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Click here to subscribeAn English rosewood Regency bracket clock the eight-day duration, double-fusee, five-pillar movement striking the hours on a bell, the round white painted dial having black Roman numerals and blued-steel moon hands, the rosewood case with inset brass bound panels, brass frets to the sides, cast carrying handles and a architectural pediment with a cast-brass pineapple finial, height 47cm inc. finial.
A walnut bureau bookcase in the George III style, 20th Century, the upper part with an architectural moulded broken pediment, centred by an urn, having a moulded dentil cornice, enclosed by a pair of astragal glazed panel doors, the lower part having a crossbanded sloping hinged fall enclosing a fitted interior, containing four long drawers below, on ogee bracket feet, 203cm high, 79cm wide, 46.5cm deep.
A collection of early 20th century circa 1930s cased planimeters. Medical, Mathematical, Engineering / Architectural purpose. Measuring areas on drawings, medical equipment used for measuring. Including makers, J Amsler, Stanley, Troughton & Simms, Swiss made zero setting compensating planimeter and Allbrit. Largest measures approx. 31cm wide.
A FOLIO OF ETCHINGS AND PRINTS including numerous landscape views, portraiture, architectural studies, street and river scenes of Paris, London and other cities by artists such as Charles Watson (1846-1927), Henri Toussaint (1849-1911), Maxime Lalanne (1827-1886) and William Ewart Lockhart (1846-1900) (a lot)
Architectural Salvage. An armorial lead guttering appliqué, probably from a country house's downspout, late 19th/early 20th c, cast with coat of arms and indistinct motto, and miscellaneous bygones, including three Davy miner's lamps, a railway signalman's lamp, another, (6) Mixed condition.
Ein Paar klassizistische Eckkonsolen als Architekturelemente, Frankreich oder Italien, um 1800 Fein gearbeitete Terrakotta. Auf eckiger Plinthe mit Lorbeerkranz ein bärtiger Männerkopf, wohl Personifikation des Göttervaters Zeus. Abschließender Kranz in Strahlenform. Maße 60 x 30 x 30 cm. Altersspuren. Teilweise bestoßen. A pair of French or Italian neoclassical corner consoles as architectural elements, circa 1800 A pair of French or Italian neoclassical corner consoles as architectural elements, circa 1800Finely crafted terracotta. On an angular plinth with a laurel wreath a bearded man's head, probably personifying the god Zeus. Final wreath in ray shape. Dimensions 60 x 30 x 30 cm. Signs of age. Partially bumped. Condition: II
Boccaccio, Giovanni. Il Decamerone. Di nuovo emendato, secondo gli antichi essemplari. 453 num. Bl., 11 nn. Bl. Mit Holzschnitt-Druckermarke auf dem Titel sowie 10 Textholzschnitten und 11 figürlichen Schmuckinitialien. 13,7 x 9,4 cm. Braunes Kalbsleder um 1750 (Rücken beschabt, Bezug an Kapitalen und Ecken weggeschabt, Außenfalze eingerissen aber stabil) mit rotem und goldgeprägtem RSchild sowie RVergoldung. Venedig, Comin da Trino, 1552.STC 110. Brunet I, 1001. Bacchi della Lega 40. EDIT 16 CNCE 6326. Graesse I, 450. Mortimer 73. Nicht bei Adams. Nicht bei Gamba - "In illustration as well as in text, this edition had to compete with those of Giolito, Valgrisi's artist took the theme of the Giolito illustrations - the ten scenes of the company at a villa - and almost doubled the height of the blocks to include more architectural details and views" (Mortimer). - Streckenweise gering feuchtspurig oder schwach braunfleckig, Kopfzeile teils angeschnitten, Blatt TT6 mit kleinem Binnenriss, letzte Blätter mit kleinen Randfehlstellen ohne Textverlust. Provenienz: Bei Neubindung leicht angeschnittener Besitzvermerk um 1700 auf Titel: John Brinklo(w), mit französischer Devise. Französischer bibliographischer Vermerk auf nachgebundenem leeren Blatt, wohl aus der Zeit der Neubindung des späten 18. Jahrhunderts. Auf dem Spiegel Ausschnitt aus englischem Antiquariats- oder Auktionskatalog des frühen 20. Jahrhunderts.
