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

A pair of architectural sapphire and gold earrings, of two interlocking 'c' motifs set with calibre sapphires, clip fittings.

A folio containing mainly architectural drawings including plans of the proposed Memorial Church at Layer Breton, Essex, a design for a country house and a country cottage, all c. 1900

Mahogany double fusee mantel clock, the movement with pull repeat and striking on a bell, the 8" convex cream painted dial signed Duncan, Old Bond St., London, within an architectural arched case inlaid with brass lines and foliage, with pierced fish scale side grilles, rosette ring handles and ball finials, 19.25" high

Junghans two train mantel clock, the movement striking on a gong, the 5.5" cream chapter ring with matted centre within an architectural carved oak case, 20.5" high

Unusual black slate two train mantel clock in the form of a rotunda, the movement striking on a gong, the 3.25" cream chapter ring and recessed centre within a pillared case decorated with a continuous band of figures in recreational pursuits and surmounted by a classical finial, 18.5" high; also another black slate two train mantel clock striking on a gong, the 4.25" white circular dial within an ormolu mounted architectural case, 13" high (2)

After Fra Angelico (1387-1455), A triptych of the Madonna and Child flanked by two angels with trumpets, oil on gold ground, in an elaborate carved and gilt gesso Gothic architectural frame within a glazed rosewood case, the triptych 55 x 52 cm (21 1/2 x 20 1/2 in)

FOLLOWER OF CARLO DOLCI - Christ as Man of Sorrows thorns, oil on canvas, 19" x 18", in architectural ebonised and gilt frame.

Victorian Mantel Clock with porcelain dial, with brass centre, Continental movement, the back plate inscribed "Louis à Paris", numbered 239, striking on a bell, contained within polished slate architectural case, with gilt metal urn mounts and handles and engraved gilt metal scrolls, 37cms, (14 1/2 "),

19th Century Skeleton Clock of architectural form, with pierced brass dial with Roman numerals, single fusee movement and on shaped supports, 39cms, 15 1/2 "), (see illustration).

A set of 70 architectural pearwood curves, some with moulded ends all by STANLEY London 8" to 26" in orig mahogany box G++(100-200)

A 19th Century French Empire period mirror of architectural outline decorated with Etruscan motif of anthemion and rosette side pieces, 63 inches high x 45 inches wide overall

A late Victorian oak framed mirror of architectural outline with arched top and Ionic order pilasters, approximately 42 inches high x 45 inches wide

A Victorian mahogany wardrobe with architectural moulded pediment the centre fitted for slides and drawers flanked by a hanging compartment enclosed by arched panelled doors with turned pilasters, 7ft high x 8ft wide

A tortoiseshell cased mantel clock the eight day movement striking on a gong the movement marked A & HR made in London, with enamelled dial in an architectural case having two gilded brass carrying handles with moulded caddy top and pilasters on a plinth

A carved limestone architectural fragment with boldly moulded decoration, and other decorative stoneware

A collection of Victorian Gothic carved sandstone architectural elements, circa 1860, converted to a herb garden together with a quantity of granite slabs

A collection of stone architectural fragments incorporated to make a potential water feature

A collection of stone of architectural fragments incorporated to make a potential water feature

A set of four massive cast iron architectural brackets pierced with scrolling foliage, 183 cm (72 inches)

An oak architectural pediment with boldly carved decoration, 47 inches wide

A pine frame mirror with an architectural panel, 59 x 44 inches

A 19th Century French pine wardrobe with architectural top enclosed by a pair of panelled doors on bracket feet

A stone ware architectural bracket, circa 1870, in the form of a lions mask beneath a scroll and leaf carvings, 27 inches

A pair of cast iron bulls head architectural mounts, 6 inches x 3 1/2 inches

An early 19th Century architectural mirror panel with gilded carved cornice, Greek key decoration, the mirror panel between fluted pilasters headed by leaf carvings

A 19th Century Russian cylinder bureau the cylinder revealing a fitted interior of pigeon holes and six drawers with pull out writing slide the base fitted with six drawers below all with ormolu bead mounts and architectural quoin decoration to the sides and divisions, on square legs, 41 1/2 inches

Three 19th century painted pine Ionic style architectural columns one of fully round section, two of half round form, each with volute carved capitals (3) 26cm diameter, 311cm high

An 18th century English bowl, possibly Lowestoft, the exterior painted with sprigs and sprays of coloured flowers, 15cm diameter and a Worcester bowl printed with swans in the interior and three architectural ruin vignettes on the exterior, 15.5cm diameter (D) (2)

Attributed to Minton, an 1820s pot-pourri jar, cover and stand, the compressed spherical body with two rustic handles applied with floral terminals either side of architectural ruins painted on one side and flowers on the other, the tripod stand and cover similarly encrusted with flowers, pseudo crossed swords marks, 23cm high (D) (3) For illustrations of similar jars see Godden 'Minton' plates 95-97

