures to the white glazed ground, 46cm x 33cm.

A 19th Century high relief terracotta clay architectural circular roundel by George Jennings, of a full face portrait after designs by T. E. Collartt, in glazed finish, impressed marks, together with a 6 inch relief moulded tile attributed to William Unwin for Poole Pottery with a classical face mask design and a further 6 inch relief moulded tile by Mintons of lion holding foliate boughs in its mouth picked out in majolica glazed finish. (3)

A large 19th Century Burmantofts architectural ceramic panel, moulded in high relief with a stylised Art Nouveau floral design picked out in a magenta to brown glaze over an ochre buff ground, impressed marks, 30cm x 45cm.

A large 19th Century plastic clay architectural panel of square section, the central roundel relief moulded with a man and two women in medieval dress to a punt, with swans head picked out in tonal brown and ochre against a grey glazed ground, unmarked, 36cm x 37cm, damaged.

Two Mintons China Works 6 inch dust pressed tiles, relief moulded with architectural scenes including Worcester Cathedral and Eccleston Ferry, Chester, both in a brown glaze, together with a Corn Bros relief moulded village scene in ochre glaze and a Minton's faux tube lined tile with stylised floral decoration in a light brown glaze, maker's marks verso. (4)

A 19th Century Medmenham 6 inch plastic clay tile with Isnik style foliate decoration, faux tube lined and glazed in brown, green, red and blue on white, unmarked. NB - This tile was identified as by Medmenham at a Tile and Architectural Ceramics Society meeting in 1985.

A 19th Century Carter & Co Architectural Pottery 6 inch red clay dust pressed tile decorated by William De Morgan in the Marlborough pattern (lower section) with two stylised flower heads in yellow on green, framed in a pine surround, relief moulded marks.

A late 19th Century Architectural Pottery Co, Poole, Dorset heavy dust pressed 6 inch tile decorated with a tessellated image of a dog in tonal brown, grey and white to replicated embroidery on a pale grey glazed ground, relief moulded marks.

A large early 20th Century plastic clay architectural tile panel, tube line decorated with the British Royal Coat of Arms depicting a lion and a unicorn rampant around a central shield, picked out in enamel colours, unmarked, 30.5cm x 46cm, damaged.

A collection of five 20th Century H & R Johnson Ltd 6 inch dust pressed tiles, printed in black and grey over white with designs from Dovecot Studios depicting Highland figures including chief, bagpipe player, dancer and more, flanked by architectural studies, to include one duplicate tile, maker's mark and stamp mark verso. (5)

A collection of assorted 19th Century 8 inch dust pressed tiles, makers to include Pilkington's, Minton Hollins & Co and Hereford Tiles Ltd, all with transfer printed designs including architectural studies, figurative studies, ships at sea, maker's marks verso. (8)

An assorted collection of late 19th Century 8 inch dust pressed tiles, makers to include Minton's China Works, Josiah Wedgewood & Sons Etruria, E. Smith & Co and Steele & Wood, all with printed and hand painted stylised designs, together with a 7 inch Copeland tile transfer printed in blue over white with an architectural landscape surrounded by a floral and scroll border and a 9 inch Copland hand painted tile with stylised floral decoration in colour glazes. (7)

Two pairs of good lamps, late C19th and early C20th, one pair milk glass with overlaid flora and fauna, 58cm H; and a pair of C19th urn shaped lamps on square bases, with hand painted architectural panels 48cmH.

A continental oil on canvas of a cavalry officer indistinctly signed lower right and dated 1936 together with and oil on canvas of a country scene initialled lower right EM and a watercolour of an architectural ruin. (3)