Eight framed prints and a mirror to include: John Furnival (1933-2020) - Three lithographs in colours: 'Ausone', proof print; 'Latour', artist's print; and 'Chateau Malescot St. Exupery', all signed in pencil below, approx. 50 x 37 cm each; Three architectural engravings of Philippeville and Announa; together with a pair of prints, indistinctly signed, largest frame: 71.5 x 54 cm, and a 19th/early 20th century pressed brass oval wall mirror, 28 x 31 cm (9)
A 19th century continental secretaire bookcase, the lower section enclosed by a pair of panelled doors, the secretaire with fitted interior, the upper section enclosed by two further panelled doors beneath and architectural pediment, 129cm wide x 225cm highIvory Submission referenceLF9MXXC8
AN EARLY 20TH CENTURY OAK AND GILT METAL MOUNTED MANTEL CLOCK / BAROMETER OF ARCHITECTURAL FORM, the clock with enamel chapter ring with Arabic numerals and marked 'ALEX CLARK MFG CO', the barometer with enamel dial marked 'MADE IN PARIS', central mercury barometer with brass scale, on four brass wavy feet, height 23cm x width 40cm, with key (1 + key) (Condition Report: generally in good condition, clock winds but balance wheel stops after a few seconds)
FUJIMI MOKIE CO. LTD - a group of 3 Japanese architectural plastic model kits, including Kit no. BU-17-1800, Japan's Architecture Treasure Uji-Byodoin Hoodo, 1/150 scale plastic model kit, Kit no. BU23-2500 Yakushiji-To-To plastic model display kit etc, all appear complete and in original box (3)
FUJIMI MOKI CO. LTD - a group of 3 Japanese architectural plastic model kits, including Kit no. B10-1500, Deluxe Buddhist Temple in Japan Kinkaku-Ji, 1/100 scale plastic model kit, and 2 x Kit no. BU-17-1800 Japan's Architecture Treasure UG Uji-Byodoin Hoodo, 1/150 scale plastic model kit, all appear complete and in original boxes (3)
AN ANGLO-INDIAN EBONY SIDE CHAIR With architectural open work backrest featuring turned crossbar above column shaped elements, rattan seat, turned and fluted front legs 91.5cm high x 42cm wide x 49cm deep Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Harold Riley DL, DLitt, FRCS, DFA, ATC (1934-2023) and Laurence Stephen Lowry RBA, RA (1887-1976) Crowther Street Stockport Signed by Harold Riley and L S Lowry, with an oil sketch of a young man to the reverse, oil on canvas, 49cm by 39cmProvenance: A gift from the artist to the vendor's father Thence by descent Harold Riley and Lowry often embarked on joint ventures together over their thirty-year friendship, having first met in 1945 when the former presented Riley with an award for first prize at a Salford Grammar School art exhibition. However, these were usually works on paper, thus making this fully finished oil painting a rarity.This scene depicts Crowther Street in Stockport, a landmark re visited by Lowry throughout his lifetime.Tennant’s Modern & Contemporary Art sale in March 2023 saw the sale of a pencil drawing by Lowry titled “The Stepped Street”, this was a depiction of Crowther Street and sold for £70,000 hammer. (see image).Shortly after leaving Art School in 1928, Lowry sought to record locally threatened architectural gems such as Crowther Street, which was later partially demolished leaving only the right-hand portion. This also indulged his love of steps as subject matter.Though somewhat changed since the artist’s day and with far fewer people than in Riley’s view, the cobbled street is still recognisable to this day.