VIENNA REGULATOR WALL CLOCK by J Rammel within a circular 7" diameter white enamel dial with three secondary dials indicating calendar and numerical day of the week and second hand, the case with brass pendulum and single weight and plain architectural mahogany case, with glazed panels and boxwood edging, 51" high overall

A pair of 16th century carved oak lions the standing fully maned lions raised on naturalistically carved scroll bases, with later moulded oak pedestals, probably originally sections of a chimney piece or architectural fitting (2) 62cm wide, 22cm high, the other 19cm high, later bases 65cm wide, 9cm high Provenance: Sotheby's sale at Castle Howard 11th -13th Nov 1991, Lot 258

An early 19th century mahogany continental dressing table mirror, with boxwood stringing, the architectural pediment with an embossed brass plaque of bees and hives above a rectangular swing frame, the bow front box base with two drawers fitted with brass handles, 79cm (31in) high, 44cm (17.25in) wide, 26cm (10.25in) deep.

An early 19th century Irish mahogany longcase clock, the 8 day horizontal set movement with an upside down anchor escapement striking on bell, the 14in painted square brass dial inscribed 'Warner Dublin', the hood with a broken architectural pediment above a satinwood and marquetry inlaid frieze with a glazed door and fluted columns, the fan surmounted waist door flanked by reeded quarter plasters, above marquetry panels on bracket feet, back feet missing, 236cm (93in) high.

A Collection of Glass Slides Depicting Buildings, Famous People, Architectural Studies etc.