LE CORBUSIER: (1887-1965) Charles-Edouard Jeanneret. Swiss-French architect, designer and urban planner, a pioneer of modern architecture. An exceptional typescript MS, Le Corbusier, ten pages (separate leaves, typed to the rectos only), 4to, Paris, 1st March 1938 (although the place and date struck through in ink by Le Corbusier), in French. The working manuscript, with many holograph corrections, is titled Un Homme Chez Lui ('A Man at Home') and states, in part, 'C'est ici que la notion de liberte prend toute sa force. Au sein de cette organisation saine de la vie des hommes reunis en societe: "La Ville Radieuse", commandee par une discipline acceptee avec joie, la cellule d'habitation s'ouvre derriere une porte de logis. Et ici, la clef tournee, un homme est chez lui. Il est entre. Que fera-t-il? Ce qu'il voudra! Ce qu'il pourra.......Et il sera maitre de son destin, un un sens limite, bien entendu: celui de la libre expression de son imagination. Et nous trouverons alors, au pied du mur, ce terrible "Francais individualiste" dont les mechantes langues et les decides-a-rien-faire levent les fantomes innombrables a chacune de nos propisitions. J'avais mis en exergue a mon rapport sur l'urbanisation de la Ville de Moscou, en 1930, ceci: Je place comme pierre angulaire de toute urbanisation moderne le respect sacrede la liberte individuelle. On m'en avait voulu. Mais qu'importe!.......Cette gageure qui fut proposee dans "Urbanisme" en 1924 elle a ete meme: "La Ville Radieuse". Il existe desormais une doctrine d'equipement des villes dont la clef de voute est: soleil, espace, verdure, en chaque logis. En chaque logis! Voici donc ce que la societe moderne peut apporter a chacun de ses membres, par l'enterprise des grands travaux de readaptation des villes aux besoins d'une conscience nouvelle.......Une telle transformation dans la coupe du logis est une veritable revolution architecturale. Le logis devient une petite maison. Et que m'importe que ces petites maisons soient a dix, rangees les unes au-dessus des autres et qu'elles s'alignent innombrablement au long d'une "rue interienne": l'homme est entre chez lui, il a ferme la porte. Il a recu le choc de set amenagement architectural: grand et puis intime, et tout ce soleil, cet espace et ces verdures que cette reforme a precisement permis de capter. Je dis que cet homme desormais n'est plus jamais le chien battu qui hante les "boites locatives" de nos villes......cet homme chez lui a perdu le souvenir des lourdes tribulations que lui et sa famille ont vecu depuis toujours. Riche ou miserable, c'etait l'absence pour tous des "joies essentielles". Les "joies essentielles" sont apportees a la societe moderne par les techniques modernes, l'invitation urbanistique et la poesie de l'architecture. Ceci n'est pas d'utopie. Depuis 20 ans, des travaux limites ont ete accomplis, fixant les etapes constructives. Chez nous et ailleurs, par nous et par d'autres. Il existe deja des fragments - des jalons, des preuves - de "Ville Radieuse"......' (Translation: 'This is where the notion of freedom comes into its own. Within this healthy organisation of the life of men gathered in society: "La Ville Radieuse" (The Radiant City), governed by a discipline accepted with joy, the living cell opens behind a door of dwelling. And here, with the key turned, a man is at home. He has entered. What will he do? Whatever he wants! Whatever he can.......And he will be master of his destiny, in a limited sense, of course: that of the free expression of his imagination. And then we'll have that terrible 'individualistic Frenchman' at our heels, whose nasty tongues and decide to do nothing raise countless ghosts at every one of our proprieties. In my report on the urbanisation of the City of Moscow in 1930, I wrote the following: I place as the cornerstone of all modern urban development the sacred respect for individual freedom. People were angry with me. But never mind!.......This challenge, which was proposed in "Urbanisme" in 1924, was even called "La Ville Radieuse". There is now a doctrine for equipping towns and cities, the key to which is sun, space and greenery in every home. In every home! Here, then, is what modern society can bring to each and every one of its members, by undertaking the great work of readapting cities to the needs of a new consciousness......Such a transformation in the cross-section of the dwelling is a real architectural revolution. The dwelling becomes a small house. And it doesn't matter to me that there are ten of these little houses, arranged one above the other and lined up innumerably along an "internal street": the man has entered his home, he has closed the door. He received the shock of the architectural layout: large and then intimate, and all the sun, space and greenery that this reform made it possible to capture. I'm saying that this man will never again be the beaten dog that haunts the 'rental boxes' of our cities.......this man at home has lost all memory of the heavy tribulations that he and his family have always endured. Rich or miserable, it was the absence for all of the "essential joys". These "essential joys" are brought to modern society by modern technology, inviting urban planning and poetic architecture. This is not utopia. Over the last 20 years, a great deal of work has been done to define the constructive stages. Here and elsewhere, by us and by others. There are already fragments - milestones, proof - of the "La Ville Radieuse"......'). A rare manuscript of excellent content. A few minor tears and light creasing to the edges of some pages and the final page with a small area of paper loss to the lower left corner. GVille Radieuse (The Radiant City) was an unrealised urban design project designed by Le Corbusier in 1930. It constitutes one of the most influential and controversial urban design doctrines of European modernism.Le Corbusier's essay Un homme chez lui was published in Les Plans de Paris 1956-1922 in 1956.

