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

Four various prints, two architectural and two female studies (4) 

Vicki Ambery-Smith - A contemporary silver and yellow gold ring, modelled with architectural studies, stamped 925, size N, boxed.

Muthesius, Hermann - 'The English House', published by Frances Lincoln Ltd, London, 2007, three volumes, illustrated beige boards with dust jackets, 4to, in slip case, also five various architectural books, all ex libris. (8)

William de Morgan - Poole Architectural Pottery - A 6 inch BBB pattern tile.

A PAIR OF LATE 18TH/EARLY 19TH CENTURY FRENCH ARCHITECTURAL ENGRAVINGS, THE DORIC AND COMPOSITE ORDERS Chapiteau et Entablement Dorique; Chapiteau et Entablement Compositeswith attractive hand-coloured detail, possibly from an edition of Vignola, Reigles des Cinq Ordres d’Architecture, both with signature or inscription lower right, both framed and behind glass (2)28.5cm x 23.5cm overallQty: 2

A wonderful Elizabeth I carved oak lion 'newel post' or architectural detail,  circa 1580 The magnificent, proud, beast sejant, with flowing mane, good facial features and sharp powerful front paws holding a shield carved with house or merchant initials, his long tail wraps around his back, the integral post of fluted Corinthian column form, wrapped to the base with large leaves, the strapwork carving to the plinth centred by a large oval boss, height overall 190, lion height 50.5cm, width 19cm, depth 18cm For a staircase carved with heraldic beasts see Bradninch, Devonshire, illustrated Margaret Jourdain, 'English Decoration and Furniture of the Early Renaissance 1500-1650' (1924), p. 173, fig 244. This type of tall, upright, 'pillar' was also incorporated into chimney-pieces, set away from the fire surround, which may account for it being principally carved-in-the-round. Several such interiors are illustrated ibid., including 'The Oak Room', Badminton, Gloucestershire, p. 16a, fig, 15; Carbrook Hall, Sheffield, p. 17, fig 15a & p. 56, fig. 65 and The Hall, Great Fulford, Devon, p. 51, fig. 57. There are also comparable Corinthian capitals to the fireplace at Burton Agnes, p. 77, fig. 96. A pair of comparable stone lions, from the tomb of Thomas Howard, 3rd Duke of Norfolk, c. 1554, are illustrated p. 69, figs. 78 & 79. Use in an interior porch is again a possibility. See ibid., p. 162-164, figs. 231-233. It could also have formed part of a hall screen

Antonio Lucarda (1904-1993)Venetian architectural views, a set of four, each signed, titled and two dated 1977/1978, sepia inks and wash, 11 x 14.5cm, framed in one

A FRENCH CHAMPLEVÉ AND ORMOLU THREE PIECE CLOCK GARNITURE BY A. D. MOUGIN 19th century, the two train movement striking on a gong, the backplate engraved 'Rack French Make 12877' and with Mougin mark, the painted enamel dial with Arabic numerals, the architectural case with pierced cresting, a central panel inlaid with an urn with flowers, leafy tendrils ensuing, flanked by two pairs of columns, on moulded base, 47cm high; the garniture with turned finials to the lids, inlaid floral sprays, on conforming base, 34cm high (3)Provenance: Purchased from John Nicholson, 27th September 2006, lot 327.

A LATE 16TH/EARLY 17TH CENTURY INLAID OAK 'NONSUCH TYPE' COFFER the front with architectural scenes and twin apex mouldings, the lid and sides with chevron and chequered bandings, 70cm high x 123cm wide x 57cm deepProvenance: The Estate of the late Sir George Dowty (1901-1975, inventor, engineer and businessman) and Lady Marguerite Dowty; thence by family descent.

Theatre du Monde a lacquered metal cabinet designed by Philippe Starck for XO, architectural form, rectangular cupboard with hinged door, below smaller compartment and hinged pyramid top, on castors, unsigned, 112cm. high Design, Christie's South Kensington, 20th October 2004 lot 257. ProvenanceThe Tom Watkins Collection.

