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A finely carved and polychrome-painted wooden putto, likely from the late Baroque period (17th-18th century), originating from a chapel near Lienz, Austria. This gracefully poised cherub is depicted in a dynamic contrapposto stance, characteristic of Baroque sculpture, with one arm elegantly raised and the other delicately extended. The carving exhibits remarkable craftsmanship, particularly in the expressive facial features, softly rendered curls, and lifelike coloration that accentuates the cheeks, lips, and eyes. Traces of gilding highlight the flowing drapery, adding a rich decorative element that enhances its visual appeal.Putti, frequently seen in religious art and architecture of the Baroque and Rococo periods, symbolized divine presence, innocence, and celestial beauty. Their presence in chapels and altarpieces often conveyed a sense of movement and ethereal grace, reinforcing the spiritual themes of the era. This piece reflects the stylistic influence of South German and Austrian Baroque sculptors, such as those from the school of Johann Baptist Straub (1704-1784) or the workshop traditions of Tyrolean ecclesiastical artisans.The back of the figure features a hook for easy mounting, suggesting it was originally intended as part of a larger altarpiece or architectural ornamentation. Its well-preserved condition, with visible signs of age-appropriate wear, lends authenticity and historical depth. A superb example of Baroque religious artistry, this putto would make an exceptional addition to a collection of ecclesiastical antiques or period decorative arts.Artist: Austrian (East Tyrol) SchoolIssued: Mid 17th-18th centuryDimensions: 21"L x 13.50"W x 28"HCountry of Origin: AustriaProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963.Condition: Age related wear.

An exceptional example of a Baroque religious putto, attributed to the Tyrol School, Austria, dating to the 17th or early 18th century. This masterfully carved wooden figure captures the exuberance and dynamism characteristic of the Baroque period, a time when religious sculpture was created to evoke emotion and spiritual devotion. The putto is depicted in mid-motion, its outstretched arm and expressive gaze adding a sense of movement and lifelike presence.A putto is a cherubic, winged or wingless child-like figure frequently found in Renaissance and Baroque art, sculpture, and architectural ornamentation. Putti, often depicted in playful or reverent poses, originated from classical antiquity, where they were associated with Eros (the Roman Cupid). During the Italian Renaissance (14th-16th century), artists such as Donatello and Raphael revived the motif, integrating putti into both secular and religious compositions. By the Baroque period (17th-18th century), putti became prominent elements in church decorations, symbolizing divine presence, joy, and the celestial realm. In the Catholic tradition, putti were often used to embellish altarpieces, pulpits, ceiling frescoes, and religious processional sculptures, reinforcing the grandeur and emotional intensity of Counter-Reformation art. This particular example, with its dynamic posture and gilded drapery, exemplifies the dramatic theatricality of Baroque religious sculpture, designed to engage the viewer and draw them into a transcendent experience.The Tyrol region, which today spans parts of Austria and northern Italy, became a major center for wood carving and religious sculpture from the late Middle Ages through the 19th century. By the 16th and 17th centuries, Tyrolean artisans were recognized for their highly skilled craftsmanship, producing altar figures, crucifixes, and devotional sculptures for churches and monasteries across Central Europe. The Tyrol School, active predominantly between the 17th and early 19th centuries, was particularly influenced by Italian Baroque sculpture, notably the works of Gian Lorenzo Bernini (1598-1680), whose dramatic compositions emphasized movement, realism, and emotional intensity.During the Counter-Reformation (16th-18th century), the Catholic Church commissioned elaborate sculptural programs to inspire devotion and reinforce Catholic doctrine in response to Protestant movements. Tyrolean sculptors, working within this religious fervor, created highly expressive, polychrome-painted wooden sculptures that mirrored the grandeur of Baroque altarpieces. Artisans in this school often used limewood or pine, materials abundant in the Alpine region, allowing for intricate detailing and realistic anatomical rendering.The Hallstatt, Innsbruck, and Bolzano workshops were particularly notable centers of Tyrolean Baroque sculpture, producing works that combined Germanic naturalism with the ornate drama of Italian Baroque art. Many of these figures, including putti like this one, would have adorned cathedral ceilings, altars, or processional platforms, creating a visual connection between the earthly and the divine.This piece, with its delicate polychrome facial features, elaborate curling locks, and rich gilded drapery, is a textbook example of 17th-18th century Tyrolean craftsmanship. The original mounting holes and iron hanging ring suggest it was once affixed to a larger ecclesiastical setting, possibly part of a pulpit canopy, choir loft, or altarpiece ensemble.Artist: Tyrol School Issued: Mid 17th-18th centuryDimensions: 18"L x 13.50"W x 27"HCountry of Origin: Austria and ItalyProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Gilding on the drapery has been professionally restored.