A LARGE AND RARE THREE PARTS 'PAGODA BACK' CEREMONIAL ALTER TABLE Vietnam c.1900 of rectangular shape, the raised architectural back carved with a row of openwork pagodas, fitted with an arrangement of short drawers and compartments, supported on a solid panel top and a carved frieze with bands of diaper, scrolling leaves and lappets on figural legs carved with mythical characters and coiled dragons, on bold paw feet Size. 200x190cm Provenance: Private collection from the southwest of France. ***PLEASE NOTE THIS LOT IS NOT ON VIEW AT ST. STEPHEN'S GREEN. PLEASE CONTACT US FOR FURTHER INFORMATION***

Four Architecture volumes.Twenty Seven Illustrations by Frederick Walker Designed for the Cornhill Magazine. 1867. London; Smith, Elder & Co.Large 4to, orig blind stamped binding, gilt stamped titles to central panel. Pebbled maroon cloth spine. Title in red and black, retaining 25 of the 27 litho plates with Observations on the Architecture of England during the reigns of Queen Elizabeth and King James 1st. By Charles James Richardson. 1837.Bound in period green half Morocco, with central title label in Morocco gilt. Large folding frontis, litho plates. The Old and New Churches of London. Rev. J. M. Capes. 1880.J. Bumped, Orin marron gilt cloth, large 4to. Architectural Illustrations of Skelton Church, Yorkshire by Ewan Christian. 1846, slim folio, quarter Morocco. The first title scarce in commerce and at auction.[4].

Architecture; The History and Antiquities of the Collegiate Church of Southwell. By K. B. Killpack, with a descriptive account by T.H. Clarke. 1839. Small slim folio, with 22 plates. With four other volumes including; The True Principles of Pointed or Christian Architecture, A Welby Pugin 1853, slim 4to, with damp staining. And Winkles Architectural and Picturesque Illustrations. 3 vol, 1836-1852, half calf and cloth, spines chipped.

Elephant Folios Letarouilly (Pl.). Edifices de Rome Moderne ou Recueil des palais, maisons, eglises, couvents..., 2 volumes,Liege, D. Avanzo, 1843, with hundreds of engraved architectural plans & plates, tear to the frontispiece of volume 1, some light toning, spotting & wear, marbled endpapers, contemporary uniform gilt decorated half morocco, boards & spines rubbed, loss to the head of the spine of volume 2, Elephant folio’s. 59cm x 42cm.

AFTER BENVENUTO CELLINI (1500-1571), A BRONZE FIGURE OF THE TRIUMPH OF PERSEUS ITALIAN, LATE 19TH CENTURY The warrior brandishing a sword in one hand, the severed head of Medusa in his other hand, one foot resting on the body of the gorgon, set on a granite base and oak pedestal, with plaque inscribed "Presented to the Company by R J G O'Donoghue Esq, 1923" the bronze 65cm high, overall 155cm high, bases 38.5cm square Rupert John Gordon O'Donoghue (1894-1957) was an architect who served with the Honourable Artillery Company during WWI. He went on to co-found the architectural practice of Marks & O'Donoghue who designed and built an office building for the Licenses & General Insurance Company Ltd. in Moorgate Street, London. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The bronze with fairly heavy rubbing to patina from office placement- some casting faults- odd mark by left wrist which seems not to be a repair but possibly remedial work art time of casting. Some later patina colour wash . Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