Ɵ Adam (Robert) Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia, first edition, printed on thick paper, engraved frontispiece and 60 plates on 54 leaves by Francesco Bartolozzi, [Francesco, Antonio & Giuseppe] Zucchi, Francis Patton, Paolo Santini and others, 14 double-page and/or folding, list of subscribers, foxing mostly at beginning and end and in margins, one or two plates shaved at edges, later half morocco over marbled boards, worn, covers detached, [Berlin Kat 1893; Fowler 2; Millard British 1; Harris 4], folio, for the Author, 1764. *** Superb architectural record of Diocletian's palace at Split, inspired by the success of Wood's Ruins of Palmyra which had established Wood's reputation and which Adam hoped to emulate. The plates were mostly drawn by Charles-Louis Clérisseau who acted as Adam's tutor and guide to Roman architecture.Provenance: William Minet (bookplate).
Ɵ Stuart (James) and Nicholas Revett. The Antiquities of Athens, vol.1-3 only (of 4), first edition, engraved title-vignettes and 229 engraved plates and maps only (vol.2 lacks 1 plate), some foxing and soiling, vol.3 quite badly water-stained, mixed contemporary bindings, worn, covers detached, vol.3 lacking upper cover, folio, 1762-94.*** Stuart and Revett, at the request of the "Society of Dilettanti", visited Athens in 1751, Stuart carrying out the surveys and Revett the topographical views. The Antiquities of Athens was the first accurate survey of the classical buildings of Athens, through the influence of which the Greek style was first established in English architecture. John Summerston has described it as "one of the three most important architectural books of the century".
Ɵ Palladio (Andrea) The Architecture of A. Palladio in Four Books, 4 parts in 2 vol., first edition in English, engraved frontispiece, portrait and 203 plates, some double-page, engraved illustrations, text in English Italian and French sections, occasional foxing and offsetting, some toning and staining, part 3 lacks 2 text ff. (sig. F) from Italian section, contemporary diced russia, extremities worn, vol.1 upper cover detached, [Fowler 223; Harris 683], Printed by John Watts, for the Author, 1715.*** First edition in English of one of the most influential books on architecture. "Palladio's lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through his textbook. This is divided into four sections: orders and elementary problems, domestic building, public building and town planning and temples. Palladio's style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti" (Printing and the Mind of Man). Condition Report: Condition report is as per the catalogue descriptionThe single page illustrations are approximately 33 x 21cmPlease see additional images for detail and visual reference to conditionCondition Report Disclaimer
Ɵ Bibiena (Giuseppe Galli da) Architetture, e Prospettive, dedicate alla Maesta di Carlo Sesto Imperador de' Romani, 4 parts only (of 5) in 1, first edition, engraved title with vignette within ornamental border, engraved dedication, 36 engraved plates only (of 50 in total, lacking pl.6 from part 1, pl.7 and 10 from part 2, pl.7 from part 4 and all plates from part 5), also lacking portrait, water-stained throughout, edges browned and soiled, contemporary calf, worn, covers detached, [Berlin 4152; Cicognara 431; Fowler 136], folio, Augsburg, Andrea Pfeffel, 1740.*** The first edition of Bibiena's "brilliant baroque compositions" (Fowler). The plates depict catafalques, theatrical sets, a Passion series in architectural settings and decorations for the Riding School at Vienna for the marriage of Archduchess Mariana to Prince Charles of Lorraine. Copies are known which have a part VI with an additional plate.Provenance: Philip Hardwick (bookplate)
Ɵ Burges (William) Architectural Drawings, first edition, printed in sanguine, list of subscribers, 75 lithograph plates, some foxing, mostly to title, contemporary half roan, extremities worn, folio, 1870. *** One of a small number of copies . The plates were lithographed under Burges' supervision and he destroyed the stones after printing. The work was not issued to the trade and is thought to number no more than the c.200 listed subscribers' copies.