A large Victorian polished slate clock garniture, of architectural portico form, comprising; a mantel clock, with 13cm Arabic dial, two train Jules Rolez movement striking on a coiled gong, 44cm high, and a pair of conforming garnitures, each of palladium form enclosing a classical figure (3)

A pair of 19th century gilt wood and gesso architectural transom, each of slightly curved crescent form, with gilt embellished beaded detail enclosing blind fretwork panels (some losses), 31cm H x 116cm W

A painted wall mirror in the manner of William Kent, of architectural form, the moulded frame with angular and projected corners enclosing the bevelled mirror plate, 155cm H x 101cm W

A 20th century free standing architectural style double sided garden clock, 173cm high Condition Report:Available upon request

A 19th century German gold and champlevé enamel snuff boxmaker's mark F&O, the '18K' stamp erased, Hanau Curved-rectangular form, the cover with a central panel of architectural ruins on a blue ground within linear and stiff leaf decoration, the base with a panels of linear decoration within an enamel border, length 9cm, weight 91gms.For further information on this lot please visit Bonhams.com

A rare George II gold double-lidded patch boxunmarked, circa 1740 Cartouche-shaped, with central hinged compartment, chased decoration of dogs and birds amongst flowering architectural scrolls, cover opens to reveal a worn mirror, length 4.1cm.For further information on this lot please visit Bonhams.com

* Guerra (Giovanni, circa 1540-1618). Scenes from the Life of the Pope, pen and brown ink and brown wash on laid paper; a pentimento for the central figures hinged to the centre of the drawing, collector's mark to lower left with stamped initials EC (Emile Calando, Lugt 837); the pencil numbering of Emile Calando fils on the backing sheet '2154, H 2154', the drawing (not the pentimento) laid to a blue mount, 318 x 296 mm (12 1/2 x 11 5/8 ins)QTY: (1)NOTE:Provenance: Emile Louis Calando (1840-1898), Parisian collector (Lugt 837); Emile Pierre Victor Calando fils (1872-1953), photographer and collector, bears his numbering on the backing sheet in pencil: 2154, H 2154. In the Calando inventory as Attribué à Léonard de Vinci, bought in a sale 4 June 1875, lot 166; Sotheby's, New York, 26 January 2000, lot 147; Collection of Carlos Alberto Cruz; Sotheby's, London, 23 September 2021, Old Master and British Works on Paper, including works from the Collections of Carlos Alberto Cruz and the late Timothy Clowes, lot 26.The present drawing is very close in technique and style to two drawings by the artist held in the British Museum, Esther before Ahasuerus, and Scene from the Book of Esther (nos. 1975,0517.1 and 1975,0517.2), both featuring the same broad use of the pen, and elongated, elegant figures within an architectural setting.

* Attributed to John Sell Cotman (1782-1842). The Abbey Church of St. Georges Boscherville, Normandy, circa 1817-20, two pencil studies of the interior of a romanesque church in Normandy, preparatory studies for Cotman's The Architectural Antiquities of Normandy, sheet size 24.5 x 35.5 cm (9 1/2 x 14 ins), and inverse, some old backing paper residue to sheet edges verso, modern gilt frames, glazedQTY: (2)NOTE:Provenance: Collection of Michael and Megan Dawson.Cotman's Architectural Antiquities of Normandy, with text by Dawson Turner was first published in Yarmouth in 1822.

FOLIO OF FOUR MOUNTED, UNFRAMED, PENCIL DRAWINGS BY L F JONES. ALL SIGNED WITH MONOGRAMMES C1910, 13 X 11” GROUP OF ARCHITECTURAL SUBJECTS: THE POST OFFICE, MONTACUTE, THE FARMHOUSE NEAR CHIDDINGSTONE THE SPREAD EAGLE IN MIDHURST AND THE RADCLIFFE CAMERA AT OXFORD UNIVERSITY

WILLIAM WALCOTT; A COLLECTION OF 11 ETCHING PRINTS, ARCHITECTURAL AND CITY VIEWS IN MINT CONDITION, UNFRAMED, 12 X 10”

19th Century French gilt spelter and Serves style porcelain clock by Vincenti et Cie, with two female figural mounts, flanking and architectural style case with white enamel dial, 50cm high

Massoud Arabshahi (Iranian, 1935-2019)Untitled, c.1960signed l.r., mixed media on card100 x 69.5cmMassoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928).Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs.Condition ReportFramed 103 x 72.5cm. Please contact department for condition report.

Massoud Arabshahi (Iranian, 1935-2019) Untitled, c.1960 signed l.l., metallic paint on card 100 x 70cm, unframed Massoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928). Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs. Condition ReportPlease contact department for a condition report.