A RARE PAIR OF CHINESE EXPORT BLACK LACQUER AND GILT DECORATED FOLDING CARD TABLES EARLY 19TH CENTURY Each with D-shaped hinged top enclosing a baize-lined playing surface, decorated overall with Chinoiserie trellis and scrolling vines, the top, frieze and sides centred by oval medallions decorated with Chinese landscape and architectural scenes each 77cm high, 91cm wide, 44.5cm deep Provenance: Purchased Christie's London, 3rd December 1970, Lot 96 These elegant games tables demonstrate the success of the Chinese export trade in combining Asian art with Western forms to appeal to the European market during the 18th and 19th centuries. Lacquered furniture was being made in such centres as Nanking, Tonking and Canton, following Western forms copied from examples sent to China or from printed European designs. It reached a high point of production and popularity with the Western trade during the early 19th century, when these examples were made. While Western designs were being copied, these games tables are unusual in their demi-lune form. Carl Crossman in his The Decorative Arts of The China Trade describes a pair of tables that may be this very pair, although unfortunately they are not illustrated. A related pair of tables with similar decoration was sold, Christie's, London, Wilton Crescent, A Robert Kime Interior, 23rd July 2020, Lot 121 (£27,500) Condition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and use. Surfaces with flaking, marks, losses and cracks - see images. Various old repairs where the legs meet the friezes - see images. Various old metal supporting brackets between the backs of the legs/undersides of the tables. Some fragility to the joints of the legs/movement within the frames. Some later timber batons to the undersides of the tables/interior of carcasses. Later baize surfaces to the interiors of the tables. These have the expected minor wear.Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A PAIR OF CARVED GILTWOOD AND GESSO MIRRORS 19TH CENTURY Framed as stylised architectural ruins each 89cm high, 36cm wideProvenance: Property from a Private Collection, HerefordshireGirandole mirrors of closely related form can be seen in designs by Thomas Chippendale. See The Gentleman and Cabinet-makers Director by Thomas Chippendale, Third Edition [1762], Tiranti's Reprint, 1939, pages No CLXXVII and CLXXVIII, 'Girandoles'. Condition Report: marks, knocks, scratches and abrasions commensurate with age and use. The gilt and gesso with some rubbing and chips of loss - see images. One mirror with foliate scroll to one side detached and re-glued. The other mirror with a crack through the 'roof' element and some smaller cracks to the frame at one side. One floral finial to the staircase area of one mirror is lacking. Mirror plates appear to be replaced.Condition Report Disclaimer

Y&nbspA REGENCY MAHOGANY AND EBONY INLAID LIBRARY DESK BY GEORGE BULLOCK, CIRCA 1815 The rounded rectangular black-leather inset top flanked by a pair of panelled doors, enclosing a shelf, the reverse with a triple-panelled fall-flap enclosing a shelf, flanked on each side by a panelled door enclosing a shelf 75.5cm high, 209.5cm wide, 93.5cm deep Provenance: Supplied to Robert Ferguson, M.P. (d. 1840) for Raith House, Kirkcaldy, Fife, and thence by descent Christie's, London, Important English Furniture and Carpets (6321), 6th July 2000, Lot 81 (£52,875 incl. BP), offered alongside three other lots by George Bullock as part of the same commission for Raith House (Lots 80-83). This fine and rare library desk was supplied by George Bullock for 'The Hall' at Raith House, Kirkcaldy, Fife. It is listed in the 1895 'Inventory of the Mansion House of Raith, Kirkcaldy', p.31, by Alexander Dowell as a 'Mahogany and inlaid pedestal writing table'. Robert Ferguson, M.P. for Fife and his wife, the former Countess of Elgin, employed Bullock to transform their villa in the most fashionable antique taste. It typifies the popular Grecian style of the early 19th century, utilising bold architectural form and elegant 'Grecian' ebony inlay, popularised by Thomas Hope's, Household Furniture and Interior Decoration, 1807 and George Smith's, Collection of Designs for Household Furniture and Interior Decoration, 1808.

