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TWO VICTORIAN ALABASTER CASED MANTLE CLOCKS, to include a single train drum head clock with visible escapement and an architectural gong strike example signed Japy Freres, tallest H 28 cm (2)

A GREEN VARIEGATED ONYX CASED MANTLE CLOCK OF ARCHITECTURAL FORM, having various gilded brass finials and side pillars, the eight day movement striking on a single coiled gong, H 38 cm

A large and unusual Victorian walnut table top thermometer, the opaque glass register inscribed Wood Abraham's, Liverpool & Manchester, architectural cresting, turned circular base, 40cm high, c.1880

A pair of 19th century Continental gilt damascened steel scissors, decorated with architectural views, 18.5cm long

Architectural History - Folk Art - Treen - Historic Buildings - an oak panel, carved with a view of God’s Providence House, Chester, the timbered facade inscribed to the beams God’s Providence Mine Inheritance, WR MR 1652, indistinctvMS label to verso, 22cm highThe name God’s Providence House is believed to derive from the legend surrounding the 14th century building which previously occupied the site that its occupants were the area’s only survivors of a plague outbreak in 1647-48.

A substantial Victorian stone architectural pocket watch stand, carved as a Gothic doorway, panelled spire above provision for a timepiece, flanked by a pair of recumbent lions, 41cm high, dated 1869

Architectural Antiques and Reclamation - an early 20th century carved and parcel-gilt advertising plaque, Antique Fireplaces, 36cm wide

A pair of late 19th century black marble library porticoes, each architectural cornice with bas relief entablature, above a figure flanked by reeded pillars, 28cm high, c.1880

A satinwood press,late 19th century, with an architectural pediment, urn finials, and two panelled doors enclosing slides, above two short and two long drawers, banded with tulipwood, on splayed bracket feet,138.5cm wide57.5cm deep228cm highCondition ReportThe figured panelled doors have faint shrinkage cracks to knotted areasThere are small veneer losses to the corners of the doors

Kaizo Oto for Design Institute of America, United States. Memphis style geometric console tale ca. 1980s. Brass, lacquered steel, stainless steel, and glass. The architectural styles use geometric shapes to create a "furniture as art form" table.Height: 27 1/2 in x width: 48 in x depth: 14 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Caucasian handwoven wool prayer rug, possibly Kazak or Afghan. Depicting the architectural forms of a mosque including a minaret in the center with geometric borders. Woven in reds, blue, white, yellow, and and olive green.Length: 4 ft 2 in x width: 2 ft 9 in.Condition: The colors are bold and deep. There are no rips, major losses, or apparent restorations. There are patches of threadbare and missing pile throughout, notable spots including along the center and the upper left corner. There is wear and missing fringe throughout along both sides. Light wear to the back. Some light dust and soiling throughout.

COSTA LUCIO: (1902-1998) Brazilian Architect. A renowned urban Planner, best known for his plan of Brasilia. An exceptional A.L.S., `Lucio Costa´, four pages, folio, Rio de Janeiro, 23rd May 1966, on the "Ministerio da Educaçao e Cultura" printed heading, to Anthony Krafft, in French. A very interesting letter, fully related to architecture, with Costa´s thoughts, and with multiple references to history, works and architects. Costa states in part `Indépendamment de la fonction, il y a "in abstrato" et sous-jacente, une intention que commande la création architecturale - soit-elle un objet, un batiment, une ville -, de sorte que l´adaptation de la forme a la fonction peut conduire a des résultats singulierement différenciés. Je vous donne un exemple historique Brésilien. Au XVIII siecle…´ ("Independently of the function, there is "in abstrato" and underlying, an intention that the architectural creation commands - be it an object, a building, a city - so that the adaptation of form to function can lead to singularly differentiated results. I will give you a Brazilian historical example. In the 18th century…") Costa continues with historical references and examples, saying `Dans la premiere moitié du siècle dominait encore l´esprit d´ostentation et d´opulence a la Louis XIV, - courbes et contre-courbes lourdes, de l´or, du bleu foncé, du rouge et du noir; dans la seconde période c´était déja l´élégance et la grace de l´esprit Louis XV qui prévalait: courbes et contre-courbes acquirent de la souplesse, l´emploi de l´or se fit moins ostensif, le bleu devint clair, le rouge rose, le blanc et le gris remplacerent le noir. Cela montre que la relation forme-fonction doit etre envisagée en tenant compte de l´intention qui commande le processus d´intégration formelle´ ("In the first half of the century, the spirit of ostentation and opulence in the Louis XIV style still dominated - heavy curves and counter-curves, gold, dark blue, red and black; in the second period it was already the elegance and the grace of the Louis XV spirit which prevailed: curves and counter-curves acquired suppleness, the use of gold became less ostensive, the blue became clear, pink instead of red, white and grey replaced black. This shows that the form-function relationship must be considered taking into account the intention that drives the process of formal integration") Lucio Costa further refers to today´s date concepts and to Le Corbusier, stating in part `L´idéal de clareté et de pureté formelle géométrique de la Renaissance a refoulé en Europe la conception formelle dynamique (gothique). Aujourd´hui, grace a la technologie moderne qui permet des structures où la tension prédomine, on observe, un peu partout, le retour au dynamisme formel. Il y a meme les prétentieux de l´art dit prospectif qui prétendent ensevelir, des maintenant, avec son corps, l´oeuvre de Le Corbusier. Ils oublient sa belle structure (gothique) du toit suspendu de la grande salle du Palais des Soviets, le Pavillon improvisé de "L´Esprit Nouveau" (1937) et le Pavillon Philips de Bruxelles. Le Corbusier avait l´esprit ouvert a tous les vents. Dans sa premiere phase de conception statique prévalait, avec le contrepoint dynamique de sa peinture; apres Ronchamp l´intégration des deux concepts s´établit. L´intégration qui est le fondement meme de l´art des temps nouveaux´ ("The Renaissance ideal of clarity and geometric formal purity drove dynamic formal design (Gothic) back to Europe. Today, thanks to modern technology which allows structures where tension predominates, we can observe, almost everywhere, a return to formal dynamism. There are even the pretentious of the so-called prospective art who claim to bury, from now on, with his body, the work of Le Corbusier. They forget his beautiful structure (Gothic) of the suspended roof of the great hall of the Palace of the Soviets, the improvised Pavilion of "L´Esprit Nouveau" (1937) and the Philips Pavilion in Brussels. Le Corbusier was open to all new visions. In his first phase of static design prevailed, the dynamic counterpoint of his painting; after Ronchamp the integration of the two concepts was established. Integration which is the foundation itself of the art of the new times") Further again Costa adds his conclusions on his function and form theory. VG Anthony Kraft (1928-1991) Swiss journalist and editor of architecture works.