Massoud Arabshahi (Iranian, 1935-2019)Untitled, c.1960signed l.r., mixed media on card99.5 x 48.5cm, unframedMassoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928).Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs.Condition ReportPlease contact department for condition report.

Massoud Arabshahi (Iranian, 1935-2019) Untitled, c.1960 signed u.l., mixed media on card 98 x 69.5cm, unframed Massoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928). Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs. Condition ReportPlease contact department for condition report.

A French Slate Mantel Clock of Architectural Form with Engraved Gilded Decoration and Marble Inlay, 26cms Wide and 34cms High

A French Slate Mantel Clock of Architectural Form with Enamelled and Ormolu Pilasters and a Large Bronze Sphinx Mount, 32cms Wide and 38cms High

English School, 19th Century/A collection of watercolour and pencil drawings/landscapes, topographical and architectural studies/a folio CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Victorian architectural oak and gilt framed bracket clock, 42cm high.

A 20th century slate mantle clock. The enamel and gilt dial with Arabic numerals, in an architectural case with brass details and modelled on classic Greek architecture. H35cm

A 20th century black slate striking mantle clock. With architectural features, the enamel dial with Arabic numerals. H33cm

BARRAUD, LONDON. A FINE REGENCY FIGURED MAHOGANY OBSERVATORY REGULATOR LONGCASE CLOCK the heavy case with scrolled architectural pediment above a glazed door with canted corners on a slender glazed trunk with stepped plinth mould and box base on double carved plinth, the 11" silvered dial with regulator format fronting a high quality weight driven eight-day movement with six knopped pillars, high count train with six spoke wheelwork, Harrison maintaining power and deadbeat escapement, the adjustable suspension block mounted on a brass A-frame fixed to the seatboard, the glass jar pendulum has mercury compensation and roller suspension.200.5cm highIn very good condition, the case is in good order, there is a surface split to the base. The case has original colour and patina. The pendulum and weight are original to the clock. The movemnt is high quality and all original. The silvered dial is very clean and has no issues.

WATKINS, (WILLIAM) ST. JAMES STREET, LONDON. A GOOD GEORGE III EBONY AND BOXWOOD STRUNG FEATHERED MAHOGANY STICK BAROMETER/THERMOMETER the architectural case with fitted hygrometer above a calibrated silvered dial and exposed tube enclosed by a turned cistern cover.110cm high

A LATE 19TH CENTURY AESTHETIC PERIOD EBONISED COUNTRY HOUSE WINDOW SEAT IN MANNER OF CHRISTOPHER DRESSER POSSIBLY BY CHUBB with gilt high-lighted inlaid decoration; the architectural back with raised sides, standing on splayed legs with turned stretchers.87cm high 66cm wideIn good original condition with no replaced parts, there are two small pieces of moulding missing to each side. The seat is badly scratched and the polish is worn in places. See extra images uploaded.

A LATE 18TH CENTURY SHERATON SHELL INLAID WHEEL BAROMETER the silvered calibrated dial signed Francis Barelli, Reading fitted a cast brass bezel and arched thermometer below an architectural pediment.97cm high

A SET OF 19TH CENTURY THREE ARCHITECTURAL DETAILING ENGRAVINGS depicting sectional views of a Georgian temple, signed by E. Hoppus and B Cole - mounted in a glazed silvered frame.28cm high 38cm wide and two smaller

A GEORGE III MAHOGANY 'PORTICO' WATCH HOLDER of architectural form with Palladian pediment and free-standing reeded columns enclosing the doorway.30cm high, 25.5cm wide

BURTON, KENDAL. AN 18TH CENTURY EIGHT-DAY WALNUT LONGCASE CLOCK with 12" square brass dial having mask head spandrels and Dutch style silvered chapter ring with Roman numerals and half-hour markers enclosing a matted centre with a rare recessed dial showing the age of the moon, and engraved date aperture fronting an eight-day movement with knopped pillars, anchor escapement and rack strike on a bell. The architectural pediment with reeded columns, cross-banded flamed walnut case with a long trunk door and a panel base; on ogee bracket feet.214cm high There are very minor splits in the case consistent with age, movement is original to case and is in good working condition. There is some slight pitting in the silvered chapter ring.