This early 15th-century Spanish Gothic polychrome wood sculpture represents the Madonna and Child in Majesty (Sedes Sapientiae), a revered image in medieval Christian art. Seated on an architectural throne, the Virgin is depicted wearing a flowing mantle and an ornate crown, signifying her role as the Queen of Heaven, while holding the Christ Child in a frontal, formalized composition. The rigid symmetry and solemn expression of both figures exemplify the Spanish Gothic tradition, which favored spiritual presence and iconographic clarity over naturalism. The remnants of polychrome decoration, particularly the red, white, and gold pigments, are characteristic of Spanish religious sculpture, where wood carvings were elaborately painted and gilded to enhance their sacred significance.The sculpture's construction and style strongly suggest an origin in Castile or Catalonia, regions known for their polychrome wood devotional sculptures. The Virgin's broad, linear drapery folds and the weighty, columnar structure of her figure reflect the Spanish preference for imposing, hieratic forms, distinguishing it from the more fluid and naturalistic interpretations found in French Gothic sculpture. The Christ Child, seated on her lap, maintains a frontal, solemn expression with a gesture of blessing, a composition frequently seen in Spanish Gothic works from the 14th and 15th centuries. Unlike the tender, interactive relationship often depicted in French Gothic versions of the Madonna and Child, the Spanish tradition maintained a more austere, theological presentation, reinforcing Mary's role as the divine throne for Christ.The architectural throne further supports the Spanish attribution, particularly with the presence of polychrome motifs on its sides. In Spanish Gothic sculpture, especially in Castilian and Catalan workshops, the inclusion of painted geometric or heraldic elements on thrones was a common practice, often linking the figure to ecclesiastical or noble patronage. The throne's solid, rectangular structure reflects the continued influence of Romanesque aesthetics in Spain, where monumental religious sculpture retained an emphasis on geometric solidity and ornamental detail. This type of enthroned Madonna was widely produced for use in altarpieces (retablos) or private devotional settings, where such images served as focal points for prayer and veneration.Artist: Spanish SchoolIssued: Circa early 15th centuryDimensions: 13"L x 9"W x 28"HCountry of Origin: France/SpainProvenance: John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic loss of color.

Adam Francis Watson (Sheffield 1859-1932): 'Looking Towards Ravenscar', oil on canvas unsigned, titled and attributed verso 31cm x 41cm Notes: Watson was an important Sheffield-based architect, one half of the architectural firm Holmes and Watson alongside Edward Holmes (1859-1921). Together, they were responsible for many fine public and private buildings in the north of England. Watson was also an accomplished painter, although left the majority of his works unsigned.

Anna Ehrner (Swedish 1948-) for Kosta Ovoid Vase Circa 1980s, clear bodied with khaki rim and foot, the body sectioned in muted tones, signed Kosta 48206 Ehrner. 16.5cm high The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society Scratch to one side and several tiny nicks, would benefit from a professional polish, no other issues to note.

Timo Sarpaneva (Finnish 1926-2006) for Iittala Pair of "Bolero" Candle Holders & Five Others Including a set of three "Poppa" candle holders designed by Valto Kokko, all except single "Poppa" bearing Iittala label. "Bolero" candle holders 14.5cm diameter The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society Light generalised wear but overall good without damage.

Vicke Lindstrand (Swedish 1904-1983) for Kosta Two "Contour" Vases Circa 1950s, of teardrop and flattened ovoid form, both with internal black trailing, the former and taller signed LH 1238, the latter Kosta LH 1242. The taller 18cm high The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society The smaller with a couple of very small surface nibbles, otherwise light generalised wear but no other damage to note.

Per Lütken (Danish 1916-1998) for Holmegaard Three Vases Comprising a large tapered "Smoke" vase and two "May Green" vases, the taller circular and the smaller oval, all signed PL Holmegaard and variously numbered. The tallest 23cm high The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society The smallest with fleabites to foot but otherwise light generalised wear, no damage to note.