A FRENCH LOUIS XV ORMOLU CARTEL TIMEPIECEJEAN-BAPTISTE BAILLON, THE CASE POSSIBLY BY JEAN-JOSEPH DE SAINT-GERMAIN, PARIS, MID 18th CENTURYThe four columnar pillar single train movement now with anchor escapement regulated by disc bob pendulum with silk suspension, the backplate with pillars pinned at the rear and signed J.B. Baillon AParis to lower edge, the 5.5 inch slightly convex white enamel Roman numeral dial signed J'N BAPTISTE, BAILLON to centre within chapter ring incorporating raised gilt fleur-de-lys half hour markers and with Arabic five minutes beyond the minute track, with very fine scroll pierced and engraved gilt brass hands set behind hinged convex glazed cavetto moulded cast gilt brass bezel, the case richly cast with generous stylised foliate scrolls with fluted pierced architectural rococo surmount over a series of full-height open leafy floral sprays entwined at the base and rising to envelop the sides, incorporating flowerhead decorated brass lattice grille fret infill behind the foliage and with further mesh panels beneath the dial, the rear flush-finished incorporating hinged circular panel to access the movement, (previously with silent-pull quarter repeat mechanism - now removed).52cm (20.5ins) high, 27cm (10.5ins) wide, 12cm (4.75ins) deep. Jean-Baptiste Baillon was the third generation in a family of clockmakers to carry his name and became one of the most celebrated Parisian clockmakers of the mid 18th Century. In 1727 he was received as 'Valet de Chambre-Horloger Ordiniaire de la Reine' and was elevated to 'Premier Valet' after the death of Claude Martinot in 1744. By this time he was working from Place Dauphine (from 1738) but relocated to Rue Dauphine in 1751. In 1753 Ferdinand Berthoud described Baillon's workshops as the 'finest and richest Clock Shop'. Baillon employed the leading case makers of the day including J. B. Osmond, Jean Joseph de Saint-Germain and B. Lieutaud. Jean-Baptiste Baillon died in 1772, by this time he also held the position of 'Premier Valet de Chambre-Horloger Oridinaire de la Dauphine' and Marie-Antoinette.  The form and detailing of the generous rococo scrollwork within the case of the current lot, together with the inclusion of flowerhead decorated lozenge grille frets, are comparable to related features on a case attributed to Jean-Joseph de Saint-Germain, for an important musical clock by Baillon, which was sold at Artcurial, Paris, 20th May 2019 (lot 33). Jean-Joseph de Saint Germain was born in Paris 1719 and by the mid 1740's had become established at rue Saint-Nicolas where he was described in a trade directory as a 'master in chasing, modelling and founding, makes and sells all kinds of boxes and bases in tortoiseshell, gold, bronze, cabinet fittings, fire irons, grills, chandeliers, girandoles, pendulum bases, cartel clocks of all kinds, elephant, lion, bull and other wax models at a fair price'. Perhaps his most famous product were his rhinoceros clocks which were much favoured by the French Royal family which were modelled on an animal named Clara who was imported into Rotterdam by the Bengal Director of the VOC in 1741 and toured Europe until her death in 1758. Jean-Joseph de Saint-Germain retired in 1776. 

A QUEEN ANNE BLACK JAPANNED EIGHT-DAY LONGCASE CLOCKTHE DIAL INSCRIBED FOR ANDREW AND ELIZABETH TURGENS, DATED 1714The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, star decorated subsidiary seconds dial, scroll bordered calendar aperture and applied oval silvered plate engraved Andrew Elizabeth, Turgens Anno, 1714 to the matted centre, within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with pierced steel hands and twin cherub and crown cast spandrels to angles, in a case with architectural cornice and gilt scroll decorated frieze over hinged glazed dial aperture applied with three-quarter columns to front angles, the sides with rectangular windows and quarter columns applied to the rear edge, the trunk with traces of gilt painted foliage to throat moulding over brass lenticle centred rectangular door decorated in gilt and polychrome with unusual design incorporating a canopy suspending a Dutch style chandelier and floral motifs over Ho-Ho birds to lower margin within line-scribed border incorporating stylised gilt shell motifs at the angles, on a plain plinth base with ogee top moulding and moulded skirt.213.5cm (84ins) high, 49.5cm (19.5ins) wide, 23.5cm (9.25ins) deep. No clockmaker with the surname Turgens is recorded in any of the usual sources, however the presence of both male (Andrew) and female (Elizabeth) together with a date (1714) would suggest that the inscription most likely commemorates the marriage of the original owners. The japanned decoration to the trunk door is unusual in that it departs form the usual generic chinoiserie motifs and prominently features a Dutch style brass chandelier complete with lit candles. It may be that this motif had some significance to the original owners who, for example, could have been chandlers.   Condition Report: Movement is in dirty/neglected condition however appears to be fundamentally all-original with no visible evidence of alteration or noticeable replacements. A clean/service is probably all that it requires. The dial again is dirty/tarnished but appears essentially original except for the hands. The movement retains its original seatboard which rests directly onto the cheek uprights of the case which have been notched-down to accommodate the level of the seatboard - this is probably the original arrangement hence movement and dial are probably original to the case. The case is generally intact but the finish is generally distressed with historic lifting/cracking/rubbing and small losses throughout resulting in heavily patinated finish with the gilt details appearing faint. The hood cornice moulding has a replaced section towards the right-hand edge. The rear quarter columns do not match the front columns so are probably replacements. The plinth and skirt has been replaced and has ebonised finish only - the rear edge has been cut to clear a skirting board. Structurally the case is sound.Clock has pendulum but no weights, case key or winder and pulleys are also missing. Condition Report Disclaimer