A GEORGE III MAHOGANY LIBRARY BOOKCASE IN THE MANNER OF WILLIAM HALLET, CIRCA 1780 253cm high, 154cm wide, 41cm deep Provenance: Sotheby's New York, 7th June 1986, Lot 170 Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There is some evidence of old worm.The variance of timber to the sides combined with the cut and join of the side middle moulding might suggest that some alterations could have occured.Impressive features include the fluted central pilaster to the front, the outset moulding and the architectural crest.There are some losses and repairs, the locks are later, there is no key.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

Album of over 350 postcards dating from the early to mid 20th century, mainly black and white and colour landscape and architectural scenes including Isle of Wight, Oxford university and city, Exeter, Exmouth, Margate, Hastings, Pevensey Castle, Bexhill, Bournemouth etc together with another smaller postcard album containing approximately 60 postcard

Victorian slate mantel clock of striking architectural form, the drum shaped brocot type movement mounted on carved moulded base decorated with cast panels of classical cherub plaques and coloured stone inlay flanked by fluted columns, the glazed front revealing twin phial mercury pendulum (42cm high)

Nicolas Dorigny (1658-1746)Deo Torinoengraving59.5cm x 34cmwith other religious and architectural engravings by the same hand and engravings by J Basile after paintings by Raphael Provenance: Ombersley Court, Worcestershire The prints in the lot bear condition issues consistent with age, including foxing, as well as creasing and some tearing to the edges and margins of the sheets. There are also some areas of spotting, especially to the margins.

After John DoylePolitical Sketchesa large collection of satirical lithographswith various other prints, including loose architectural views from the 'History of Hatfield House', in addition to Memorables journees de 1830 by Victor Adam (1 folio) Provenance: Ombersley Court, Worcestershire

A Victorian diamond circular brooch, designed as an old brilliant cut diamond central cluster with diamond graduated double row surround, in silver cut down setting on gold back and gallery, with later brooch fitting, circa 1880, diameter 2.5cm, in fitted case stamped Bracher & Sydenham, Reading  Provenance: Formerly the property of the designer Eileen Gray thence by descent Eileen Gray (1878 - 1976) was an Irish furniture designer and architect with no formal training who became a pioneer of the Modern Movement in architecture. Gray was born Kathleen Eileen Moray Smith on 9th August 1878. Her father James McLaren Smith was a Scottish landscape painter; he was well connected with a number of well known artists and encouraged Eileen in painting and drawing. He changed his name to Smith Gray by royal license and his children were known as Gray. Eileen's serious art education began in 1900 at the Slade School in London. While at the Slade, Gray met furniture restorer Dean Charles in 1901. Charles was Gray's first introduction to lacquering and she took lessons in the technique from his company in Soho. In 1902 Gray went to Paris to study at the Academié Colarossi and Academié Julian. She returned to London in 1905 and continued her studies. Her career in design began after the first world war when she returned to Paris. She was commissioned to redesign the Rue de Lota apartment of society hostess Juliette Lévy. The interior was described as the "the epitome of Art Deco" and featured in Harper's Bazaar. In 1927 She designed her own house near Monaco known as E1027 and it was visited by the architect Le Corbusier. During World War II, Gray was interned as a foreign national, and her houses were looted. Many of her drawings, models, architectural notes, and personal papers were destroyed by bombing. The first retrospective exhibition of her work, titled Eileen Gray: Pioneer of Design, was held in London in 1972. A Dublin exhibition followed the next year. At the Dublin exhibition, the 95 year-old Gray was given an honorary fellowship by the Royal Institute of the Architects of Ireland.Condition Report: Later brooch fitting, pendant loop deficient Approx. total weight of diamonds 3.60 carats, approx, weight of central diamond 0.50 carats, approx. general colour J-K, general clarity SI, gross weight 9.2g

A 19th Century French Second Empire Gilt Brass Four Pillar Mantle Clock of Architectural Form Having Bust Finial on Tapering Cornice with Star to Frieze Raised on Four columns with Bone Capitals and Pedestals the Crepidoma with Lion Mount and Supported on Four Ball Feet, The Enamel Face with Roman Numerals and Movement Inscribed For Coulet Fils?, Paris, 20cm High

