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

* A pair of carved sandstone architectural brackets, with foliate carving within a geometric boarder, each 69 x 46 x 7 cm. (2)

An early 20th century oak cased alarm clock, of architectural form, dial signed Fattorini & Sons, Patent Automatic Alarm, no. 16226 (a/f)

A late 19th century American eight day ebonised and marbleised wooden mantel clock, New Haven Clock Co., of architectural form.

A PINE FIRE SURROUND decorated with various carved architectural elements, 66" wide, together with a further carved architectural elements

A Victorian slate and brass mantel clock, the black and gilt dial stamped Robertson & Son, 101 Princes St, Edinburgh, gilt Roman numerals, the case of architectural form with Corinthian columns and brass plaques embossed with hunting scenes, eight day movement, half hour striking on a coil, 42cm high.

A Continental green onyx and ormolu mounted mantel clock, late 19th century, of architectural form, white enamel dial bearing Roman numerals, eight day movement half hour bell striking, 43 by 32 by 21cm deep.

A French ormolu and porcelain clock garniture, late 19th century, the clock of architectural form with barrel casing, set with plaques and to the dial with cherubs painted en grisailles against a blue ground, chapter ring bearing Roman numerals, Japy Freres eight day movement, half hour striking on a bell, back plate stamped G.V. 1304, 34cm high, with a pair of four branch triform candelabra.

A Victorian slate architectural mantel clock, 43 by 32 by 16cm, and a further slate and marble clock case, 50 by 33 by 15cm.

A Victorian slate and brass mantel clock, the enamel dial painted in red with Roman numerals, architectural casing with masks to the sides, eight day movement, half hour striking on a coil, 37cm high.

DOUGLAS HICKMAN. Signed and dated 1968 mixed media on paper, architectural design with figures before a modern building. 14" x 29.1/4"

A Continental walnut bookcase cabinet of architectural form, the broken arch pediment over a central bevelled glazed panelled door enclosing adjustable shelving flanked by two further glazed panelled doors enclosing adjustable shelving interspersed by barley-twist and flower head medallion carved columns over three drawers and a moulded plinth base to bun feet

Russian School - Architectural View, possibly a Church and Convent, within a Snowy Landscape, 20th Century oil on canvas laid on board, signed and dated in Cyrillic recto, inscribed verso, approx 48cm x 34cm, within a gilt frame.

A late 19thC black slate architectural design mantel clock with circular dial escape movement by Estonia Clock Co. America.

An early 20th century mahogany cased desk calendar of rectangular architectural form with revolving month, date and day markers, 17cm high

An early 19th century wheel barometer with thermometer, the mahogany veneer case inlaid marquetry crown shells and flowerheads, edged with string inlay beneath an architectural pediment, the silvered thermometer dial inscribed D Toia, Farringdon, 96c tall

An Edwardian architectural oak mantel clock with striking movement

An American architectural mahogany mantel clock

A small contemporary watercolour drawing by G.M. Barns entitled "April", a set of three framed and glazed coloured prints depicting Scottish whisky producing areas and an architectural print

A pair of painted wood wall panels of architectural form with fluted columns and scrolling foliage, one with inset mirrors

* A French late 17th/ early 18th century walnut and marble cabinet on stand, of architectural form,with inset green and red serpentine marble panels, the front centred with a broken arch pediment above a low relief carved cupboard flanked by columns and architectural alcoves, with a single drawer centred by a carved lion mask, raised on an arched and turned support and a stepped base and bun feet, 163 x 105 x 47 cm.

A 17th century style Italian painted wooden panel, late 19th century, decorated with an architectural scene, with a broken arched pediment above a classical nude and cherub within the door way, flanked by corinthian columns, 198 x 173 cm.

Four framed and glazed architectural Chambers Delm prints.

Two framed and glazed Piranesi architectural prints, one of a mausoleum, the other of a ruin.

A 19th Century Staffordshire pottery blue and white transfer decorated teapot of silver shape, bearing to one side left facing portrait of John Wesley inscribed "John Wesley MA, born at Epworth June 5th 170. died in London. March 2nd. 1791" and verso with architectural study inscribed "Centenary Hall and Mission House London (circa 1820-30), 15 cm high (ILLUSTRATED)

A French 19th century green marble clock garniture with architectural clock flanked by pillars

An oak architectural style mantel clock

A late Victorian black marble cased Mantel Clock with circular chapter ring, two train movement, architectural case, 10 1/2in

A Victorian giltwood and composition overmantel mirror, circa 1880, triple arched plate surmounted by architectural moulding and a pair of urns centred by a shell, divided by reeded and acanthus clad pilasters, 180cm high, 185cm wide. Provenance: Donnington Castle House, Donnington, Newbury, Berkshire.