Per Lütken (Danish 1916-1998) for Holmegaard Two Graduated "Fionia" Glass Bowls In ice blue colourway, both signed PL Holmegaard, the larger no. 14825, the smaller dated 1960. The larger 30cm wide The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society Light generalised wear, no damage to note, smaller has several nibbles and further fleabites around foot.

Vicke Lindstrand (Swedish 1904-1983) for Kosta "Multi-Thread" Vase Circa 1960s, inverted ovoid form, the clear body with encased air bulb and helix-effect two-tone internal trailing, signed LH 1859. 13.3cm high The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society A very small nick to base, otherwise very light generalised wear, good overall.

Vicke Lindstrand (Swedish 1904-1983) for Kosta "Smoke Blue" Vase and Two Clear Glasses Circa 1950s/60s, all signed and variously numbered. The first and tallest 19cm high The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society The tallest with scratches in a line to one side, smallest with small light scratches and tiny nicks.

Monica Backström (Swedish 1939-2020) for Kosta Boda Large "Terra" Vase Circa 2004, shaped spherical and pinched form, bearing Kosta Boda label and signed Kosta Boda M. Backström 7040346. 19cm high The William "Bill" Davies Collection of Scandinavian Glass. Bill Davies led a very successful career as an architect, primarily working in his native Wales, with his most celebrated project being the Plas Menai complex situated on the Menai Strait which serves as the National Watersports Centre for Wales and has been awarded Grade II and II* status - it was described as 'arguably the most admired and influential building completed in Wales in the last quarter of the twentieth century’ by Professor Richard Weston*. Bill was also commissioned for architectural work by Cardiff University and indeed served as a Lecturer in Design at the institution, playing a major part in developing the course into one of the highest rated in the United Kingdom.His major inspirations were the celebrated American architect Frank Lloyd Wright and the leading Finnish designer Alvar Aalto: from this stemmed Bill's enthusiasm for all aspects of mid-century design with the glass of Scandinavia becoming his particular passion, or rather, obsession. Invariably accompanied by his beloved late wife Maureen, Bill attended glass fairs around the UK and made buying trips to Scandinavia, amassing his extensive collection with a keen eye and canny judgement that pre-empted market trends by decades with his focus on Vicke Lindstrand, Oiva Toikka, Tapio Wirkkala, Timo Sarpaneva and many other notable designers.Wilson55 Auctioneers & Valuers are honoured to have been instructed to bring the William "Bill" Davies Collection of Scandinavian Glass to auction as part of our 4th December Modern Art & Design sale and we hope that you enjoy browsing this fantastic collection.*Credit: Twentieth Century Society One tiny surface nick or imperfection from manufacture, one tiny and light scratch, overall good and well presented.

David McDermott & Peter McGough (1952-, 1958-) a group 31 of platinum-palladium photographic prints and salt prints of mostly architectural and historical subjects including the Garden of Versailles, some inscribed and annotated, various sizes, with some duplication

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak 'Easy' armchairs, circa 1955 78 x 53 x 63cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak 'Easy' armchairs, circa 1955 78 x 53 x 63cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture. There is a repair to the rear leg of one of the chairs. Both chairs have minor repairs to their arms. There are minor scratches and dings throughout both chairs but overall in good condition according to age and use. Please refer to the additional images.

Pierre Jeanneret (1896-1967) for Chandigarh, a set of four caned teak PJ-010100T chairs, known as 'Office cane chairs' or 'Secretariat Chairs', painted 'PU' in Punjab for Punjabi University 78.5 x 50 x 49.5cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture. There is one chair with one repair on its arm and another chair with two repairs on its arms. All chairs have sections of fading, some scratches and dings. Please see additional images.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of caned teak stools, circa 1965, each with a dished circular seat raised on tapering supports, united with a cruciform stretcher 69cm high Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a model 'PJ-010903' teak and cane bench, circa 1955 46 x 138.5 x 46cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a model 'PJ-010902' slatted teak bench, circa 1955 44 x 138.5 x 46cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of model 'PJ-Si-34-A' caned teak low stools, circa 1955, the slightly dished tops each on a pair of A-shaped legs united by a stretcher 44 x 41 x 30.5cm Provenance: From a private collection, purchased in India during the 1980s Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a pair of circular teak stools, circa 1965, each with a dished circular seat raised on tapering supports, united with an iron ring foot-rest, painted number ZOO-092 to one 55.5cm high Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