A 17TH CENTURY ITALIAN WALNUT TORTOISESHELL, EBONY AND IVORY DECORATED TABLE CABINET the sides with quarter matched veneers flanking an ebony banded tortoiseshell veneered and ivory inlaid bank of drawers with chamfered ivory handles, the centre drawer with architectural decoration around a religious engraved ivory plaque and segmented inlays; raised on ivory ball feet.UK Ivory Act 2018 Exemption Submission Reference - QQALX6XX 66cm wide 32.5cm deep 39cm high Small losses and knocks to the ebony mouldings, the side veneers have water damage and small losses to the edges. The top has surface scratches, and the ivory nobs and feet are original. The front ivory panel has stress cracks- see extra images uploaded.

A PAIR OF 19TH CENTURY ARCHITECTURAL ENGRAVINGS depicting the principle elevation of Kirtlington Park House in Oxfordshire signed J.Sanderson, J Wooly and M Darly. The other of Oakland House (Tabley House) in Cheshire signed J.Carr of York, J. gandon and J. White - both mounted in glazed frames.23cm high 58cm wide

A French Empire style brass mantel clock, 19th century, the case modelled with a winged cherub leaning against an ornate column with an unfurled scroll and holding a pen, a shaped lyre to the other side, atop an architectural pedestal housing the clock dial, the enamel dial with Roman numerals, signed Henry Marc a Paris, surmounted by a rectangular platform base with ornate frieze and raised on four feet, the eight day movement stamped and numbered 12824, 46.5cm highPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece.   Condition Report: This clock is overwound and does not tick - it will need inspection from a professional restorer. The case in overall fair condition - the cherub and plinth are secure, the harp is slightly loose, the enamel dial is not straight, with cracks and wear around the winding holes, the brass panels are generally slightly warped, the door is missing to the verso, the brass has generally light wear with scuffs, light scratches, marks and general surface dirt. There is a winding key with the lot. 

A French brass Egyptian Revival mantel clock, by Achille Brocot of Paris, 19th century, the case of architectural form surmounted by a sphinx, with garland drops flanking the dial, on four claw feet, numbered 4761 to reverse of base, the silvered dial with Roman numerals and fleur-de-lys and spear hands, the eight day movement striking on a bell, makers mark to backplate, 36cm high overall    Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.    Condition Report: Currently ticking when wound. The hammer strikes the bell with a bright ring. The case in overall good condition - two of the brass feet are slightly loose, the brass overall in fair condition with some light marks and scratches throughout, some general surface dirt, the silvered dial and hands in good condition. There is a winding key with the lot. 

Quantity of various framed Norwich architectural studies

Set of four framed architectural prints

Quantity of framed Norwich architectural studies

Two marble architectural pilasters, with Corinthian capitals38cm wide x 231.5cm highQty: 2Some chips and losses overall.

A modern knotted Persian rug with a central lozenge of loving doves and architectural elements, with multiple borders, the main border depicting birds; and a modern machine woven Persian Souf style rug with blue ground, the central field depicting floral and bird decorations surrounded by arabesque foliate motifsthe first Perisian rug 180cm x 93cm; the Persian Souf style rug 155cm x 91cmQty: 3All in generally good condition, with some fraying around the edges. Some wear to the Persian Souf style rug particularly noticeable around the edges, and minor fraying to the edges, and minor wear in the centre of the rug.

A pair of possibly 18th century carved gilt and painted architectural moulded elements, the deeply carved acorn and oak leaf decorations with mouldings to either sideeach approximately 19cm wide x 224cm longQty: 2Very worn and with damages. Both having suffered from woodworm damage, one in particular.