A GROUP OF PHOTOGRAPHIC PRINTS DEPICTING SCENES FROM EGYPT LATE 19TH AND EARLY 20TH CENTURY Including four photographs by Zanghaki Brothers, views of Sphinx, pyramids, the Nile and native men, albumen prints on card with photographers' credits in negatives, each 28 x 22cm (8½ x 11in.) framed and glazed to overall size of 28 x 124cm (11 x 50in.) Together with Hippolyte Arnoux, photograph of a Bedouin with a dromader, albumen print on card, numbered No 183 in negative, framed and glazed, 33 x 28cm (13 x 11in) And Antonio Beato architectural view of an Egyptian temple's exterior, 67 x 77cm (26 x 30in), framed and glazed, With three further large unattributed photographs, of the pyramids and an Egyptian temple interior, albumen prints on card, framed and glazed, 43 x 51cm (17 x 20in), 87 x 69cm (34 x 27in) and 67 x 77cm (26½ x 30½in) (6)
A late 19th /early 20th Century clock, the arched architectural brass inlaid oak case with column supports, surmounted by dome finial, on bun feet, the brass dial stamped by retailer The Sheffield Goldsmiths Co Ltd 11 Fargate, Westminster chime, 8 day, the movement stamped 114732, overall height 50cm x 17.5cm deep x 26cm wide Further details: chips and nibbles to the base, movement untested - with key and winder
Susannah Peacock‘Ukuphilisia Amanzi’Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgBristol’s nautical past is celebrated in our unicorn. Many different peoples have settled here from across the sea bringing their traditions and culture. Our mermaid has come from afar to be part of our wonderful city. Have you looked on the other side? There really are seahorse unicorns! This unicorn has spent the summer overlooking the water at West Country Water Park. It has now returned to auction in pristine condition, finished in a coat of anti-graffiti varnish.Traditionally trained in architectural drawing, Susannah Peacock produces extremely fine images that are beautiful, well balanced, either realistic or imaginative. Growing up in a drama school, Susannah created sets and costumes from a very young age and always enjoyed drawing designs and illustrations. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site
AN USHAK 'STAR' CARPET LATE 16TH/EARLY 17TH CENTURY Approximately 350 x 184cm With a design of repeating star-shaped medallions set against a background of floral vines, 'Star Ushak' carpets were highly prized, particularly amongst the European ruling elites, from the early 16th century. The design is thought to have evolved from motifs used in architectural tiles produced by Ottoman court workshops of the 15th century, and it is undoubtedly one of the most distinctive and beautiful found in surviving 'classical' period Ottoman and Safavid rugs. 'Star' Ushak carpets appear in the work of many European artists of the 16th and 17th centuries, first appearing under the throne of the Venetian Doge in Paris Bordone's 1534 painting'Fisherman Presenting a Ring to the Doge Gradenigo' (Galleria dell'Accademia, Venice). Perhaps most famously, however, Henry VIII is depicted standing on a 'Star' Ushak carpet in portraits by both Hans Holbein and Hans Eworth. Surviving 'Star' carpets are rare and as highly prized as ever by museums and private collectors alike. It is therefore remarkable to see two good and complete examples in the Robert Kime collection (see also lot 483). For similar examples at auction, see: Christie's, London, 12 May 2016, lot 252 Christie's, London, 28 October 2021, lot 128 Sotheby's, London, 23 April 2018, lot 38 Sotheby's, New York, 25 November 2008, lot 100 Condition Report: Pile worn to knot heads in many places, with foundation exposed in areas. Substantial areas have been restored with re-weaves and other repairs..Selvages not original.Both ends substantially rewoven. Condition Report Disclaimer
TWO PAIR OF NATURAL AND RED STRIPE WOVEN LINEN CURTAINS FRENCH, 20TH CENTURY Unlined each panel 297cm long, 198cm wide Condition Report: The curtains are unlined, with stiffener to the double pinch tops and hand sewn brass small hooks.Each curtain panel comprises five narrow sections of variable linen/hemp red stripe woven cloth - some paler, some darker and with variations of stripe design. There is some fading including to the back of the curtain that faces the window and sun.The non-leading top of each curtain has a cut away indented end, presumably to fit around an architectural element or the curtain pole.There are some marks and stains that are evident only under scrutiny.The weave has slubs and is rustic woven, there are some pulled threads and holes evident only under close inspection.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