Pierre Jeanneret (1896-1967) for Chandigarh, a set of four caned teak PJEC-010301 Library chairs known as 'Cane wood seat back chair', painted 'Chd. Lib' for Chandigarh Library 76 x 47 x 45.5cm Pierre Jeanneret, a Swiss-French architect and designer, played a pivotal role in shaping the modernist identity of Chandigarh, India’s first planned city after independence.Born in Geneva in 1896, Jeanneret graduated from the École des Beaux-Arts in 1921. He collaborated closely with his cousin, the legendary modernist Le Corbusier (Charles-Édouard Jeanneret), on seminal projects like the iconic Villa Savoye and co-authored the influential Five Points of Architecture. While Le Corbusier’s contributions to modernist architecture are widely and exhaustively celebrated, it was Jeanneret’s work in Chandigarh that truly distinguished him, demonstrating his mastery of functional and context-sensitive design.The city of Chandigarh was conceived as a symbol of India’s aspirations in the wake of independence in 1947. Prime Minister Jawaharlal Nehru envisioned a modern, planned city for Punjab to reflect the country’s commitment to progress and growth. While Le Corbusier drafted the city’s master plan, Jeanneret stayed on-site for over fifteen years, overseeing the design and construction of its buildings, residences, and furniture. His approach combined modernist ideals with local materials and techniques, ensuring that the city’s architecture was both practical and in harmony with its environment.Jeanneret’s visual language was characterised by simplicity, clean lines, and functionality. His architectural designs often featured sloping roofs, open layouts, and perforated concrete screens, which provided natural ventilation and light in Chandigarh’s warm climate. He also used local materials like teak and rattan, as seen in the present lots, blending modern design principles with regional traditions. His most iconic contribution was the Chandigarh Chair, designed for government offices and educational institutions. With its distinctive V-shaped legs, angular frame, and woven cane seat, the chair exemplified his commitment to creating furniture that was both practical and aesthetically refined.Although Jeanneret’s designs were utilitarian in their time, they have since gained global recognition. The Chandigarh Chair, once a common feature of institutional spaces, is now a highly coveted collector’s item, prized for its timeless elegance and craftsmanship. This revival has sparked renewed appreciation for Jeanneret’s broader contributions, solidifying his legacy as a pioneer of modernist design.Jeanneret’s work in Chandigarh remains a testament to the transformative power of thoughtful, human-centred design. His buildings and furniture continue to embody the city’s spirit of progress and innovation, demonstrating how modernism can enrich daily life while respecting local context and culture.

John Dando Sedding: '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', London, Printed for Subscribers only by B.T. Batsford, 1892, limited edition, one of 250 copies only, portrait frontis + 33 plates complete, some leaves loose, folio, original boards worn

A selection of clocks, comprising: a Victorian black slate and marble mantel clock, with Arabic dial, within architectural case, 23cms high; a President quartz miniature mantel clock; and a Ingersoll quartz miniature mantel clock; together with a Magneto-Electric Machine, for nervous diseases, by S. Maw, Son & Thompson, in box. (4)

A. D. Mougin: A French onyx and gilt metal clock and garniture, the central pendulum clock with white Arabic dial decorated with floral springs, within gilt metal floral encrusted case mounted by an onyx and gilt metal urn finial, over an architectural base with column supports, retailers mark of Mesnard & Fils, Bordeaux to dial, 45cms high; and a pair of onyx and gilt metal twin branch candlesticks.

A 19th century bronze architectural model, of Napoleon, in the Grand Tour manner, he stands with his arms crossed on a square base supported by a Tuscan column, stepped circular plinth, 32.5cm high overall, lead weighted, c. 1880

The Cabinet of Curiosities - an Indian pearl shell pearl posy vase, engraved with a titled architectural view, South India Temple, 11cm wide, c.1900

An interesting folio of watercolours, prints, and works on paper, various figurative, topographical and other subjects; another, charcoal architectural elevations, railway station, etc (2)

A French gilt metal mounted alabaster cartouche shaped inkstand, architectural hinged cover, the mounts pierced and moulded with foliate scrolls, 15cm wide, c.1880