Various Architectural marble specimen fragments

Architectural Salvage - a substantial cast plaster architectural frieze / moulded relief fragment, 142cm wide x 43cm high

A 19th century mahogany mirror mounted dome topped architectural wall hanging display stand, with twin turned mahogany pillars, raised on rectangular plinth base, 22cm wide x 30cm high x 10cm deep together with an a 19th century mahogany mirror mounted architectural wall hanging display stand, 20cm high x 14cm wide x 6.5cm deep. (2)

Vuillamy of London, no.452, a George III mahogany eight day regulator longcase clock in plain architectural case, the 31cm square silvered dial with subsidiary seconds and date aperture, signed and numbered, unsigned five pillar movement with deadbeat escapement striking upon a single bell, 48cm wide, 215cm high Benjamin Vulliamy was the second of the Vulliamy family who succeeded his father, Justin. He was clockmaker to George III from 1772 and was responsible for a number of important precision clocks made for royalty and the aristocracy. Examples of his work can be found in museums and public collections throughout the world. He was the father of Benjamin Lewis Vulliamy and he died in 1811.Reference: B. Loomes, Clockmakers of the World: 21st Century Edition, p.802**conditionreport**Overall in good honest condition, case with a rich reddish mahogany tone, would benefit from some re-polishing in places, hood with old separations in the timbers across the top and small losses to the extreme corners, stop fluted pillars with oxidisation to the brassware, dial looks original but with some oxidisation streaks, similar oxidisation to the brassware of the quarter columns to the trunk, lock looks original but key later, small losses of veneer around the escutcheon on the hood, original key present and lock looks original, some losses to veneers around the base, comes with two brass cased weights and the original wooden shaft pendulum.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A late Victorian marquetry inlaid rosewood chiming bracket clock in arched architectural case, with scroll engraved gilt brass dial with slow fast and chime on eight bells / Cambridge chimes selectors, unsigned movement striking and chiming on eight bells and five gongs, 40cm wide, 30cm deep, 46cm high**conditionreport**Honest untouched condition, case a little faded particularly across the top where there are three notable splits running back to front, rest of the case in better order but still with the odd fine hairline split at the sides, dial in good order, feet and finials original but a little oxidised, working key for front and back doors, mesh to back door pushed inwards and fabric distressed, movement in good order but not tested for timekeeping, comes with original pendulum and a cranked winding key.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

L. Lehodey à Paris, a 19th century French ormolu portico clock of architectural form, decorated with floral swags, an angel and scrolls, with signed Roman dial and eight day movement, 28cm wide, 14cm deep, 56cm high**conditionreport**Overall in good untouched condition with a bright matted finish to the ormolu, very slight rubbing around the dial with a short scratch near 5 0'clock, unsigned countwheel movement striking on a bell with bi-metallic pendulum, no key present, not tested for timekeeping.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A 19th century French carved giltwood wall mirror of architectural form with cartouche, laurel leaf and flaming urn crest, over a floral swagged foliate carved border and shaped plate, 117cm wide, 190cm high**conditionreport**Overall in honest if slightly neglected condition, gilding looks original but rubbed and matted in places, frame work largely intact but showing some separation at the joints, some small areas of mouldings missing particularly in the gesso scroll-work running down the extreme sides, lower left foot is broken but pieces still present, minor chipping scattered throughout.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

PSYCH/ KRAUT/ SPACE ROCK - LP COLLECTION. A collection of around 30 psych and related LPs. Artists/ titles include Amon Duul - Fool Moon (DMLP1020), Alices Orb inc The Psychedelic World Of Geoffrey Tremaine, Even The Grass Is Full Of Acid. Sun Dial inc Overspill, Reflecter, S/T. Suicidal Flowers (signed on rear), Subarachnoid Space - A New And Exact Map, Derobe, Glare - S/T, Strobe inc The Circle Never Ends, See Beyond The Sun. Stark, The Ullulatars, Treatment, Webcore, Tubilah Dog, The Tribe Of Cro, In Search Of A New Dawn, Woronzoid, Triptych, Acid Mothers Temple, The Bevis Frond, Beggars Farm, Architectural Metaphor. Alpha Omega. Condition is generally VG+ to Ex+.