A WILLIAM III EBONISED THIRTY-HOUR LONGCASE CLOCK WITH VERGE ESCAPEMENT AND TEN-INCH DIALJOHN CLARKE, LONDON, CIRCA 1695The single-handed posted countwheel bell striking movement with verge escapement regulated by short bob pendulum swinging to the rear of the frame and square section corner posts riveted to the bottom plate and screwed to the top plate, the 10 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and signed Jn'o Clarke, London to lower edge, the ebonised case with giltwood ball finials to the raised ogee-shaped caddy superstructure over architectural ogee cornice, foliate scroll pierced sound fret and hinged front with glazed dial aperture flanked by three-quarter Solomonic twist columns to angles, the sides with rectangular windows and conforming quarter-columns set against bargeboards to the rear, the trunk with convex throat moulding over 42 inch rectangular door with half-round edge mouldings, on plinth base with stepped ogee top mouldings and moulded skirt.216cm (85ins) high including finials, 43cm (17ins) wide, 26cm (10.25ins) deep. Three clockmakers with the name John Clarke are recorded in Loomes, Brian Clockmakers of Britian 1286-1700 as working in London at the end of the 17th century. The first was apprenticed to Peter Southworth from 1675-83; the second to Humphrey Clarke 1681-89 (but not freed), and the third to James Graves 1682-90. The latter took an apprentice, John Hawksbee, in 1695 and paid quarterage until 1696; Loomes further notes that he may well have been an engraver. Condition Report: Movement is in fine original working condition with the only noticeable repair being to the lower pivot of the escape wheel involving as small brass slip being soldered to the bottom potance. The pallet arbor appears to be a service replacement, and the backcock is also made from two parts (rather than a single casting) hence may also be a replacement. The movement is in working condition. The dial is in fine clean condition with only minor discolouration and a few slight surface bruises; the matting is finely executed. The movement and dial rests on the original oak seatboard which is directly attached to undisturbed cheek uprights of the case with clout nails. This indicates that the movement and dial are most likely original to the case.The case generally appears to be a fine rare survivor which has received some mostly cosmetic restoration. The caddy superstructure to the hood is a fairly recent addition but is not attached to the case so can simply be lifted off. The top board of the hood has been replaced and the frieze frets appear fairly recent, otherwise the hood appears to be in very good original condition with the only notable fault being a crack across the left-hand side glass. The trunk is in fine condition with backboard continuing down to the lower edge of the box of the plinth base. The trunk door has some thinning/cutting back to the interior towards the bottom edge (to allow the weight to pass freely close to door). The structure of the base appears all-original, hence is a very rare survivor. The moulded skirt is a relatively recent addition. The ebonised finish has been renewed at some point in the relatively recent past, it is very well executed and is now starting to fade a little and take-on patination.Clock has pendulum and weight but no case key (does not require a winding key).  Condition Report Disclaimer

†&nbspA TORTOISESHELL JAPANNED EIGHT-DAY LONGCASE CLOCKUNSIGNED, THE MOVEMENT AND DIAL CIRCA 1810, THE CASE CIRCA 1720The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 13 inch break-arch painted dial with cream subsidiary seconds disc and arched calendar aperture to the unusual painted centre decorated with gilt figures of musicians and others in Oriental dress within a dark garden landscape beneath deep red drapery to upper margin, the cream chapter ring with vertically aligned Arabic hour numerals, with pierced brass hands and gilt conch shell/red coral decorated spandrel areas, the arch centred with a gilt pagoda within conforming dark garden landscape beneath deep gilt floral band border to upper margin, now in a simulated mottled red tortoiseshell painted case with architectural moulded cornice over blind upper quadrant panels and break-arch glazed door decorated with gilt foliate scroll to frame and applied with three-quarter columns to front angles, the sides with rectangular windows within leafy motif decorated surrounds and with conforming quarter columns set against bargeboards at the rear, the trunk with concave throat moulding painted with generous foliate scrollwork, over rectangular door decorated in raised polychrome and gilt with Oriental figures and pavilions within an Arcadian garden landscape around a central circular lenticle and within conforming bird inhabited surround, the sides painted with further large scale bird inhabited leafy sprays, the plinth base with decorated ogee top moulding over guineafowl inhabited landscape panel to fascia, on conforming moulded skirt base.226cm (89ins) high, 49.5cm (19.5ins) wide, 25.5cm (10ins) deep. Provenance:The property of a central London financial institution; acquired prior to 1925 to form part of a collection housed in a purpose-built prestigious Georgian style office building.   

A GEORGE II FIGURED WALNUT VENEERED EIGHT-DAY LONGCASE CLOCKTHOMAS CHAPPELL, LONDON, CIRCA 1755The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and arched signature plate engraved Tho's Chappell, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced steel hands and twin-bird-and-urn cast spandrels to angles, the arch with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, the case with domed caddy superstructure above architectural cornice, and break-arch mouldings over the hinged glazed dial aperture applied with three-quarter columns to front angles, the sides with break-arch glazed windows and quarter columns set against bargeboards at the rear, the trunk with fine quarter-veneered break-arch door applied with half-round cross grain edge mouldings, the plinth base with cavetto top moulding over crossbanded figured walnut panel veneered fascia, on moulded double skirt base incorporating shaped apron to lower margin.226cm (89ins) high, 53.5cm (21ins) wide, 26.5cm (10.5ins) deep. Thomas Chappell is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Great Tower Street, London 1754-63 Condition Report: Movement is in dirty/neglected condition however appears to be all-original with no visible evidence of alteration or noticeable replacements. A clean/service is probably all that it requires. The dial again is dirty/tarnished but appears all original retaining gilding to the spandrel castings with only minor rubbing. The movement retains its original seatboard which rests directly onto the cheek uprights of the case which other than having numerous holes for screws/fixings appears undisturbed hence movement and dial are probably original to the case. The case is in sound original condition. The back-panel to the hood superstructure is a historic replacement (caddy etc appears original) and there is evidence to the front corners above the cornice to indicate that finials on blocks were once fitted. The rear quarter columns are missing both base turnings and one capital turning is a crude replacement. The chin moulding has a small loss to right hand corner; otherwise hood is in good condition although the upper front door hinge is a little loose. The trunk and base are generally very good with faults limited to s slender strip of moulding bordering the upper margin of the plinth top moulding missing from the left-hand side. Otherwise faults to the case as a whole are generally limited to minor bumps, scuffs, shrinkage, veneer chips and wear commensurate with age and use.Clock is complete with pendulum, winder and a case key.  Condition Report Disclaimer

A FRENCH EMPIRE BRONZE AND SIMULATED SIENA MARBLE SMALL MANTEL TIMEPIECEINDISTINCTLY SIGNED, EARLY 19th CENTURYThe circular eight-day movement with anchor escapement for regulation by disc bob pendulum with silk suspension, the gilt engine-turned dial with applied white enamel Roman cartouche numerals and steel moon hands set within an engine-milled bezel, the rectangular plinth-form case with twin handled oval tazza surmount to the tablet upstand over projecting lotus-leaf cast cornice and applied architectural arch mount to fascia, with tied laurel infill to upper quadrants and further mount cast as an eagle suppressing a serpent beneath the dial, the base with further lappet leaf decorated waist moulding and laurel entwined sheathed sword cast mount to apron, on conforming moulded skirt with block feet.32.5cm (12.75ins) high, 16cm (6.25ins) wide, 10cm (4ins) deep. 