Book – architectural: Jewitt (Llewellyn, FSA) & Hall (S. C., FSA), The Stately Homes of England, London, Virtue, Spalding & Daldy, n. d. [1870], 8vo, xi + 399pp, 210 woodcut illus., also extra illus. pasted in to endpapers, describing 13 seats: Alton Towers, Cobham, Mount Edgecumbe, Cothele, Alnwick, Hardwick, Arundel, Penshurst, Waewick Castle, Haddon, Hatfield, Cassiobury [dem.] & Chatsworth, gilt edges, black and gilt embossed red bevelled boards, and to spine, (slight wear, spine faded) (1)

A 19th century oak novelty interior-architectural finial or newel post carving, as a comical man balancing a ball on his head, 28cm high

William G. Boswell (mid-century), a collection of topographical and architectural ink drawings and studies, including Hardwick Hall Derbyshire, Holme Pierrepont Nottingham, East Markham Nottinghamshire, Attenborough, etc, mostly signed, the largest 34cm x 25cm (qty)

English Naïve School (19th century)Herding Cattle, in a Landscape of Billowing Chimneys and Architectural Featuresprimitive folk art oil on panel, 12.5cm x 18cm, mahogany frame, 20cm x 27cm overall

A late Victorian oak table top dinner gong, the silver plated bell within an architectural portico, rectangilar base, 31.5cm high, c.1900

A 19th century Ottoman style bronze deed box or casket, the domed architectural cover topped with three Alhambra cap finials, bracket feet, 13cm high overall

A 19th century architectural composition portrait bust, of a gentleman, turned marble socle, 41cm high

Architecture - a 19th century sketch book, containing watercolour studies of buildings and architectural details, mostly ecclesiastical Gothic, many annotated, Galilee [Porch], Ely; West Tower, Ely; Prior Chancellor's Chapel; Fressingfield, Suffolk; Pulham St Mary, Norfolk; Hereford; Wells; St Mary's Abbey, York;,Oundle; others, tooled and gilt boards

Books – Architecture: Winkles (Henry, 1801-1860 & Benjamin), Winkles’s Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, the Drawings made from Sketches taken expressly for the work by Robert Garland, architect, with Descriptions by James Moule, 3 Vols., London, Effingham Wilson, 1836, royal 8vo, each volume with neat MS flyleaf inscription ‘Fanny Neame/1844’, engraved titles, gilt edges, gilt embossed red Morocco boards, gilt lines and titles to spines (scuffing to spines), Vol I: xx + 144pp, 60 engraved views an d plans; Vol. II: viii + 140pp, 59 engr. views and plans, & III: xvi + 160pp, 59 engr. views and plans (3)

Three Chinese architectural screen panels, each with pierced and carved centres, etc., 194cm high, 54cm wide. (AF)

Architectural Salvage - Early 20th century cast iron feeding trough. Of rectangular form with twin sections having gallery ends of arched form. Measures approx: 22x84x33cm

This meticulously crafted 1:500 scale model of the Carnival Fantasy faithfully reproduces the grandeur and elegance of the iconic cruise ship. Designed with extraordinary attention to detail, the model features the ship's signature red-and-blue funnel, lifeboats, and exterior staircases rendered with precision. The painted hull and deck details reflect the vibrant colors and architectural elements that defined Carnival's Fun Ship branding. The decks include miniature details such as pool areas, walkways, and lounge chairs, accurately mimicking the ship's original layout. The Lido deck's famous water slide and poolside features are recreated to scale, along with other onboard amenities. The ship's name Fantasy is prominently displayed on the hull and funnel, matching the style and branding of the real vessel. The model is mounted on a polished wooden base, accompanied by a brass plaque engraved with Carnival branding and key specifications, adding an air of authenticity and luxury to the display. The acrylic case provides an unobstructed view of the model while protecting it from dust and damage, making it an excellent centerpiece for a collector or maritime enthusiast. Historical Context of the Carnival Fantasy: The Carnival Fantasy was a groundbreaking vessel when launched in 1990. At the time, it was one of the largest and most advanced cruise ships in the world, introducing features that became standard across the industry. Known for its lively entertainment, diverse dining options, and iconic design, the Fantasy was a flagship for Carnival's Fun Ship experience. It carried millions of passengers over its 30 years of service before retiring in 2020. This item has a base included. Issued: 20th centuryDimensions: 23"L x 6.75"W x 8"HCondition: Age related wear.