WEATHERED ARCHITECTURAL STONE FRAGMENTS TO INCLUDE: EIGHT CARVED STONE AND GRANITE PLINTHS 13TH CENTURY AND LATER 61cm wide and smaller: A large carved pale white stone plinth for a column, possibly Roman 1st Century A.D., approximately 84cm wide, 33cm high: The sides and top to a Roman style stele, grooved side supports, approximately 53cm high, 45cm wide: A pale stone side support possibly from a stele, 43cm high, 39.5cm deep: Two pale white stone column cylindrical sections, 31cm diameter: A stone capital base of square form, 34cm square: A small column plinth, 38.5cm diameter. Condition Report: As per cataloguing- heavily weathered and with losses and some later holes and staining from garden use. Terracotta vase section lacking base and damaged. Stele (?) section slabs with damages and incomplete Heavy wear, marks, knocks and scratches as per age, handling, use, and cleaning.Please see additional images for visual references to condition which form part of this condition report. 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. 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. 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 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 GILT METAL AND JASPERWARE MOUNTED MANTEL CLOCK BY HOWELL, JAMES & CO. the two train movement striking on a bell, the dial with Roman numerals and inscribed with the makers name, 'To The Queen' and 'London A Paris', the architectural case with a caddy top and five turned finials over a body with jasperware panelling surrounded by four pillars, 36cm high
Victorian carved oak twin fusee bracket clock 'Dent, to the Queen, 33 Cockspur St., London', the signed silvered arched Roman dial with Slow / Fast ring to arch within foliate engraving, the chain-driven movement striking on a coiled gong, in architectural case carved with foliage, lion masks, and atlantes, 41.5cm high, with pendulum and door key
Winterhalder & Hofmeier - German oak 'brickwork' bracket clock, circa 1900, the square brass dial with silvered chapter ring having Roman hours and Arabic minutes plus cruciform half hour divisions framing a matted centre, within putto mask spandrels, the two-train movement, ting-tang striking on two coiled gongs, stamped 'W&H Sch', in architectural case with incised pediment over brickwork friezes and fluted pilasters, 41cm high
A GEORGE I OAK BOOKCASE POSSIBLY BY THOMAS RIPLEY CIRCA 1725 The fabric lined glazed doors enclosing adjustable shelves, the panelled doors enclosing drawers with gilt metal ring handles and handwritten ink labels 'Leases...Cottage Agreements... Farm Agreements...Papers relating to the leasehold lands under Christ Church...', inscribed in paint twice to the back 'RW' 270cm high, 198cm wide, 62cm deep Provenance: Almost certainly supplied to Sir Robert Walpole, later 1st Earl of Orford (1676-1745) or his son, Robert, 2nd Earl of Orford (1700-1751) for Houghton Hall, Norfolk and by descent at Houghton. Property of the Marquess of Cholmondeley, Houghton Hall, Norfolk, Christie's, London, Important English Furniture and Carpets, 24 November 2005, lot 29, where purchased by Robert Kime. Literature: G. Nares, 'Wolterton Hall, Norfolk - II: The Home of Lord Walpole', Country Life, 25 July 1957, pp. 166-169. A. Bowett, 'Thomas Ripley and the Use of Early Mahogany', The Georgian Group Journal, 1997, pp. 140-145. A. Moore, E. Bottoms, 'A New Walpole Discovery', The Burlington Magazine, January 2006, pp. 34-37. ed. T. Murdoch, Noble Households: Eighteenth-Century Inventories of Great English Houses, Cambridge, 2006. In 1722 building commenced of Houghton Hall for Sir Robert Walpole, Britain's first Prime Minister. From 1725 William Kent decorated the interior and designed furniture for the state rooms. This bookcase is probably the 'wainscot bookcase with plate glass doors' recorded at Houghton Hall in 1792 in room 'No. 86 Stewards office' (Murdoch, p. 198). In 1722, building on Houghton began for Sir Robert Walpole, 1st Earl of Orford (1676-1745), Britain's first Prime Minister. From 1725, the Palladian architect and designer, William Kent (c. 1685-1745), was employed to design the interiors and furniture of the state rooms. However, this bookcase was possibly designed by Thomas Ripley, who prior to becoming an architect and Surveyor in the Royal Office of Works trained as a carpenter. Ripley acted as building supervisor at Houghton, and from 1727, designed Wolterton Hall, Norfolk, and in the 1730s, a house in the Cockpit, Whitehall, for Walpole. Ripley used mahogany extensively for the interior wainscotting, doors, door-cases and