A FRENCH DIRECTOIRE PERIOD SMALL ORMOLU MANTEL CLOCKGASTON JOLLY, LATE 18th CENTURYThe circular eight day two train outside countwheel bell striking movement with anchor escapement for regulation by a disc bob pendulum incorporating silk suspension, the 3.5 inch circular slightly convex white enamel Roman numeral dial signed Gaston Jolly a Paris to centre, with Arabic five minutes within the minute track and pierced steel hands set within fine engine-milled bezel, the case of architectural arched form with surmount cast as a windmill over drapery-cast infill centred with a female mask beneath the dial, the rear with circular aperture for the movement, on stepped cavetto moulded skirt base applied with rosette-centred anthemion cast mount to front, on engine-turned bell-shaped feet,31cm (12.25ins) high, 20cm (8ins) deep, 13cm (5.125ins) deep. Francois Pierre Gaston Jolly is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Paris 1784-9. 

A WILLIAM III WALNUT AND PANELLED SEAWEED MARQUETRY EIGHT-DAY LONGCASE CLOCKJEREMIAH JOHNSON, LONDON, CIRCA 1695-1700The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with scroll border engraved calendar aperture and subsidiary seconds dial to the rose decorated matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes beyond the minute track and signed Jere. Johnson, in Exchange Alley to lower edge, with fine sculpted pierced steel hands and applied winged cherub mask and scroll cast spandrels to angles with foliate scroll engraved decoration to the dial plate edges between, the case with later added domed cady surmount over architectural repeating leaf inlaid cornice, foliate scroll fretwork frieze, and delicate floral marquetry trail decorated hinged glazed dial surround applied with Solomonic three quarter columns to front angles, the sides of the hood with rectangular windows, the trunk with conforming scroll decorated convex throat moulding over 41 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with symmetrical leafy scrolling foliate trails within foliate banded borders and a walnut field, with cross-grain half-round edge mouldings and further conforming foliate band to frame surround, the sides veneered with twin line-bordered panels within crossbanded borders, the base with stepped ogee top moulding over front with conforming marquetry panel within foliate and crossbanded borders, on bun feet.200cm (78.75ins) high excluding later caddy surmount, 45.5cm (18ins) wide, 24cm, (9.5ins) deep. Jeremiah Johnson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1646 and apprenticed to Nicholas Payne in 1660 before being passed onto Abraham Beckner and then Ahasuerus Fromanteel (II) finally gaining his freedom of the Clockmakers' Company in 1668. He lived in St. Margaret's, Lothbury and took many apprentices including his son of the same name in 1697. From around 1707 Johnson received charitable payments from the Clockmakers' Company which were maintained until his death in late 1709. Condition Report: Movement is in fine original condition with no visible evidence of alteration or noticeable replacements with the possible exception of the escapement pallets. Although relatively clean and in working condition a precautionary clean/gentle service is advised. The dial is in good clean condition with faults limited to visible chapter ring foot rivet mark at twelve o'clock and repairs to the finely worked hour hand. The movement retains an old (probably original seatboard) however there are thin packing slips applied to the cheek uprights of the case which suggests that the movement and dial are most likely not original to the case.The case is generally in sound original condition. The hood was originally rising hence the opening front is an early modification that has been executed cleanly. The caddy is a 19th century addition which could easily be removed and replaced with a top board applied to the original aperture. The rear edges no longer have quarter columns and the frieze fret is a replacement otherwise hood is in good original condition with age related wear, some minor veneer/moulding chips and shrinkage. The trunk and base of the case are also in good original condition. The side throat mouldings are stained pine hence are most likely historic replacements. The trunk door has a very slight warp causing the top left corner to project forward by around 7mm; this is not particularly noticeable and can probably be further reduced by adjusting the hinges. The hinges are old replacements; the lock appears original. The marquetry to the door is in fine condition with no apparent losses but with some lifting towards the upper and lower margins. The edge mouldings are complete but lifting in a few areas. The sides of the trunk are in good original condition although the left-hand side has a section of crossbanded to the rear edge replaced. The base is original, the vertical crossbanding flanking the marquetry panel has been replaced and has losses to upper corners and to the left-hand side at the centre. The upper left-hand corner also has a small loss to the moulding and there is a shrinkage crack across the centre. The bottom edge of the front and both sides have at some point had the bottom inch of veneer removed (most likely to assist with the attachment of a later skirt which is no longer present). Replacement veneer has been applied but not particularly well. The left-hand side has a veneer chip/loss to the upper front corner. The structure of the plinth appears all original and is in sound condition; the backboard retains all of its original length. Faults to the case are otherwise limited to minor age-related bumps, scuffs, shrinkage and minor repairs.Clock has pendulum, pair of 'period' brass cased weights, door key and winder. Condition Report Disclaimer

A RARE ITALIAN WALNUT TABLE CLOCK WITH PULL QUARTER-REPEAT ON TWO BELLSUNSIGNED, PROBABLY NORTH ITALY, CIRCA 1700The five knopped pillar twin chain fusee countwheel bell striking movement with verge escapement for regulation by short bob pendulum, the strike train with decorative concentric ring-turned countwheel positioned to the upper right of the backplate and sounding on the larger of the two vertical bells set above the movement, the 7.75 inch square fire-gilt copper dial with ringed winding holes and shaped false bob aperture to the matted centre within applied pewter Roman numeral chapter ring with stylised foliate half hour markers and Arabic five minutes beyond the minute track, with scroll pierced steel hands and applied cast and chased winged cherub head spandrels to angles, in a case with domed caddy surmount and baluster gallery incorporating canted projecting plinths at the angles to superstructure, over architectural entablature and hinged glazed door flanked by free-standing Solomonic twist columns, the sides with rectangular windows and the flush rear with rectangular panel door, the base with apron drawer later veneered with a conch shell flanked by conforming projecting angles over ogee moulded skirt and brass ball feet.57.5cm (22.75ins) high, 41.5cm (16.25ins) wide, 21.5cm (8.5ins) deep.  Although unsigned details within the movement of the present clock, such as relatively straight tapered (very shallow concave) fusees cut for thick chains, finely executed turning to some of the arbors, thick concentric turned countwheel, and decorative scroll feet to the thickly cast backcock, are all indicative of Italian work. Furthermore, as often is the case with Italian clocks, the movement has survived in fine original condition with minimal wear. The design of the repeat work employed is relatively simple and well thought-out using a rack to govern the quarters and a stepped cam pulley-stop for the quarters. Similar systems are discussed and illustrated in section 2 of Dzik, Sunny and Still, Roger BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-25 pages 154-59. 