MIRRORS, a pair, of architectural design, with an arched top, 109cm W x 207cm H. (2)

Francis Howgrave; `An Essay of the Ancient and Present State of Stamford`, printed for John Clarke at the Bible in Cornhil, London; and William Thompson, Bookseller in Stamford, 1726, rare copy with further margin notes in ink; together with `A Report of the Papers read at the joint meeting of the Architectural Societies of the Archdeaconry of Northampton and the County of Lincoln held at Stamford, May 22, 1850`, and `An Account of the Excursion`, both in one book, printed and published by and for Samuel Sharp, Red Lion Square, Stamford.

A Winterharder & Hoffmeir beech cased bracket clock of architectural form, brass dial with silvered chapter ring bearing Roman numerals, subsidiary regulator and chime/silent dials, eight day movement, quarter striking on a coil, the case with broken arch pediment and Corinthian pilasters, break front base raised on block feet, 39.5 by 25 by 48.5cm.

A Victorian black slate mantel clock, with brass bezel and enamel dial bearing Arabic numerals, the case of architectural form with four fluted columns and two cast statues of classical figures, 42cm wide.

A slate and marble mantel clock, late 19th century, of architectural form, with a classical frieze, white enamelled chapter ring bearing Roman numerals, together with another clock of similar form bearing Roman numerals.

An onyx cased mantel clock, late 19th century, the enamel dial bearing Roman numerals, visible brocot escapement, Ansonia Clock Co eight day movement, half hour striking, the case of architectural temple form, 33.5 by 13 by 29cm.

Victorian mahogany breakfront bookcase, the base with four panel doors and four rectangular astragal glazed doors above, with architectural cornice, 252cm wide.