The nationally important Order of Merit group of sixteen awarded to Sir Basil Spence (1907-76), the distinguished post-war architect, and architect of Coventry Cathedral The Order of Merit, E.II.R., Civil Division neck badge, gold and enamel, with neck cravat, minor enamel damage; The Most Excellent Order of the British Empire, O.B.E. (Civil) Officers 2nd type breast badge, silver-gilt; 1939-45 Star; France and Germany Star; Defence and War Medals; Efficiency Decoration, E.II.R., Territorial, rev. dated, 1957, these unnamed as issued; Royal Institute of British Architects Silver Medal (1931), obv. a pair of stylized lions either side of a column, rev. inscribed, Board of Architectural Education awarded to Basil Spence, Edinburgh College of Art, School of Architecture, 88mm., silver; Incorporation of Architects in Scotland Medal (1931), obv. bust of Sir R. Rowand Anderson left, by Hazel Armour, rev. Edinburgh Castle, inscribed, Basil Spence, 1931, 58mm., silver; Royal Institute of British Architects Pugin Medal (1933), obv. a pair of stylized lions either side of an ornate column, mural crown above, rev. heraldic shield (Basil Spence Pugin Student, 1933), 57mm., silver, American Institute of Architects Honorary Fellows Badge (1959), by M.A.C., New York, obv. stylized eagle with an olive branch in its talons, superimposed upon a column, rev. inscribed, Basil Spence 1959, oval, 39 x 32.5mm., silver, with suspension mount, with neck cravat; Royal Architectural Institute of Canada Fellows Medal (1960), obv. seated architect in classical garments, a winged cherub presents a sprig of foliage, a temple in the background, rev. inscription (name and date engraved), Basil Spence, Honourary Fellow of the Royal Architectural Institute of Canada 1960, 46mm., bronze-gilt, ring suspension, with neck cravat; Royal Institute of British Architects Bronze Medal (1963), obv. a pair of stylized lions either side of a column, rev. two builders at work, St. Pauls Cathedral in the background (Sir Basil Spence, O.M., O.B.E., T.D., R.A., A.R.S.A., R.D.I., P.P.R.I.B.A. Falmer House, The University of Sussex, Falmer, Brighton), 63mm., bronze; City of Coventry Award of Merit (1970), obv. stylized phoenix rising from the flames, three crosses in the background, rev. plain, rectangular, 45 x 26mm., gold, 30.7g., hallmarks for Birmingham, unnamed, complete with gold and enamel brooch bar, inscribed, Coventry Award of Merit; Medal of the Academia Nazionale di San Luca, Rome (1972), obv. man in classical garments, knelt, writting upon a scroll, a winged bull in the background, rev. inscribed, Basil Spence, MCMLXXII, 55mm., bronze, ring suspension, with neck cravat; with associated lapel badge, gilt and enamel; French Academie dArchitecture, Grande Medaille dOr (1974), obv. stylized ornamented column by H. Navarre, inscribed in exergue, Grande Medaille dOr 1974 Sir Basil Spence Architecte, rev. seated figure in classical garments enclosed by wreath, 68mm., gold, 212g., edge stamped, 1974 and 3or, some with minor (pin?) marks to edge, in general nearly extremely fine (17) £6000-8000 O.M. London Gazette 23.11.1962 O.B.E. (Civil Division) London Gazette 1.1.1948 Basil Urwin Spence was born in Bombay on 13 Aug. 1907, the elder son of a chemist in the Indian Civil Service. When he was twelve, Spence, whose family were from Orkney, was sent home to Scotland to be educated at George Watson's College, Edinburgh. Having shown a particular ability in drawing he enrolled in 1925 at the Edinburgh College of Art to study sculpture, but then switched to architecture. Spence excelled as a student, and during 1929-30 he completed his practical assignment in London, attending evening classes at the Bartlett School of Architecture at University College, and by day working as an assistant in the London office of Sir Edwin Lutyens where he helped prepare designs for Lutyens' Viceroy House in New Delhi. Spence imbibed Lutyens' masterly combination of classical and modern architectural idioms, and thereafter always acknowledged him as his 'patron and master'. Spence completed his professional training in Edinburgh and gained his architectural diploma in September 1931, having added to his earlier prizes the Rowand Anderson Medal and the Royal Institute of British Architects (RIBA) Silver Medal; in 1933 came the prestigious RIBA Pugin Medal. He was invited to join the leading Edinburgh architects, Rowand Anderson, Balfour Paul & Partners. Within the practice he designed small houses and departmental stores in and around Edinburgh, but his private commissions gave him the opportunity to venture designs that were more modernist and daring. He became a junior partner in 1935 and undertook work for some of the practice's most wealthy and important clients, designing grand country houses that catered to individual tastes, but which at the same time were eye-catching in the way they blended traditional elements with modern and made use of the natural, textured materials of the local landscape. Notable among these structures was Quothquhan, Lanarkshire (1936) for Alexander Erskine-Hill MP, Gribloch (1937-9), near Loch Lomond, for the steel magnate John Colville, and Broughton Place (1937-9), near Peebles. In 1938 he was commissioned to design the Scottish pavilion for the Empire Exhibition in Glasgow. Spence's highly abstract construction owed much to the ideas of Le Corbusier, the influential pioneer of modern design, and was widely praised as one of the chief attractions of the exhibition. There soon followed other exhibition work in Edinburgh and Johannesburg. However, with the onset of war Spence set aside his thriving practice and joined the Royal Artillery, having enrolled with the Territorial Army 1934. He rose to the rank of Major in the camouflage unit where his talent for design was usefully employed. In Normandy, he was shocked by the destruction of ancient religious buildings and in his diary confided his ambition to build a church of his own time if he survived the war. The shortage of new work in the years immediately after the war confined Spence to small-scale architectural commissions and exhibition design, and through the latter area his practice began to pick up. He was awarded major commissions for exhibitions in Edinburgh (1946) and Glasgow (1947) to help foster post-war enterprise, and he was chief architect for the 1949 Britain Can Make It Exhibition in London, having been appointed O.B.E. in the New Year Honours the previous year. He was then commissioned to design the Sea and Ships Pavilion for the Festival of Britain which opened on the South Bank in May 1951. Spence had also been working on designs in the competition for a new cathedral at Coventry to replace that which had been gutted during the enemy bombardment of the city on the night of 14 November 1940-the 'Night of Infamy'. There had been some indecision over how the new cathedral should look. Initially, a new neo-gothic edifice was envisaged with Sir Giles Gilbert Scott as its architect, but Scott's 'ponderous' design was vetoed in 1946, and in setting up the subsequent competition for a fresh design in 1950 it was decided that entrants should be encouraged to think in terms of an adventurous modern church building that would embody the spirit of the new post-war order. In August 1951 it was announced that Spence had won first prize out of 219 entries. It was to be the turning-point of Spence's career. Coventry had a special significance, being the first British city to have had its centre destroyed by enemy bombing. The project to rebuild the cathedral caught the public imagination as symbolising the nation's rise from the ashes of war. On the eve of its consecration in 1962 Spence wrote in The Times: 'When I first visited Coventry with the competition conditions in October 1950, the old cathedral burnt open by fire-bombs seemed to say in a gentle voice, "I

An oak "Jacobethan" cabinet-on-stand, circa 1880, of geometrically moulded architectural form, inset with marquetry and parquetry panels, enclosed by a pair of doors divided and flanked by fluted pilasters beneath a deep strapwork frieze, carved pierced corbels and turned pendants, the arcaded open stand with gadrooned swell drawers, cup-and-cover legs, moulded stretchers and ball feet, 194cm high, 114cm wide, 41cm deep

19th Century slate mantel clock in architectural form with twin train movement h: 11 x w: 16 in.

Pair of 19th Century carved stands architectural tops the columns in the form of monopedic lions, on square bases h: 43 in.