A FINE GEORGE III TWELVE-TUNE MUSICAL LONGCASE CLOCK MOVEMENT MADE FOR THE MIDDLE EASTERN MARKET MARKWICK MARKHAM, LONDON, CIRCA 1775The substantial eight pillar triple train movement sounding the hours on a bell positioned vertically to the left of the T-shaped plates each measuring 9.25 inches high by 14 inches wide at the top before playing a choice of twelve tunes via a 13.25 inch pinned cylinder on thirteen bells with twenty-five hammers transversely mounted across the top of the mechanism, the going train with anchor escapement regulated by seconds pendulum, the 13 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the finely matted centre within applied silvered chapter ring with Islamic numerals and conforming five minute annotations beyond the minute track, with pierced blued steel hands and fine scallop shell centred foliate cast spandrels to angles with the upper two interrupted by subsidiary Strike/Not Strike and Chime/Not Chime selection dials, the arch with central scroll engraved lunette beneath inset silvered arched panel engraved Markwick Markham, LONDON, within herringbone engraved upper margin and curved silvered plate engraved with tune selections Sabac Hafif, Beni Saikil, Charles of Sweeden, A Polonoise, A Trumpet Tune, A Minuett, Amelia's Minuett, Minuett by Senesino, Bury Fair, P: W:'s March, March in Scipio and Gens de Arms March with scroll-pierced steel selection pointer pivoted from the centre of the lower edge, now in a mahogany case of similar age but of north country origins with architectural open ogee-arch pediment over hinged glazed dial aperture flanked by free-standing Corinthian columns to hood, the trunk with blind fret banded concave throat over break-arch moulded edge door flanked by canted angles decorated with geometric blind frets, on plinth base with conforming top moulding over shaped panel decorated front and ogee bracket feet.236cm (93ins) high, 59.5cm (23.5ins) wide, 31cm (12.25ins) deep. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with his son in Law, Robert Markham, which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors with Francis Perigal senior (Freed 1746) joining the business in around 1750. During the latter half of the 18th century the firm of Markwick, Markham (and Perigal) specialised in producing clocks and watches for export to the Middle East including musical clocks. Amongst the selection of English melodies the maker has included two tunes to cater for the intended market with 'Sabac Halif' broadly translating as 'morning light'. The clock can be in part dated from the tunes with 'Amelia's Minuett' or 'Princess Amelia's Minuet' (commemorating Amelia Sophia Eleanor, second daughter of King George II), first appearing in a manuscript by Kames Gillespie of Perth in 1768. Condition Report: Movement is in very good original condition with no visible evidence of alteration or noticeable replacements with the probable exception of three of the music bells. The movement is a little dirty/neglected hence will require a gentle clean/service before putting to use. All levers/detents for tune selection/silencing etc are present. We have not set the clock up to test functionality however are advised that it was running in the vendors house until a few years ago. The dial is in good original condition with faults limited to a bruise to the matting near the left-hand winding hole which has received some re-working to the matting to reduce its visibility. The hands all appear original, the silvering and areas of brass have generally mellowed/tarnished a little. The movement and dial retain their original seatboard.The case is not original to the movement and dial however is in very good condition with faults very much limited to minor bumps, scuffs, shrinkage, wear and other age-related blemishes.Clock has pendulum, three plain lead weights, case key and a crank winder.  Condition Report Disclaimer

A VERY RARE FRENCH HOUDIN-TYPE GILT BRASS MYSTERY GLASS-DIAL NIGHT TIMEPIECEUNSIGNED, MID 19th CENTURYThe circular eight-day single train movement with platform Debaufre-type frictional rest escapement regulated by sprung monometallic balance, the front motionwork incorporating pulley and continuous coiled spring belt continuing up into the superstructure to drive a revolving circular glass plate, set behind the conforming 4 inch frosted Roman numeral hour disc, fitted with single gilt arrow-shaped hour hand at the centre, the outer track of the dial divided for five minutes and set within a brass ring, over twin griffin-cast supports issuing from a fluted acanthus cast post with lappet leaf decorated collar, the plinth-form base applied with a small candle holder cast as a dolphin set behind the dial over shallow concave sides and repeating oval motif cast caddy top mouldings, above architectural rectangular pilaster corner uprights flanking shaped panels cast in the Renaissance manner with foliate panels to front and sides, the rear with plain pin-hinged door, the moulded panelled apron skirt applied with Baroque strapwork mount to front and rosette decorated plinths to angles.34.5cm (13.5ins) high, the base 12cm (4.75ins) square.The present lot is a very rare variant following in the manner of Robert Houdin who developed this form of mystery timepiece during the 1830's. Houdin's timepieces were made with movements concealed within a decorative shaped base and utilised a pin-wheel and take-off arbor to drive the rear glass plate. The current lot, however, uses a much simpler system. A tightly-coiled spring 'belt' is driven by a pully fitted to the front of the movement, this passes through the griffin cast mounts and over the of the rear revolving glass plate and is concealed within the brass frame bordering the dial. The plate rotates and the hand fixed to its centre provides the time on the separate stationary frosted glass hour dial. A further noteworthy detail is that the movement incorporates a Debaufre-type frictional rest escapement as used by Paul Garnier in his early carriage clocks. The provision of a candle holder behind the translucent dial disc is also a useful addition as it allows the present lot to function as an effective night timepiece.  Condition Report: The movement is complete and in working order with no visible evidence of alteration or noticeable replacements. The mechanism is a little dirty hence a sensitive clean/service is advised. The drive to the dial is present however the finely coiled wire/spring belt is not being driven by the pulley at the front of the movement due to lack of friction (pully turns but slips within the belt). The glass dial plate with the hand turns freely together with the belt - hence if the friction between the drive pulley and the belt itself could be improved then the dial would most likely operate correctly. The glass dial plates appear original and are undamaged, the numerals are very slightly faded. The bezel ring around the dial is tarnished/discoloured at the front but retains good gilt finish at the rear. The case is generally in very good original condition retaining gilt finish with only minor spotting/discolouration and edge wear in places; the finish is a little dull/dirty so may benefit from a gentle clean if looking for a strong bright finish.Timepiece has a winding key. Condition Report Disclaimer

AN AUSTRIAN BIEDERMEIER GILT MOUNTED EBONISED GRANDE-SONNERIE STRIKING ARCHITECTURAL MANTEL CLOCKUNSIGNED, PROBABLY VIENNA, CIRCA 1830The four pillar triple train short duration movement with anchor escapement regulated by sunburst-mask bob pendulum with silk suspension, and sounding the quarters on a coiled gong followed by the hours on a second larger gong at every quarter hour or on demand via a pull trip repeat function, the 5 inch circular gilt brass dial with small concentric enamel calendar ring to the geometric engine-turned centre within enamel chapter ring with vertical Arabic hour numerals, with steel hands set within deep engine-milled surround behind hinged brass convex glazed bezel, the ebonised case with shallow-arch pediment fronted with female mask centred gilt brass mount to tympanum and further anthemion and rosette modelled mounts to the quadrants around the dial flanked by carved giltwood bird inhabited leafy spray side ornaments, over base with colonnade of four alabaster columns centred with a gilt brass rams head and swag mount over standing low-relief figure of Venus disarming Cupid, on concave centred plinth base applied with further gilt foliate mounts over turned feet.57cm (22.5ins) high, 35.5cm (14ins) wide, 14cm (5.5ins) deep. 