* ROERICH, NICHOLAS 1874-1947 Taos Pueblo, New Mexico , stamped with a signature, further stamped twice “Nicholas Roerich Paintings and Art Collections, Inc.” on the reverse. Tempera on canvas, 49.5 by 76 cm. Executed c. 1921.Provenance: Roerich Museum, New York, USA, 1922-1935. Nettie and Louis Horch collection, USA, from 1935.Thence by descent.Private collection, USA.Literature: Probably Roerich Museum Catalogue, New York, Roerich Museum, 1930, no. 122, listed.Roerich, New York, International Cultural Centre “Corona Mundi”, 1924, illustrated and listed as “New Mexico”.Related literature: For similar works, see N. Roerich, Arizona and New Mexico Sketchbook, 1921, Roerich Museum Archives.Taos Pueblo, New Mexico was painted in 1921 and is one of the few surviving works from Roerich’s American period. In all, we know of 15 works which he painted in the Southwest — in New Mexico and Arizona — but the actual whereabouts of only six, and a mere two of these depict the ancient Native American settlement Taos Pueblo. It is one of these two paintings which MacDougall’s is now proud to offer at auction.The legendary Native American pueblo depicted in this work, now a UNESCO World Heritage Site, became a place of inspiration for many remarkable artists, and for Roerich was one of his “hallowed grounds”. Of his two-year stay in America Roerich later remarked: “In New Mexico and in the spaces of this beautiful country again sounds for you the anthem of the East… the same note of great vision, of great wisdom.” During his stay in America, Roerich gave numerous lectures in the nation’s museums and universities in which he tried to convey the idea of a new perception in art. He was astounded by the lack of interest in other artistic traditions that he found in the United States in the 1920s. In his desire to change the situation he was instrumental in the opening of The Master Institute of United Arts, the main aim of which was to bring people together through art and culture. Simultaneously in Chicago the Cor Ardens (Flaming Heart) group was established, and in 1923 the Nicholas Roerich Museum opened in New York.Despite the fact that those two years he spent in America, 1920-1923, were filled with a flurry of artistic and academic activity, his religious and cultural research into the Native Americans inspired Roerich to create a series of particularly characteristic and instantly recognisable works.In the works of his American period he skilfully conveys the immediacy of his first impressions of America, a country to which he returned three times after his first visit. His images of the desert which brim with energy and enthusiasm are startlingly life-like. The bright palette and motifs from ancient art, which made such an impression on Roerich as a keen anthropologist and ethnographer, markedly distinguished his works.From an anthropological viewpoint, Roerich was fascinated by the similarities between Native Americans and Mongols and he remarked upon this more than once in his notes: “In 1921 when I became acquainted with the Red Indian pueblos of New Mexico and Arizona, I was forced to exclaim repeatedly: “But those are real Mongols!”… And now, having the opportunity to study the Mongols of outer and inner Mongolia, I was involuntarily reminded of the Pueblo Indian. Something inexplicable, fundamental, beyond all superficial theories, unites these nations.”Depicted in the pencil sketches in Roerich’s albums, now preserved in his museum in New York, is not only the structure of Native American tribes, but also their ritual dances and renowned mystical “Vision Quest” ceremonies. Unfortunately, very few of these were transposed to canvas. This very fact further illustrates quite how rare the present work is.The present painting depicts the famous Taos Pueblo, which Nicholas Roerich visited in August, 1921 while vacationing in the neighbouring town of Santa Fe. (There is a well-written account of Roerich’s sojourn in Santa Fe in Ruth Drayer’s Nicholas and Helena Roerich: The Spiritual Journey of Two Great Artists and Peacemakers.) Taos Pueblo is one of a group of Pueblo Indian settlements which appeared in the thirteenth to fourteenth centuries along the path of the Rio Grande river. This Pueblo consists of adobe dwellings and ceremonial buildings, and exemplifies the traditional architectural arrangement from the pre-Hispanic period in the Americas. Culturally, it marks a significant stage in the history of ancient Pueblo people.In Roerich’s own lists of his works, there is a painting titled Pueblo from 1921 which most probably is the present work. It acquires special significance since the Taos Pueblo appears in two of Roerich’s monumental canvasses from 1923 — The Legend from the Miracle series and Vision. Both, especially The Legend, are among Roerich’s most expressive and mystical artistic statements. Both paintings touch upon the idea of the Messiah, and their iconography references the symbolism of this most cherished and profound concept in spiritual lore. Thus the presence of the Taos Pueblo in both of these works instils this American Indian setting with transcendental rather than geographical meaning.From Roerich’s writings and the accounts of his friends and followers, we know that he understood and venerated the sacred places of the world as the focal points where the energies of the Cosmos meet the Earth. His trip to New Mexico in the summer of 1921 was more than just a summer holiday. The real purpose was seeking “the harmonies of deeper insights and wisdom” at the power centres of the American continent. These visits inspired a series of his most spiritual works executed during his American period.The present painting is more that just a study of native Indian architecture. It serves as an icon, a sign pointing to a culture which emphasizes the bond between man and the natural world. The warm tones of yellow, pink and orange, which display Roerich’s mastery of subtle brushwork, convey his philosophical message. The adobe clay, an otherwise dull material, becomes a beacon of the sun’s permeating light. Set against a serene blue sky, the Pueblo emerges as a fortress and focal point of spiritual energy. We are grateful to Gvido Trepša, Senior researcher at the Nicholas Roerich Museum, New York, for providing catalogue information.

BILIBINE, IVAN 1876-1942 Courtyard of the Al-Azhar Mosque and University, Cairo , signed, also signed with initials and dated 1928, also further signed and inscribed "23 Bd Pasteur, Paris, XV" on the reverse. Pencil, watercolour and gouache on cardboard, 54.5 by 76 cm. Provenance: Important private collection, Germany.Authenticity of the work has been confirmed by the expert V. Petrov.Ivan Yakovlevich Bilibine was a brilliant draughtsman with a unique style. His instantly-recognisable virtuoso technique, comprising areas of soft watercolour bounded by an elegant line, had already assured him acclaim as a true aesthete during his lifetime. The Bilibine style was born. The artist had many disciples and imitators including two who were quite well-known, Zvorykin and Matorin; yet despite their undoubted talent they only ever managed to mimic the exterior, surface qualities of the master’s work.In fact, Ivan Bilibine remained the unsurpassed innovator of Russian graphic art in the Silver Age, and his illustrations of Russian folk tales and epics are a superlative exemplar of the graphic art of their time. Courtyard of the Al-Azhar Mosque and University, Cairo is not just an everyday oriental scene based on the fruits of his travels in the South. The accuracy with which he conveys the nuances of atmosphere and colour in Cairo, the specifics of architectural detail and the soft afternoon light, as well as the freshness of the composition, all combine to place this work within a group of unique, museum-quality works by this outstanding Russian artist.

An 18th century eight day, long case clock, the brass 30.5cm dial signed Anthony Londini, London to the silvered chapter ring, within mask chased, gilt spandels, the matted centre with engraved calendar niche and subsidiary seconds dial, pine case, the architectural hood with a blind fret panel, height 211cm.