19th Century walnut veneered mantel clock set in an architectural type case

° ° Betjeman, Sir John (1906-1984), poet laureate, writer and broadcaster; three letters to Peter Winckworth i. The Mead, Wantage; received 9 April 1954; ‘I am delighted to have the two pamphlets, but I cannot take up the Middle Class one for not being able to put down the Faculty one [A Verification of the Faculty Jurisdiction (1953)]. … I see in my mind’s eye anxious incumbents, the frightened churchwardens, the angry moustached Protestants. What a brute and a fool Lord Penzance was’. Asked [Walter] Taplin editor of the Spectator whether he wanted an article on Easter in Madrid from you. He regretfully declined. The Easter issue is already planned and most of it in type. I am so much in disgrace at Time and Tide now that I have no influence there. … Wasn’t the Honor Tracy case fun?’ii. 43 Cloth Fair, London EC1, 16 October 1957; thanks for ‘a thoroughly enjoyable evening’, with a commentary on the wines – ‘The idea of a little champagne at the beginning was cunning and good’iii. The Athenaeum, 14 March 1962; Thanks for letting us have the Mercers’ hall for the Hawksworth meeting; ‘I am sorry Ian Nairn was so embarrassingly emotional in his speech about Hawksmoor. Not the right kind of thing, I felt, for the City … the excellent hospitality of the Mercers must have enabled them to recover from the speech’In 1937 Betjeman became a devoted member of the Church of England, speaking of it as ‘the only salvation against progress and Fascists on the one side and Marxists of Bloomsbury on the other’ (Betjeman: Letters, 1.171). Betjeman and Peter Winckworth had many things in common – poetry, Anglo-Catholicism, a love of churches, good food and wine – but it is not known which if any of these brought them together. Winckworth’s publication on Faculty jurisdiction – the process by which the Church of England regulates the maintenance and improvement of church buildings – would have been of great importance to Betjeman, whose devotion to the church lay not only in his open admiration for its buildings, its liturgy, and its worshippers, but for its faith.In 1874 James Plaisted Wilde, Baron Penzance (1816–1899) succeeded to the offices of dean of the arches court of Canterbury, master of the faculties, and in 1875 official principal of the chancery court of York. The bishops discouraged recourse to his court, while the laity generally doubted the morality or practical sense of prosecuting ritualists and so converting them into martyrs.In April 1954 Honor Lilbush Wingfield Tracy (1913-1989), journalist and author, had won considerable damages from The Sunday Times, which had published her account of a Canon O’Connell’s attempt to raise funds for a parish house in Doneraile, Co. Cork. O’Connell took exception and the Sunday Times printed an apology, paying £750 to charity. Tracy in turn sued the Sunday Times for damaging her professional integrity by acting without her permission.Ian Douglas Nairn (1930-1983), architectural writer, served in the RAF until 1953, when he resigned his commission and determined to write about architecture. Like Betjeman, he wrote for the Architectural Review, and in 1962 was the first person to be invited by Nikolaus Pevsner to collaborate on The Buildings of England, producing a volume on Surrey and half of the account of Sussex. He was a trenchant critic of both architects and the planning bureaucracy, whom he considered responsible for ruining the towns and countryside of England. His long article in The Observer (13 February 1966), entitled ‘Stop the architects now’, marked a significant step in the growing challenge to the urban policies of the Modern Movement in architecture which resulted in a change in direction the following decade. Nairn's much vaunted affection for public houses combined with his connoisseurship of beer soon proved to be his nemesis, and he only published some short travel guides for the Sunday Times before collapsing into inarticulate melancholia. Nairn described himself as ‘a person who drinks a lot and can’t bear either pretensions or possessiveness’ (Nairn’s Paris, 13). ‘Difficult and intolerant he may have been’, Christopher Hurst concluded, ‘but his heart was warm. This fact shaped his whole world view—his anger was compassionate, on behalf of people and against the impersonal’ (ArchR). During his short, furious, productive career, Ian Nairn had a more beneficial effect on the face of Britain than any other architectural writer of his generation. (ODNB)John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29

Late 19th century watercolour, architectural student’s design for a pair of wrought iron gates, 86 x 56cm

A group of five framed and glazed hunting related prints and architectural studies

ARCHITECTURAL WALL MIRRORS, two graduated pairs, 85.5cm x 36.5cm at largest, composite stone frames, Gothic style design. (4)

ARCHITECTURAL GARDEN MIRRORS, a set of four, 60cm H x 36cm W, Regency style, with overlaid glazing bars, aged metal frames. (4)

ARCHITECTURAL WALL MIRRORS, 107cm high, 55cm wide, set of three, Regency style, gilt metal frames. (3)

ARCHITECTURAL GARDEN GATE, 250cm high, 185cm wide, 38cm deep, Regency style, aged painted finish.

Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 6 x 8.98 Verso is blank.Mounted to archival quality paper.