Peter Nelson (1928-2009)2 polished aluminium 1-light adjustable floor lamp, design Peter Nelson, executed by Architectural Lighting, England, second half of the 20th century, 138 cm high

The clock's porcelain dial with Gothic chapter ring over a seated courting couple, Mougin gong striking movement and architectural case flanked by a pair of urns all beneath glass domes.The clock 30cm highQty: 3Movement untested.

A collection of carved wood elements, the first element of fruiting floral carved decoration, one of the Virgin and Child, one of a grotesque figure, one of a further figure and one floral carving in the Black Forest style together with a mahogany veneered candle box and a further fruitwood candlebox.The largest element 97cm, largest candlebox 51cmQty: QuantitySome historic losses and damage throughout the elements, with signs of historic woodworm, the grotesque figure with notable losses to the bottoms and tops and the right hand edge with some losses to the detail of the carving, the Virgin and Child with losses most notible around the top, the further figure with signficiant woodworm notable pariticularly towards the bottom of the architectural element and along the left hand side, the final element with losses and historical worm throughout. Larger candlebox with notable damage to the veneer with a piece missing on the front and two missing on the pedement, the hinge is slightly loose and with some water damage to the fruitwood candle box also with minor losses to the top, the frame is slightly loose at the bottom of the candlebox where it has been replaced and the nails have damaged the sides, with some historic losses down the sides.

ARCHITECTURAL SALVAGE: A COLLECTION OF MOSTLY ANTIQUE WOODEN CURTAIN POLE RINGS (QTY)

ARCHITECTURAL SALVAGE: FOUR PAIRS OF ANTIQUE CURTAIN POLE SUPPORTS PROBABLY FRENCH WITH ACANTHUS LEAF AND LAUREL LEAF MOTIFS, Largest 50cm L

A GROUP OF TEN ARCHITECTURAL WOODEN ELEMENTS, Largest 53cm L

A FOLK ART RED PAINTED PINE TRUNK BELONGING TO THE FAMED MUNTHE FAMILY, FROM SOUTHSIDE HOUSE, WIMBLEDON VILLAGE,96cm x 53cm x 53cmInitialled G.M.S to lid.Axel Munthe was born in Oskarshamn in 1857 and died in the Royal Palace of Stockholm in 1949. He had by then lived outside Sweden for 67 years and had had such a singular a career that he could have made his own the last words uttered by Charles XIV John: ”No one has followed a path like mine.”Munthe was a man of paradoxes.Having qualified as a doctor of medicine at the Sorbonne aged 22 (the youngest on record in France), he soon became one of the most successful doctors of his time, with a reputation as a worker of miracles. Among his patients were members of the upper classes and aristocracy of both Europe and America, but he also worked amongst the poor in Paris, Rome and Naples.The newspaper report he wrote about his work in cholera-stricken Naples in the autumn of 1884 made him famous at a stroke. However, he was not a professional writer, and his real success only followed 45 years later. The Story of San Michele was published in 1929 and became one of the most successful books of the 20th century. It was written in English, has been translated into a large number of other languages and new editions are still being printed.Munthe was not an architect, but on Capri he caused to be built one of the most famous villas of Europe: Villa San Michele, which has been described by experts as a work of architectural genius.He was a fervent anglophile, but his favorite philosopher was Schopenhauer, his favorite poet Heine, his favorite composers were Schubert, Wagner, Schumann and Hugo Wolf. And despite his republican outlook on life, his most important patient was not only royal and German born, but also strongly German-orientated.Munthe’s relationship with Crown Princess Victoria, from 1907 Queen of Sweden, plays a central part in his biography. He was not only her personal physician, but also her closest friend and confidant. Munthe’s importance to both her physical and moral well-being cannot be sufficiently underlined. His contribution to Victoria’s health was due to psychological insights which, however, were not present in his personal relationships. He was married twice, first to Ultima Hornberg, then to Hilda Pennington Mellor who bore him two sons. The first marriage ended in divorce, the second with marital separation.The continuing great interest in Munthe is explained by the abundance of his talents and the contradictory nature of his character. ”The man from Ultima Thule is an incurable idealist, a vague dreamer, a mute poet whose heart holds an unwritten paean to the Sun”. Thus wrote Axel Munthe in the preface to the Italian edition of The Story of San Michele and he continued with a paradox: ”The Southerner is a realist, the blood that courses in his veins is hotter, but his head is cooler than that of people of the North. He is passionate, even violent in love and hatred, but he is no enthusiast.”But that was Axel Munthe.- Bengt Jangfeldt, biographer of Axel Munthe.