A continental mantel clock with oak architectural case, together with a Victorian ebonised small mantel clock.

A black and green veined marble architectural mantel clock.

A MODERN PHOTOGRAPH ALBUM: containing approximately 100+ Cartes to Visites, mainly depicting portraits of men + assorted Cartes de Visites including topographical and architectural interest

A VICTORIAN PHOTOGRAPH ALBUM: containing approximately 110+ Albumen Views, mainly European interest, topographical and architectural scenes including Toledo, Venice, Naples, Paris, Versailles, Switzerland including the Matterhorn, Milan, Pavia, Verona, Rome etc, various sizes including approximately 13 ½” x 10” (20) + approximately 10” x 7 ½” and approximately 6 ½” x 4”, old hf cf gt

A PACKET: Good quantity Architectural Plans Proposed for Worstead Hall circa 1938 for Sir Harold Harmsworth

Blomfield (Reginald) & Newton (William Godfrey) The Work of Ernest Newton, R.A. 1925, 4to., cloth; Hanneford-Smith (W.), The Architectural Work of Sir Banister Fletcher, 1934, numbered ltd. edition of 500, original cloth gilt; Anon., The Work of Cram and Ferguson Architects, including work by Cram, Goodhue, and Ferguson, 1929, folio, original cloth (3)

Pullan (Richard Popplewell) The Architectural Designs of William Burges, A.R.A., 1883, folio, 75 litho. plates, original cloth gilt (re-backed with original back-strip laid down)

Pullan (Richard Popplewell) The Architectural Designs of W. Burges, A.R.A., Details of Stonework, 1887, folio, 39 litho. plates, original cloth

The Architectural Association A Memorial of the Late J.D. Sedding, Being Illustrations of his Works compiled by the Architectural Association, with a short Sketch of his Life by H. Wilson, 1892, large folio, twin portrait frontis, title illustrated by W.R. Lethaby, 33 plates, original boards; Bolton (Arthur T.), The Architecture of Robert and James Adam, 1758-1794, 1922, 2 vols, folio, a.e.g., original cloth (3)

Architects Linstrum (Derek), Catalogue of the Drawings Collection of the Royal Institute of British Architects - The Wyatt Family, 1973, folio, dust wrapper; Fisher (George) et al., Catalogue of the Drawings Collection of the Royal Institute of British Architects - The Scott Family, 1981, folio, dust wrapper; Harris (John) & Higgott (Gordon), Inigo Jones, Complete Architectural Drawings, 1989, dust wrapper; with a large quantity of others (qty)

Le Corbusier [The Complete Architectural Works, 1910 - Last Works], 1948 - 1970, 8 vols, dust wrappers; idem, Le Poeme de L'Angle Droit, 1989, dust wrapper; idem, My Work, 1960, dust wrapper; Kries (Mateo) (edit.) et al., Le Corbusier - the Art of Architecture, 2007, original cloth-backed boards with wrap around; with a quantity of others (qty)

Truefitt (George) Architectural Sketches on the Continent, 1847, plates, original cloth; Neale (J.M.), Notes Ecclesiological and Picturesque on Dalmatia, Croatia, Istria, Styria with a Visit to Montenegro, 1861, cloth; Dunn (Archibald M.), Notes and Sketches of an Architect, nd. [c1886], original boards; with six others (9)

Britton (John) The Architectural Antiquities of Great Britain, 1835, 5 vols, 6 engraved titles, 357 engraved plates, half morocco gilt (rubbed); Billings (Robert William), The Baronial and Ecclesiastical Antiquities of Scotland, 1845-52, 4 vols, 240 engraved plates, half calf (rubbed and damp stained, pest damage to some margins of vol. 4) (9)

Gotch (J. Alfred) Architecture of the Renaissance in England ..., 1894, 2 vols, folio, 145 plates, t.e.g., half morocco; Belcher (John) & Macartney (Mervyn E.), Later Renaissance Architectural in England, 1901, 2 vols, folio, 170 plates (some loosening), t.e.g., half morocco (4)

Sharpe (Edmund) Architectural Parallels, or The Progress of Ecclesiastical Architecture in England .., 1848, bound in 3 vols., folio, 96 plates, half morocco; Original Artwork, 'Supplement to Architectural Parallels, containing the Full-Sized Mouldings of the following Abbey Churches ..,', folio, a collection of 60 watercolour, pen & ink drawings, ms. title/contents page, bound without covers, contained within cloth folder (4)