CHILD, Thomas. Views of North China. EARLY PHOTOGRAPHY. A collection of 65 albumen prints ranging in size from 122mm x 187mm to 230mm x 343mm, 39 pasted on card album leaves, 26 loose or held in corner-mounts (i.e. not stuck down), 20 of the photographs bearing Thomas Child's signature in the negative and dated 1875-78, many accompanied by pasted captions & numbers, most images well-preserved, especially the loose examples, a few with creasing & wear, housed in a folio album bound in half crushed morocco, views include "Garden of Summer Palace, near Pekin", "White Cloud Temple, near Pekin", "Yuen-Ming-Yuen Palace, Pekin", "Ruins of Summer Palace, Pekin", "Camel-back Bridge, Pekin", "View of River from English Club, Shanghai", "The Bund, Shanghai", "Silver Island, Yang-tze-kiang River", "Tien-tsin, from River Pei-ho", "Steamer frozen in Peiho River", "Sedan-Chair and Bearers", several depicting mining operations, workers, incense & tea shops, street scenes, exteriors & interiors of temples, and others, plus one incongruous image of Llandudno. An important archive of early photography showing buildings and people in the Chinese city of Peking [now Beijing] during the late-Qing dynasty. [1870-80] ❧ Thomas Child (1841-1898) was an English gas engineer and amateur photographer who produced some of the earliest and the only known photographic records of architectural subjects in Beijing

Mid-20th century carved hardwood chest, the rectangular hinged top with decorative strap hinges, the front and sides deeply carved with medieval-style jousting knights, heraldic shields, and architectural elements, raised on shaped block feetDimensions: Height: 53cm  Length/Width: 111cm  Depth/Diameter: 53cmCondition Report:Hinged top exhibits warping, preventing it from sitting flush when closed.

Gründerzeit-Tischregulator mit Spieluhr. Junghans. Ende 19. Jh. Werk mit Stundenschlag auf Spieluhr, seitlicher Hebel für Stundenrepetition. Im Kurzzeittest funktionstüchtig. Gemarktes, weißes Lackzifferblatt mit römischen Zahlen, Minutenkranz und Breguet-Zeigern. Hart- und Weichholz, teils lasiert, teils ebonisiert. H 43 cm. 2,5 kg. Architektonisches Gehäuse mit geschweiftem Giebel, Frontverglasung und weit vorkragendem Sockel. Stuckvergoldete, klassizistische Zierleisten und Applikationsschmuck. Leichte Alters- und Gebrauchsspuren. Mit Schlüssel und Pendel. Aufrufzeit 27. | Feb. 2025 | voraussichtlich 15:11 Uhr (CET) Founding-era table regulator with music box. Junghans. Late 19th century Movement with hour strike on music box, lateral lever for hour repeater. Functional in short time test. Marked, white lacquered dial with Roman numerals, minute ring and Breguet hands. Hardwood and softwood, partly glazed, partly ebonized. H 43 cm. 2.5 kg. Architectural case with curved pediment, front glazing and widely projecting base. Stucco-gilt, classicist decorative strips and appliqué decoration. Slight signs of age and wear. With key and pendulum. Call time 27 | Feb. 2025 | probably 15:11 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Ring mit Farbstein, wohl Spinell. Roségold 585 gestempelt. Ringgröße 60. 3,0 g. Älterer Ring mit zargengefasstem roten Farbstein, wohl Spinell, in breiter Ringschiene, die Ringschultern mit architektonisch anmutendem Bandwerk verziert. Innenseitig Spuren einer früheren Ringweitung. Aufrufzeit 26. | Feb. 2025 | voraussichtlich 15:01 Uhr (CET)Ring with colored stone, probably spinel. Stamped rose gold 585. Ring size 60. 3.0 g. Older ring with bezel-set red colored stone, probably spinel, in a wide ring band, the ring shoulders decorated with architectural bandwork. Traces of an earlier ring widening on the inside. Call time 26 | Feb. 2025 | probably 15:01 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Friedrich II. zu Pferde mit Sockel. Fürstenberg. F-Marke, 20. Jh. Modell-Nr.: 418. Entwurf: 1779/80 nach einer Skulptur von Emanuel Bardou (1744-1818). SCHUBERT, Carl Gottlieb (1730-1808) Polychrom bemalt, goldstaffiert. H gesamt 51 cm. Plastik des Preußenkönigs Friedrich II. zu Pferd (H 29,5 cm). / Architektonischer Sockel mit Trophäenreliefs und dem Monogramm "FR" (= Fridericus Rex). Plinthe der Reiterfigur, Zügel und Degen restauriert, kleiner Haarriss im Sockel. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 16:15 Uhr (CET)Friedrich II on horseback with pedestal. Fürstenberg. F mark, 20th century Model no.: 418. Design: 1779/80 after a sculpture by Emanuel Bardou (1744-1818). SCHUBERT, Carl Gottlieb (1730-1808) Polychrome painted, gilt. H 51 cm in total. Sculpture of the Prussian King Frederick II on horseback (h 29.5 cm). / Architectural base with trophy reliefs and the monogram "FR" (= Fridericus Rex). Plinth of the equestrian figure, reins and sword restored, small hairline crack in the base. Call time 28 | Feb. 2025 | probably 16:15 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Friedrich II. zu Pferde mit Sockel. Fürstenberg. Jubiläumsmarke 1741/1922. Modell-Nr.: 418. Entwurf: 1779/80 nach einer Skulptur von Emanuel Bardou (1744-1818). SCHUBERT, Carl Gottlieb (1730-1808) Weiß. H gesamt 48 cm. Plastik des Preußenkönigs Friedrich II. zu Pferd (H 29,5 cm). / Architektonischer Sockel mit Trophäenreliefs und dem Monogramm "FR" (= Fridericus Rex). Degen und Gehstock restauriert, linker Steigbügel defekt, Bestoßung am Stand des Sockels. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 16:16 Uhr (CET)Friedrich II on horseback with pedestal. Fürstenberg. Jubilee mark 1741/1922. model no.: 418. design: 1779/80 after a sculpture by Emanuel Bardou (1744-1818). SCHUBERT, Carl Gottlieb (1730-1808) White. H 48 cm in total. Sculpture of the Prussian King Frederick II on horseback (h 29.5 cm). / Architectural base with trophy reliefs and the monogram "FR" (= Fridericus Rex). Sword and walking stick restored, left stirrup defective, wear to the base. Call time 28 | Feb. 2025 | probably 16:16 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