AN UNUSUAL GEORGE I WALNUT OUTER DISPLAY CASE FOR A TABLE CLOCKANONYMOUS, CIRCA 1720The domed caddy superstructure capped with a rectangular upstand set on a cavetto moulded collar and veneered with crossbanded burr-walnut to top surface, flanked by four ball finials each applied onto a projecting plinth, over generous cavetto moulded cornice and hinged front panel centred with a 7 inch glazed dial aperture enclosing interior measuring 10.75 inches wide, 6.625 inches deep and 15 inches high, the sides with gilt brass carrying handles within crossbanded panels and the rear faced with a conforming arrangement of veneers, on cavetto moulded base incorporating bracket feet.51cm (20ins) high, 35.5cm (14ins) wide, 25.5cm (10ins) deep. The current lot is unusual in that that it is clearly designed to display a 17th century table clock whilst serving as a protective case. Although outer protective cases for table clocks are known they are scarce and generally utilitarian in their form being mostly made of oak with iron fittings; one such case (for a clock by Joseph Windmills) is illustrated in Dawson, P.G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 476 (Plates 702/03). The present case, although clearly designed to house a 17th century table clock with 7 inch dial, would appear to stylistically date to around 1720. Indeed the unusual arrangement of finials are suggestive of the architectural influences of Vanbrugh and the bracket feet would indicate a date of around 1720. Furthermore the overall, slightly naïve, proportions of the case would also suggest that its origins are provincial perhaps North Country or even Irish. From this it may be reasonable to suggest that the owner of a late 17th century London-made table clock was looking to perhaps 'update' the appearance of his expensive clock, hence rather than re-case the movement and dial, he sought to have an outer case made thus retaining the clock itself in its original form. Notwithstanding the rarity of the present lot another outer case, this time designed with a glazed front applied with repousse mounts to display a clock by Nathaniel Hodges, is illustrated by Dawson, Drover and Parkes on page, 460 (Plate 677). The practice of housing clocks in purpose-made outer display cases would seem to be logical when considered alongside the contemporary approach to watches, which were more often than not pair or triple-cased.

THREE EARLY 20TH CENTURY OTTOMAN TURKISH SILVER SALTS with Sultan Tughra mark dating up to 1923, embossed with architectural, leaf and swag motifs together with vacant cartouches, gilded interiors, each 4cm high x 5.5cm diameter

An Edwardian oak cased architectural mantel clock with brass dial and eight-day quarter striking movement, 16" high

A Victorian black and green marble cased architectural mantel clock, the eight day movement with visible escapement and Roman numerals to the chapter ring 37 cm wide x 14 cm deep x 32 cm high

A late 19th century walnut cased mantel clock, of shaped architectural design containing a circular enamelled dial with Roman numerals, with partial skeleton movement stamped Brevett Paris No. 30088. Height 23 cm, width 28 cm, depth 12 cm.

Ansonia Clock Co - A late 19th century American Ansonia bracket mantel clock. The clock face having black roman numeral to chapter ring surrounded by gilt metal gadrooning with spandrels to each corner. The case being of architectural form with ionic pillars flanking the face. The movement being marked up for Ansonia Clock Co U.S.A of Marked for June 18th, 1892.

A 19th century red marble mantel clock. The clock having ornate pierced ormolu mounted fixtures to finial and sides. The face being hand painted in the continental style and being marked up for Kaigre. Set within a red marble case of architectural form with stylobate base. Movement marked for J.S. Eight day movement. Measures 38cm tall.

Group of assorted architectural etchings, various: street scenes, cloisters etc. Six framed, one unframed. (B.P. 21% + VAT)

A 19TH CENTURY SCOTTISH MAHOGANY 8-DAY LONGCASE CLOCK, BY BRYSON OF EDINBURGH, CIRCA 1850 the hood with architectural pediment and the trunk with a glazed door, brass and silvered dial with blued steel hands, brass weights and a brass pendulum bob, movement with an anchor escapement and rack striking on a single bell. 192cm highRunning. With door key and crank key. In generally very good condition. Minor scuffs and scratches around the base.

A collection of approximately 1000 postcards to ten albums, to include examples by Louis Wain and Donald McGill, with topographical, architectural, naval interest and animal cards, and several examples depicting the Crooked House pub (10)

An Adam style cast iron fire basket, the architectural shaped back panel, over a pair of brass urn finials and a straight rail front, applied with brass embellishments, upon fluted tapering front legs of square section, 64cm H x 57cm W Finial height 56cm, 57cm W, internal W 46cm33cm D internal D 28cm

A 19thC wax architectural plaster mould, for acanthus leaves and scrolls, etc., 31cm x 24cm.