Davie (W. Galsworthy) Architectural Studies in France, 1877, folio, 89 plates (16 colour), half morocco gilt (worn, damp staining to front board); Johnson (Robert J.), Specimens of Early French Architecture .., 1864, folio, 100 plates, half morocco (re-backed with backstrip laid down);

Gibson (William Sidney) The History of the Monastery founded at Tynemouth, in the Diocese of Durham .., 1846, 2 vols., 4to., plates, quarter morocco (re-backed with original backstrips laid down); Hodges (Charles Clement), Ecclesia Hagustaldensis, The Abbey of St. Andrew, Hexham, 1888, private printing, folio, numbered ltd. edition of 400, chromolitho title and 63 plates, half morocco (worn); Wilson (Frederick Richard), An Architectural Survey of the Churches in the Archdeaconry of Lindisfarne .., 1870, 4to., plates, half morocco; Billings (Robert William), [Durham Cathedral], a bound collection of engraved plates, quarter cloth; idem., Illustrations of Geometric Tracery from the paneling belonging to Carlisle Cathedral, 1842, 4to., engraved plates, quarter cloth; idem., Architectural Illustrations, History and Description of Carlisle Cathedral, 1840, 4to., engraved plates, cloth; with one other (8)

Yorkshire Churches Baker (John) (stone carver), A Description of the Stone Carvings &c. at the Church, Sledmere, Yorkshire - Erected from the Designs of Mr Temple Moore, Architect, London by Messrs John Thompson & Co ... for Sir Tatton Sykes, 1901, typescript report, 69 pages, signed portrait frontis, Temple Moore's copy, half morocco; Tudor (Charles L.R.), A Brief Account of Kirkdale Church .., 1879, folio, plates, half morocco; Raine (James), Catterick Church .., 1834, 4to., 13 plates, original cloth-backed boards; Christian (Ewan), Architectural Illustrations of Skelton Church, Yorkshire, 1846, folio, 17 plates, a.e.g., decorative gilt morocco (4)

Masfen (John) Views of the Church of St. Mary at Stafford .., 1852, folio, 16 plates incl. colour frontis by Pugin, original cloth with later spine label; Barr (Edward), Elevations, Sections, and Details, of Strixton Church, Northamptonshire, 1849, folio, 12 plates (one with onlay), later cloth; Sharpe (Edmund), Johnson (J.) & Kersey (A.H.), The Churches of the Nene Valley, Northamptonshire, 1880, folio in fours, 112 plates, later half morocco; Caveler (William), Architectural Illustrations of Warmington Church, Northamptonshire ..., 1850, folio, frontis, 18 plates (staining), original cloth (calf re-back) Anon., A History and Description of the Restored Parish Church of Saint Mary, Wymeswold, Leicestershire, nd., folio, 4 tinted litho plates, a.e.g., original cloth; with two others (7)

Patton (?N.) Attleborough Church, Architectural Notes by ..., nd., 8 page manuscript explanation of 10 accompanying litho. plates, half morocco; Street (George Edmund) Some Account of the Church of St. Mary, Stone, near Dartford, 1861, frontis, cloth (retaining original front wrap); Hussey (Arthur), Notes on the Churches in the Counties of Kent, Sussex and Surrey .., 1852, engraved plates, t.e.g., original cloth (re-backed with original backstrip laid down); Anon., A Guide to the Architectural Antiquities in the Neighbourhood of Oxford, 1846, t.e.g., half morocco; Anon., Architectural Notices of the Churches of the Archdeaconry of Northampton, 1849, t.e.g., half morocco; Cox (J. Charles), Notes on the Churches of Derbyshire, 1875-9, 4 vols., half leather (rubbed); with a quantity of others (qty)

Johnson (John) & Newman (Alfred) Reliques of Ancient English Architecture, nd., folio, 81 litho. plates, recent half morocco; Godwin (George), Buildings & Monuments, Modern and Mediaeval .., 1850, plates, original cloth (spine restoration); The Building News 1874 - 1879, a bound collection of plates depicting churches, oblong folio, half morocco with a further four cloth-bound albums of similar plates; Original Artwork, a folio album containing architectural drawings, pen and ink sketches, engraved plates etc. (8)

Leyland (John) Views of Ancient Buildings Illustrative of the Domestic Architecture of the Parish of Halifax, 1879, oblong folio, 25 plates, original cloth (re-cased); Wheater (W.), Some Historic Mansions of Yorkshire and their Associations, 1888, 2 vols., numbered ltd. edition of 300, original cloth; Bulmer (George Bertram), Architectural Studies in Yorkshire, 1887, ltd. edition of 300, folio, plates, a.e.g., original cloth (4)