KAUFMANN, Karl(1843 Neuplachowitz - 1905 Wien) Romantische HafenansichtÖl auf Leinwand. Pseudonym-Signatur: L van Howe. 69 x 105 cm. Gerahmt : 84 x 120 cm (Goldrahmen); 5,3 kg. Originaler Keilrahmen mit altem Klebezettel: Kunst Salon Hermes, profilierter Goldrahmen mit weiß gefasster Leiste. Rückseitig ein Flicken. Kaufmann (Carl), Landschafts- und Architekturmaler, studierte an der Akademie in Wien. Bereiste Europa, signierte mit diversen Pseudonymen * Partnerauktion Bergmann. Literatur : Benezit (2006), Thieme-Becker (1907-1950), Fuchs (1973, 1978). Aufrufzeit 01. | März 2025 | voraussichtlich 17:22 Uhr (CET) KAUFMANN, Karl(1843 Neuplachowitz - 1905 Vienna) Romantic Harbour ViewOil on canvas. Pseudonym signature: L van Howe. 69 x 105 cm. Framed : 84 x 120 cm (gold frame); 5.3 kg. Original stretcher with old adhesive label: Kunst Salon Hermes, profiled gold frame with white border. A patch on the reverse. Kaufmann (Carl), landscape and architectural painter, studied at the Academy in Vienna. Traveled Europe, signed with various pseudonyms * Partnerauktion Bergmann. Literature : Benezit (2006), Thieme-Becker (1907-1950), Fuchs (1973, 1978). Call time 01 | March 2025 | probably 17:22 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