AN ART DECO DIAMOND BRACELET, CHAUMET, CIRCA 1925The openwork articulated band set at the centre with a stylised meander motif highlighted with old European and single-cut diamonds, between similarly-cut diamond borders, with millegrain detailing throughout, mounted in platinum, diamonds approximately 13.00cts total, with maker's mark 'JC' for Joseph Chaumet, French assay mark, with case by 'Armour-Winston Ltd, 43 Burlington Arcade, W1', length 17.4cmBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. A couple of links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010.Joseph Chaumet: maker's mark registered in 1890 until 1928 - located in the 2nd district of Paris, then place Vendome in the 1st district in 1902.A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Business boomed for jewellers during the interwar period. Jewellers, as was also the case with visual artists, interior designers and product designers, were influenced by the new Art Deco architecture and design. Art Deco buildings were often streamlined with minimal decoration, especially compared to the recent Victorian past. Designers and architects used new materials such as chrome, steel, decorative glass and aluminium, to create a forward looking, modern style. Dubbed ‘the vertical style’ in New York, elements included vertical windows, stylised floral patterns, and above all, abstract, geometric motifs.   This Art Deco influence on jewellery is made clear by Georges Fouquet in the article La Bijouterie at la Joaillerie Modernes, published in Figaro’s Supplément Artistique on June 13th 1929, where he stated that:   “the composition of a piece of jewellery must be really understood and it must be constructed of simple lines, free from all its point of departure it must have a principle of construction in which the harmonious rhythm of lines, masses and colours manifests itself.”   During this turbulent but creative period, the firm of Chaumet managed to retain both their pre-war client base and their reputation. At that point in time their longevity already stretched back over a century and a half and their client base had included Emperor Napoleon, Empress Josephine and Queen Victoria. In 1928 at the height of the Art Deco era, Marcel Chaumet took over management of the firm on the death of his father, Joseph Chaumet, for whom the business was eponymously named. Declaring, at his father’s funeral that: “continuing the furrow he ploughed, perpetuating his work in every sphere, such is my goal, to which I will devout all my effort.”  Recorded in Chaumet, Parisian Jeweler since 1780, directed by Henri Loyrette. Chaumet fully embraced the Art Deco trend, participating in the ground-breaking Exposition Internationale des Arts Décoratifs, in Paris in 1925. Their jewellery became more geometric in design and used a more eclectic range of gemstones than before, such as rock crystal, onyx, turquoise and red coral. These were often arranged either in monochromatic black and white or a riot of bright colours. If monochromatic, the diamond reigned supreme. Advances in gem-cutting had allowed new, innovative cuts such as the baguette and the calibre-cut and these were often contrasted with onyx or black enamel and set in platinum.At the exposition especially, the rising concept of the freed woman or named ‘garçonne’ in France became so popular and inspired books written about female empowerment, such as in the 1922 novel by Victor Margueritte, La Garçonne. During the war, women had replaced men in the working world as men were called to the front line, and in doing so it became evident that women held a new independence and freedom in society. Fashion designers of the time noticed this and created lines for the contemporary woman which included Coco Chanel’s little black dress. Such popularity of the concept inspired jewellery designed by Chaumet’s innovation and style. Stated in Chaumet, Parisian Jewler since 1780, Vogue even recommended Chaumet for the “chic woman’s wardrobe…jarred and bored by the jangling of many bracelets, one single cuff made for her by Chaumet -a thing of beautiful and intricate design.”The Art Deco period was also an effort to cast aside ideas of the past. Additionally, more exotic influences included Egyptian, Chinese and Japanese, often shown in the use of stylised motifs such as dragons, pagodas and Persian flower motifs. These influences also expressed themselves in the use of jade, coral, enamels, lacquer and pearls. In the 1920’s, Art Deco bracelets were often composed of intricate links set with coloured gemstones in geometric designs and there was a fashion for wearing multiple bracelets, high on the arm. The design of this intricate bracelet is based on the Greek key pattern and was inspired by the architectural motifs of Classical Greece. This pattern that is both interlocking and unbroken, became popular once again in the Art Deco era due to its pleasingly geometric character, and was said to represent both infinity and unity. As the 1930’s approached, larger, pave-set bracelets with outsized links gained in popularity and ‘convertible jewellery’ which could be worn in more than one way, became popular again.   Condition Report: Diamonds: approx. 13.00cts total -  overall bright and lively - estimated colour H/I, estimated clarity VS-SI (a few I)Partial Maker's mark: JC and star (no crescent visible) located on the tongue of clasp - dog's head for French platinum located on the tongue of claspOne dent visible on the rail track of the braceletClasp: secureNormal signs of wear given the age of the bracelet - overall in good conditionBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. Two links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010. A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Total gross weight approx. 42.9g

An architectural ring by Vicki Ambery-Smith, 1989, the three-dimensional design inspired by Tuscan architecture, incorporating towers, arched bridge and steps, to a broad shank, gold and silver mounted, ring size approximately L½. £200-£300 --- For an identical example of this ring, see page 17 in Vicki Ambery-Smith’s recent publication referenced below. Vicki Ambery-Smith is known for her finely detailed architectural interpretations of buildings, created in miniature and modelled in gold and silver, both as jewellery and as exquisite Objects of Vertu. Described by Dr Olivia Horsfall Turner, her work “distils the wide-ranging meanings of architecture into a remarkably small compass”. Vicki exhibits her work internationally, including at the annual Goldsmiths’ Fair. Her work can be seen in the Victoria and Albert Museum, the Royal Scotland Museum, the East Midlands Arts school and Houston University, Texas. Literature Vicki Ambery-Smith: Jewellery & Silverware Inspired by Architecture, pub. Unicorn Publishing Group, 2022. Foreward by Dr Olivia Horsfall Turner, Senior Curator of Designs at the V & A, Lead Curator for the V & A and RIBA Architectural Partnership Condition Report The ring is in good condition, slight tarnish and surface wear only. Weight 16.3gm.

An Arts and Crafts enamel and opal pendant by James Cromar Watt, circa 1905, of organic design, the central opal matrix collet-set within an open framework of butterflies decorated in polychrome translucent enamels, to a scrollwork opal-set surmount, the whole suspending a small black hardstone drop, mounted in gold, the reverse with conjoined maker’s initials ‘JCW’, length 6.7cm. £1,500-£2,000 --- James Cromar Watt (1862-1940) was born and grew up in Aberdeen and in 1879 he began his training as an architect with W & J Smith of Aberdeen. In the late 1880s he travelled in Belgium, Germany and Italy which inspired his love of Renaissance arts and crafts. On his return he rejoined W & J Smith, and qualified as an architect at the Architectural School of the Royal Academy, London. Watt continued his travels in the 1890s, spending time in Greece, where his love for decoration and craft skills deepened. In the course of his travels, he appears to have begun dealing in works of art, taking a particular interest in ancient metalworks. By 1896, he had resigned his architectural associateship to concentrate exclusively on his work with precious metals. He took a particular interest in developing his skills in the ancient techniques of gold granulation and translucent foiled enamelling, working firstly on large objects, then concentrating on jewellery. Inspiration from contemporary artists, included Alexander Fisher and Phoebe Traquair. During the First World War, Watt was engaged on secret government work - the true nature of which has never been disclosed. He did not return to jewellery-making - apparently due to failing eyesight - and devoted most of his energies into working with the English architect and goldsmith Henry Wilson, a friend since at least 1905, together completing the bronze tomb of Bishop Elphinstone, co-founder of the University of Aberdeen. He was granted an honorary degree in 1931 by the University of Aberdeen.. Watt assembled an important collection of ancient ceramics and artefacts, particularly from China and the Far East, including porcelain, jade, silk paintings, ivories, lacquer work, enamels and bronzes. After his death in 1940, his collection was divided between the Aberdeen Art Gallery and the Royal Scottish Museum. Literature: Charlotte Gere/Geoffrey C. Munn: Pre-Raphaelite to Arts and Crafts Jewellery, pub. ACC, 1996. Beatriz Chadour-Sampson/Sonya Newell-Smith: Tadema Gallery London Jewellery from the 1860s to 1960s, pub. Arnoldsche Art Publishers, Stuttgart 2021. Condition Report General light surface wear commensurate with age and use. The opal matrix with good play of colour with flashes of red, blue and green. Gross weight 9.2gm.