stairs at Houghton, all of which were heavily carved and richly detailed (Bowett, p. 142). The use of mahogany on such a scale suggests that in the early years mahogany was considered suitable for joinery being no more costly than wainscot. Walpole's mahogany was shipped from Jamaica to King's Lynn via London from mid-1724, and it was Ripley who organised the freight, lighterage (transferring cargo between vessels of different sizes) and storage for the shipments. After the 1720s, the fashion for mahogany as a furniture wood superseded its employment as architectural joinery. The Houghton archives show that after the initial phase of building was completed, Ripley was paid the substantial sum of £500; this probably included payment for further alterations to the house and stable block and the designing of the church tower (PRO C101/19). As the payment is not itemised, presumably it may have also included furniture. Certainly, Ripley's correspondence in the Wolterton archive shows he was responsible for the hanging of the pictures, and possibly designed frames for the royal portraits there suggesting he may have designed furniture as well (Nares, p. 166). Condition Report: Overall there are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:There are some chips, splits and loose sections of wood in particular to some corner and edge sections, and to the bracket feetSome sections are missing, for example the lower border beneath the wood panelled doors, and some other elements are later, for example the side moulding between the top and the base.There are traces of white paint, presumably from when the room this bookcase was in was painted.There is some evidence of worm.Three of the shelves are later pine replacements, all shelves have a front moulding and two shelves to the glazed section have metal hinged latches to hold fast the doors.One of the backboards has a circular hole cut to it, possibly for an electric cable.The interior oak drawers have oak linings and gilt brass ring handles, one of the rings is missing. Each drawer front has a pale filled hole to each corner which is probably original filler over the nail or peg construction of the drawers.Lacking some original handles to the glazed doors. There are two keys for the glazed doors, one of which turns one of the locks. The locks to the glazed doors are Georgian but later to this bookcase cast with the maker's name 'PATENT UNION LOCK / ROBT. KEMP PATENT / G.R. under a coronet / R&T FARMER / PROPRIETORS AND MANUFACTURERS ' Lacking three handles to the panelled doors, there are no keys for the lower door locks, and there are filled holes from previous fittings.The brass hinges are of notable quality, they are substantial, have chamfered edges, are wide opening and have an extra outset section that is inset into the doors.The glazed doors have almost imperceptibly bevel cut glass, the subtle almost slightly rounded cuts, rather than sharp angular bevelled edges. The green fabric is a chintz or glazed cotton of almost paper like quality, still with distinct folds where the fabric has been previously folded. It has faded, in some places, to an almost golden colour, with some splashed fading. The fabric has some repairs including later sewn tape to the base of one door and another, possibly original, inset sectionThe cut of the oak whether dark or pale displays exceptional medullary rays.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
AN ANATOLIAN SAPH 18TH CENTURY Approximately 287cm x 165cm, the frame 329cm x 203cm This extraordinary prayer kilim is not only beautiful and powerful but also extremely rare. Probably an unpublished example, there are currently only two other documented kilims of this type and design. One example is well known, from The Galveston Collection, and published in 'One Hundred Kilims, Masterpieces from Anatolia' by Yanni Petsopoulos, Alexandria Press, London, 1991. This example is also published in Hali, Issue 67, Feb/March 1993, where it is dated as 'pre 1800' and described as 'without known close analogues in design and palette'. The second example appeared at auction on the 27th March 2021, in Vienna with The Austria Auction Company (lot 139). Dated to the 18th century, it achieved a price, with commission, of 37,500 Euros. Like the Kime example here, both of these kilims are composed of five prayer niches, and are of a similar size overall, a fact that suggests that the present lot is complete and not a fragment of a larger piece. Each example shares a strongly architectural design with receding prayer arches reminiscent of the domes and minarets of mosques. The design is an