HARTMANN, Hans(1845 Berlin - 1898 ebd.) Vanitas StillebenÖl/Leinwand. Rechts unten signiert. 29.5.(18)88. 40 x 30 cm; 0,6 kg. Schädel neben Fächer, Buch, Pfauenfeder und anderen Gegenständen. Farbabsplitterungen. Landschafts- und Architekturmaler in Berlin, Schüler von H. Eschke, stellte 1864/92 in der Berliner Akademie aus. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 20:15 Uhr (CET) HARTMANN, Hans(1845 Berlin - 1898 ibid.) Vanita's still lifeOil/canvas. Signed lower right. 29.5.(18)88. 40 x 30 cm; 0.6 kg. Skull next to fan, book, peacock feather and other objects. Paint chipping. Landscape and architectural painter in Berlin, pupil of H. Eschke, exhibited at the Berlin Academy in 1864/92. Literature : Thieme/Becker. Aufrufzeit 01. | March 2025 | probably 20:15 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Emaildose mit Landschaftsmalerei. Staffordshire. Um 1770. Kupfer, weißes Email mit grünem Fond, goldstaffierte Kartuschen mit Emailmalerei, Messingmontierung. 7 x 11 x 9,5 cm. Große Tabatiere. Auf dem bombierten Scharnierdeckel und auf allen Seiten intensivgrüner Fond und Kartuschen mit bukolischen Landschaften; einige mit Staffagefiguren und teils antiken Architekturelementen. Der Boden und innen jeweils weiß emailliert. 2 Abplatzer an der Bodenkante, geringe Haarrisse innen. Aufrufzeit 26. | Feb. 2025 | voraussichtlich 18:17 Uhr (CET)Enamel box with landscape painting. Staffordshire. Circa 1770. Copper, white enamel with green ground, gold-decorated cartouches with enamel painting, brass mounting. 7 x 11 x 9.5 cm. Large tabatiere. On the cambered hinged lid and on all sides an intense green background and cartouches with bucolic landscapes; some with staffage figures and partly antique architectural elements. The base and inside each enameled in white. 2 chips to the base edge, minor hairline cracks inside. Call time 26 | Feb. 2025 | probably 18:17 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

EDWARD LE BAS (BRITISH 1904-1966): ARCHITECTURAL PLANS, PEN AND INK 'DESIGN FOR A SMALL HOUSE AT MOOR PARK, DONE ACCORDING TO THE CONDITIONS OF THE COUNTRY LIFE COMPETITION'75cm x 53cm each.From an art folder containing drawings by Edward Le Bas.

A stereoscopic slide viewer, with an assortment of slides, to include a series of macabre coloured satanic scenes, a view of a gentleman sat upon a rowing boat before the Tay Rail Bridge, various European city architectural views etc.; together with a part-filled Everyland Stamp Album (3) Condition Report:Available upon request

A VARIOUS LOT  To include a folio with anatomical, architectural, designs and fashion watercolours, three silhouette portraits and a miniature portrait (5) Condition Report:Available upon request

A VARIOUS LOT To include miscellaneous decorative architectural prints and drawings (9) Condition Report:Available upon request

Edwardian oak wheel barometer in architectural style, the face marked F Robson Dean Street Newcastle on Tyne. 75cm high approx. (B.P. 21% + VAT)

20th century black slate and marble architectural clock garniture, the clock with yellow metal mounts and two handled urn finial and having two yellow metal five branch candelabrum supporters. French two-train movement, the clock 57cm high approx. (3) (B.P. 21% + VAT)

A striking Royal Doulton stoneware salt glazed vase featuring the "Watchman, What of the Night?" pattern. This unique piece is decorated with hand drawn and painted illustrations of a lone watchman standing beneath a moonlit sky, accompanied by detailed architectural elements of a quaint village scene. The vase's tall, columnar form is complemented by a glossy salt glaze finish, enhancing the intricate detailing and historical charm of the design. Royal Doulton backstamp. Rd No. 383666. Issued: 20th centuryDimensions: 11.75"HCountry of Origin: EnglandCondition: Age related wear.

Mid-Century Glass Coffee Table Having a waterfall plate glass top set on a conical shape aluminum leg, retaining Architectural Objects, Chicago label Property from: a Private Collector, Kankakee, Illinois Height: 14 inches, Width: 40 inches, Depth: 26 1/2 inches Condition: overall light wear consistent with normal use, minute surface scratches to top, tightening bolt missing on leg Category: Modern Design > Tables Estimated Sale Time: 11:51 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3

A 19th century mercury pendulum slate clock garniture with escapement mount, architectural style and a pair of tazzas with columns.

AN ITALIAN MARBLE AND ALABASTER CIRCULAR TABLE 19TH CENTURYthe top inlaid with an architectural motifs within inlaid geometric band and outer border in mottled grey, yellow and ochre tones on foliate carved baluster column and leafy circular base . 76cm high; 70cm diameter