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF PAIRS OF FRENCH ROCOCCO CURTAIN POLE SUPPORTS, Over 25 pairs in total. Many stamped to verso 'J.D'. and one with interlocking CC - Cartier??

ARCHITECTURAL SALVAGE: A COLLECTION OF GILTWOOD CURTAIN TIE BACKS, CURTAIN RINGS, CURTAIN POLE SUPPORTS, FINIALS (QTY)

ARCHITECTURAL SALVAGE: CURTAIN RELATED

ARCHITECTURAL SALVAGE: A GROUP OF NINE ANTIQUE ACORN DOOR HANDLES TO INCLUDE THREE HEAVY BRONZE EXAMPLES (9)

ARCHITECTURAL SALVAGE: A LARGE COLLECTION OF FRENCH ROCOCCO CURTAIN POLE SUPPORTS, Largest 22cm L

A 19TH CENTURY FRENCH MALLES MOYNAT DOMED TOP TRUNK BELONGING TO THE FAMED MUNTHE FAMILY, FROM SOUTHSIDE HOUSE, WIMBLEDON VILLAGE,122cm x 58cm x 50cmAxel Munthe was born in Oskarshamn in 1857 and died in the Royal Palace of Stockholm in 1949. He had by then lived outside Sweden for 67 years and had had such a singular a career that he could have made his own the last words uttered by Charles XIV John: ”No one has followed a path like mine.”Munthe was a man of paradoxes.Having qualified as a doctor of medicine at the Sorbonne aged 22 (the youngest on record in France), he soon became one of the most successful doctors of his time, with a reputation as a worker of miracles. Among his patients were members of the upper classes and aristocracy of both Europe and America, but he also worked amongst the poor in Paris, Rome and Naples.The newspaper report he wrote about his work in cholera-stricken Naples in the autumn of 1884 made him famous at a stroke. However, he was not a professional writer, and his real success only followed 45 years later. The Story of San Michele was published in 1929 and became one of the most successful books of the 20th century. It was written in English, has been translated into a large number of other languages and new editions are still being printed.Munthe was not an architect, but on Capri he caused to be built one of the most famous villas of Europe: Villa San Michele, which has been described by experts as a work of architectural genius.He was a fervent anglophile, but his favorite philosopher was Schopenhauer, his favorite poet Heine, his favorite composers were Schubert, Wagner, Schumann and Hugo Wolf. And despite his republican outlook on life, his most important patient was not only royal and German born, but also strongly German-orientated.Munthe’s relationship with Crown Princess Victoria, from 1907 Queen of Sweden, plays a central part in his biography. He was not only her personal physician, but also her closest friend and confidant. Munthe’s importance to both her physical and moral well-being cannot be sufficiently underlined. His contribution to Victoria’s health was due to psychological insights which, however, were not present in his personal relationships. He was married twice, first to Ultima Hornberg, then to Hilda Pennington Mellor who bore him two sons. The first marriage ended in divorce, the second with marital separation.The continuing great interest in Munthe is explained by the abundance of his talents and the contradictory nature of his character. ”The man from Ultima Thule is an incurable idealist, a vague dreamer, a mute poet whose heart holds an unwritten paean to the Sun”. Thus wrote Axel Munthe in the preface to the Italian edition of The Story of San Michele and he continued with a paradox: ”The Southerner is a realist, the blood that courses in his veins is hotter, but his head is cooler than that of people of the North. He is passionate, even violent in love and hatred, but he is no enthusiast.”But that was Axel Munthe.- Bengt Jangfeldt, biographer of Axel Munthe.