Edinburgh is the capital city of Scotland and one of its most iconic and historic cities. Nestled in southeastern Scotland, Edinburgh is known for its stunning architecture, rich cultural heritage, festivals, and a vibrant arts scene. Here are some key points about Edinburgh:1. **Geography**: Edinburgh is located on the southeastern coast of Scotland, along the southern shore of the Firth of Forth. The city is built on several hills and valleys, providing breathtaking views of the surrounding landscape.2. **History**: Edinburgh is steeped in history, with a past dating back over a thousand years. The city has played a central role in Scottish history, including as the birthplace of kings and the site of significant historical events.3. **Architecture**: The city's architecture is a blend of medieval, Georgian, and modern styles. Key architectural landmarks include the historic Old Town, the neoclassical New Town, and the imposing Edinburgh Castle, which dominates the skyline.4. **Festivals**: Edinburgh is famous for its festivals, including the Edinburgh Festival Fringe, the Edinburgh International Festival, and the Royal Edinburgh Military Tattoo. These events attract artists, performers, and visitors from around the world.5. **Edinburgh Castle**: Perched on Castle Rock, Edinburgh Castle is a historic fortress and one of Scotland's most popular tourist attractions. It offers stunning panoramic views of the city and houses the Honours of Scotland (Scottish Crown Jewels).6. **Royal Mile**: The Royal Mile is the historic heart of Edinburgh's Old Town. It stretches from the castle to the Palace of Holyroodhouse and is lined with historic buildings, shops, restaurants, and pubs.7. **Arthur's Seat**: This ancient volcanic hill, located in Holyrood Park, provides a great vantage point for panoramic views of Edinburgh. It's a popular spot for hiking and picnics.8. **Museums**: Edinburgh boasts a wealth of museums and galleries, including the National Museum of Scotland, the Scottish National Gallery, and the Museum of Edinburgh.9. **Literary Heritage**: Edinburgh has a rich literary heritage, with connections to famous writers like Sir Walter Scott, Robert Burns, and Sir Arthur Conan Doyle. You can explore literary history at places like the Writers' Museum.10. **Education**: The city is home to the University of Edinburgh, one of the world's top-ranked universities, and several other prestigious institutions.11. **Cuisine**: Traditional Scottish dishes like haggis, neeps and tatties (turnips and potatoes), and Scotch whisky are popular culinary experiences in Edinburgh. The city also offers a diverse range of international cuisines.12. **Fringe Theatre**: The Edinburgh Festival Fringe is the world's largest arts festival, featuring thousands of performances across various venues. It's a hub for cutting-edge theater, comedy, and performances.13. **Gardens**: Princes Street Gardens, located in the city center, provide a green oasis for residents and visitors alike.14. **Language**: English is the predominant language spoken in Edinburgh, although Scots and Scottish Gaelic are also part of Scotland's linguistic heritage.15. **Weather**: Edinburgh experiences a temperate maritime climate with mild summers and cool winters. Rainfall is common throughout the year.16. **Transportation**: The city has an efficient public transportation system, including buses and trams. Waverley Station is the main railway station, connecting Edinburgh to other major cities in the UK.Edinburgh's combination of historic charm, cultural vibrancy, and natural beauty makes it a captivating destination for travelers. Whether you're exploring its historic streets, attending a festival, or savoring its culinary delights, Edinburgh offers a unique and unforgettable experience.Measures 33 x 24.Mounted to linen.

Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 6 x 9 Verso is blank.Mounted to archival quality paper.

Ellsworth Kelly (1923-2015) was an American painter, sculptor, and printmaker. He was known for his minimalist and abstract art, often characterized by bold shapes, vibrant colors, and precise geometric forms. Kelly was born on May 31, 1923, in Newburgh, New York. He served in the U.S. Army during World War II and afterward studied art in Boston and Paris. During his time in France, he was exposed to European modernism, which greatly influenced his artistic style. In the 1950s, Kelly emerged as a prominent figure in the art world, associated with the abstract expressionist and minimalist movements. He developed a distinctive style that emphasized the pure form, color, and space. Kelly's work often featured simple shapes like squares, rectangles, circles, and curves, arranged in a way that explored the interplay between positive and negative space. Throughout his career, Kelly created various series of works, including paintings, sculptures, drawings, and prints. He produced large-scale installations as well, often integrated with architectural spaces. Some of his most famous works include "Colors for a Large Wall" (1951), "Spectrum I" (1953), and "Austin" (1985-1998), a monumental building featuring colored glass windows and stone panels. Ellsworth Kelly's art has been exhibited extensively in major museums and galleries around the world. His contributions to abstract art and minimalism have had a significant impact on the development of contemporary art. His work is celebrated for its simplicity, precision, and vibrant use of color. Kelly passed away on December 27, 2015, in Spencertown, New York, leaving behind a remarkable artistic legacy. Measures 6 x 8.98 Verso is blank.Mounted to archival quality paper.