A19th century mahogany and chequer strung stick barometer, having a broken architectural pediment above a silvered thermometer dial, signed Cerutty of Tavistock, the base with four quarter veneer and conch shell marquetry inlay, height 92cm

A Whitefriar's "architectural block" in "willow", 7" x 3"

A 19th century architectural brass cased mantel clock with flame finials, embossed copper pillars and stepped base, silvered dial and 8 day French striking movement (illus on internet)

A 19th century architectural brass mantle clock with ornate vase finial, 6 reeded side pillars, copper relief decoration and enamelled numerals, 8 day French drum movement striking on gong, height 15"

A Liberty & Co English Pewter mantel clock designed by Archibald Knox, model no.0761, architectural form with blue/green enamelled dial stamped marks 22cm. high. Literature: Stephen A Martin Archibald Knox ArtmediaPress page 232 for a comparable silver example illustrated.

A Vienna Wall Clock with white dial and striking movement, in architectural style case. 30" (76cms) high.

A Victorian Mantel Clock with white dial and striking movement in architectural black slate case. 10" (26cms) high.

A mid 19th century gothic style mantel clock, the gilt brass case of architectural form, the eight day fusee movement striking on a single bell, the silvered dial with Roman numerals, height 40.5cm, with key.

A Biedermeier mahogany upper section of a chest on chest, circa 1850, the architectural stepped top above frieze drawer over two bow front long drawers flanked by turned columns upon a base drawer, 89 x 113 x 57 cm.

A large Staffordshire Chimney Piece of architectural form, the lower section with an iron red door and flanked by a set of steps approaching a further red door, encrusted with flowers and painted in colours throughout, 12" high

A mid 20th Century Oak Wall Clock, the architectural pediment over a single door, with glazed dial over three bevelled panelled sections and visible pendulum with cushion base, to 7 1/2" silvered Arabic dial with black painted hands and 8-day spring driven movement with anchor escapement and strike on a rod, height 30"

A late 19th Century black slate and variegated Marble inlaid Mantel Clock, the architectural case with domed pediment and plinth base to a cast and beaded bezel with bevelled glass enclosing a 3 1/2" Arabic Chapter Ring, with outside minute track and steel fleur de lys hands, to a circular brass movement with anchor escapement and strike on a bell, height 11 1/2"

CATTRAN BUILDERS, NEWLYN. Layout of Hillside Estate. architectural drawing of the new estate. 33ins x 27ins 1940's.

T. C. GOTCH. 4 hand col architectural drawings for construction of Gotch's house "Wheal Betsy, nr Newlyn." plans and elevations and interior construction, 28ins x 30ins and smaller. Each signed Arnold Mitchell, F.R.I.B.A. Architect. 17 Hanover Sq. W; June 1909. one drawing with inscr "approved T.C. Gotch Aug 1909." (See Illustration)

European School 19th Century- Architectural and mural designs for an ornate plastered ceiling, depicting cherubs playing on clouds and trompe l'oeil musical instruments, pencil and watercolour, 33x39: together with one other watercolour by the same hand depicting cherubs with a female figure and doves seated amongst clouds, 17x17cm., tondo, (2)

Berenice Sydney 1944-1983- St Paul's Cathedral; black and coloured ink, 57x45cm: together with other ink and watercolour architectural scenes by the same hand, (4) Provenance: The estate of Berenice Sydney 1944-1983

Follower of Thomas Girtin 1775-1801- Traveller in a wooded mountain landscape; watercolour, bears initials and date, 25x36cm Notes: While still a youth Girtin became friends with J. M. W. Turner and the two teenagers were employed to colour engravings with watercolour. Girtin exhibited at the Royal Academy from 1794. His architectural and topographical sketches and drawings established his reputation. He went on several sketching tours, visiting the north of England, North Wales and the West Country. Thomas Girtin died in 1801 of consumption. " had Girtin lived, I should have starved", J. M. W. Turner.

Bishop (H H) Pictorial Architectural of the British Isles and sundry atlases etc (7)

Original architectural sketches - Spence, Basil. Two original pencil sketches of Scottish residences, signed and dated 1938, approx 54cm x 76cm wide, foxing and dustmarking throughout image

* Europe. An assorted collection of approximately 200 mostly albumen print photos, late 19th c., including British and European topographical and architectural views, many mounted on loose album cards and some back-to-back, various sizes (approx. 200)

* Great Britain. An assorted group of five Victorian photograph albums, including mounted architectural and topographical views of England, Scotland, etc., one album dated 1869 on spine, photographers include George Washington Wilson, James Valentine and Francis Frith, various bindings and sizes (5)

* Japan. A group of approx. fifty albumen print photos, late 19th c., the majority hand-coloured and titled in the negative, subjects including people, views and architectural detail, mostly mounted on card including a few back to back, loosely contained in a nice Japanese style lacquered album with pictorial designs to covers, the mother-of-pearl birds still intact, oblong folio (approx. 50)