exercise in perspective, with the third row of domes evoking a semi-abstract sky-line of an important Islamic city. Unlike these comparative examples, however, the Kime kilim has a wider central niche than in the flanking niches, with higher arches and domes. This increases the drama of the design and further accentuate the sense of perspective. Where these kilims were woven is not clear. Hali Magazine, in their review of the sale of the Austria Auction Company saph (Hali 208, p.136), suggest a central Anatolian origin, perhaps to the south of Konya, but also point out that the narrow stripes that separate the prayer niches are typical of the Sivas region, to the northeast. Condition Report: Backed on linen and framed.Areas of wear and old insect damage, sewn on to backing. Some holes.Good retention of colour Condition Report Disclaimer
A VICTORIAN MAHOGANY GALLERY GLASS CIRCA 1850 the lens 14cm diameter, 34cm high overall Together with an architectural fossil fragment Mounted on wooden base with silver coloured plaque inscribed "Nummulites from the Great Pyramid Nr Cairo" 8.5cm high, base 12cm wide Condition Report: The fragment is mounted on the wooden base and secured, the base is dished to allow for the irregular shape of the fragment, the Nummulites are plainly visible and of varying size to the fossil, the appearance is as to be expected, variously rough and with breaks to some fossils, areas that have taken on a polish from handling and wear. The base with marks, the silver plaque discoloured and may well benefit from a light clean to allow the text to be more visible, there are no hallmarks.The gallery glass handle is slightly loose, the frame with marks, knocks, scratches, abrasions consistent with age and use, some signs of old woodworm, the glass with a chip to the very top side near the hanging hook. the glass with surface marks and dirt. Please see additional images for visual reference to condition Condition Report Disclaimer
JAMES FERRIER PRYDE (BRITISH 1866-1941) THE HOUSE Oil on canvas Signed (lower left) 91 x 74cm (35¾ x 29 in.)Painted in 1917 for the Red Cross. Provenance: Private Collection, Jeremiah Colman Private Collection, William H. Miller Arthur Tooth & Sons, London Private Collection, The Lord Parmoor, Sutton Verney Private Collection, Viscount Bearsted, M.C. T.D Sotheby's, Gleneagles, 31 August 2005, lot 970, where purchased by Robert KimeExhibited: London, The Fine Art Society, Spring, 3 May - 3 June, 1988, no. 45 London, The Redfern Gallery, An Exhibition of Paintings and Drawings by James Pryde, 22 September - 26 October 1988, no. 4 Edinburgh, The Scottish National Gallery of Modern Art, James Pryde, 14 August - 11 October, 1992, no. 91, p. 106, pl. XXIII illus. Literature: Derek Hudson, James Pryde, Constable and Company Ltd., London, 1949, p. 97 This dramatic and imposing work was ultimately a result of the terrifying war years during which it was painted. 'The House' was completed in 1917, commissioned by the Red Cross. Flashes of red material are seen cascading down the facade of the house owing to the 'Red Cross' and possibly the representation of blood shed during the war years. James Pryde was born in Edinburgh in 1866. From a young age Pryde was influenced by the Glasgow School of painters looking towards artists such as James Guthrie for inspiration. After school Pryde went onto study Fine Art at the Royal Scottish Academy and felt deeply connected to Scotland throughout his life. It was his later works which were particularly influenced by Edinburgh in particular. It was the architecture, history and spirit of the city which fascinated him. Pryde became renowned for his architectural capriccios and depictions of ruins which weaved together elements of fantasy and reality to create whimsical compositions that challenged the concept of architectural representation. His compositions combined elements from different architectural styles, blending historical references and dreamlike interpretations, pushing the viewer to become immersed by the landscape and step inside the architectural form. Whilst pursuing his career as an artist Pryde worked as a part time actor. He became close friends with Sir Henry Irving and designer Edward Gordon Craig. In 1930, Pryde was commissioned to design the set of Paul Robeson's Othello. It is clear to see the mixture of influences in the present lot combining architecture, set design and sheer imagination. Condition Report: Not relined. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition commensurate with age. Condition Report Disclaimer
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