A tanzanite and diamond ring by Gilian Packard, 1972, the emerald-cut tanzanite in four-claw setting, within a bold architectural setting of vertical polished ribs, with diamond highlights, London hallmark, maker’s mark ‘GEP’, stamped ‘750’, tanzanite approximately 3.0 carats, ring size M. £700-£900 --- Provenance: The tanzanite ring was a private commission made by Gilian Packard in 1972, with the tanzanite being provided by the customer. The ring thence by family descent. Gilian Packard (1938-1997) was born in Newcastle-on-Tyne. Named Gilian (with one ‘l’ - because, as she said “My father couldn’t spell”), she established herself as one of the leading modern jewellers of the 1960s. She studied at the Kingston School of Art, the Central School and the Royal College of Art. After her third year at the RCA, her Diploma exhibition coincided with the public opening of their new building in June 1962. Gilian acquired from it one or two commissions for special pieces. From these gentle beginnings, her work quickly began to gather pace. Most of her work was for private customers: “Designing for particular people is satisfying because one can design pieces that suit them as individuals.” The remaining part of her production went to retail outlets such as Richard Ogden in Burlington Arcade, or Cameo Corner. Progressive provincial jewellers such as Michael Jones in Northampton also retailed certain pieces. She went on to win many important jewellery awards and became the first female Freeman of the Goldsmiths’ Company. She promoted modern jewellery design through her work as a teacher, becoming Professor of Jewellery and Silversmithing at the Glasgow School of Art, and then at the Sir John Cass Department of Silversmithing, Jewellery and Allied Arts at London’s Guildhall University. Gilian died in Aldeburgh in 1997. Examples of her work can be found in the Victoria and Albert Museum in London, and in many public and private collections. With thanks to the Goldsmiths’ Hall for additional information. ---- ---- Condition Report Tanzanite of even mid blue with purple undertones, light wear to facet edges. Ring mount in good condition, maker’s mark slightly rubbed. Gross weight 12.1gm.

A gold snuff box, probably English, circa 1720, of rectangular form, richly decorated throughout, the hinged cover chased with two huntsmen and a hound, against a granulated stippled sky, within a frame of engraved scrolls and shells, the cartouche border further chased with deer and hounds, the reverse with a riverside scene of a crane wrestling a serpent, another crane in flight above, the scene similarly framed, and edged with flowerhead latticework and architectural details, unmarked, length 7.9cm. £6,000-£8,000 --- Literature: Snowman A K: 18th Century Gold boxes of Europe, pub. ACC, 1990, page 261, plate 533, illustrating a comparable example, possibly from the same workshops, depicting a scene from one of Aesop’s fables, The Fox and The Crow. Condition Report The box is in very good condition. possibly a tiny graze to the gold at one corner below the hinge. Sotheby’s London, Gold Boxes, Ceramics and Silver, sale 26 May 2021, lot 25. Snowman: Page 259 - ‘The gold standard demanded in London up to the year 1798 was 22 carat, and in Dresden approximately 18 carat’. Dimensions: 7.9 x 6.0 x 1.3cm. Gross weight 109.5gm

A 19th Century Mahogany Brass Tryptic Frame in The Morrish Tase or Architectural Folding Form, 35cms High and 43cms High

A 19th Century Gilt Bronze Carriage Clock of Architectural Form with Reeded Columns and Foliate Scrolled Panels incorporating Bird to Side, The Circular Gilt Dial with Roman Numerals, The Back Movement Inscribed Perigal and Duterau, Bond Street, London, 13cms High (When Handle Fully Up)

A Late 19th/Early 20th Century French Gilt Metal and Porcelain Garniture, The Clock of Architectural Form with Reeded Column Pilasters Flanking Ceramic Face with Painted Scene with Gents Seated at Bench with Village to Background, Eight Day Movement, The Urns Featuring Gent Seated at Bench with Wine and Dice, Clock 43.5cms High

Late 19th century black slate mantel clock of architectural form with chapter ring of Arabic numerals, retailed by Stradling and Sons, Newbury, 26cm 

Victorian black slate mantel clock of architectural form, white dial with roman numerals flanked by marble inlay, the movement stamped VR Brevet, Paris, number 768, with bell chime, 130cm Condition ReportWe do not provide in house shipping. Would recommend either Mailboxes.com or mjmpost458@gmail.com

Jan Schreuder, Dutch 1904-1964 - No.12, 1959; oil on canvas, signed, numbered and dated lower left 'JAN XII 58', numbered and dated on the reverse 'No.12-1956', 76.5 x 102 cm (ARR) Note: Schreuder studied at The Academy in The Hague after which he moved to South American and founded the 'Iuadorea Art Centre' in Quito, Ecuador in 1952. The architectural quality of this work echos 1950s Modernism, harkening back to the legacy of his predecessors of the de Stijl's movement. 

GEORGIAN PERIOD OAK BUREAU BOOKCASEcirca 1800, having a broken architectural pediment over twin glazed doors and interior adjustable shelves, the lower sloped fall opening to reveal a shelved interior with drop down well over a single blind drawer and a further two short and two long oak lined drawers, all having later replacement fancy brass backplates and swan neck handles, on corner bracket feet, 226cms overall H, 104cms W, 56cms max. D

Cotman (John Sell), Etchings/[Specimens of Architectural Remains in various Counties in England, but especially in Norfolk. Etched by John Sell Cotman Esq., with Architectural Observations by Thomas Rickman Esq.], two-volume set, London: Henry G. Bohn, 1838, 238 etchings as called for, most of which are numbered within the plate and thus 1838 rather than 1811 impressions, principally clean and crisp, a few foxed and/or browned, contemporary brown quarter-morocco over marbled boards, slightly sunned, rubbed and scuffed, top-edges gilt, others uncut, folio (49.6 x 38cm)

Cotman (John Sell), The Architectural Antiquities of Normandy, London: Printed for John and Arthur Arch, Yarmouth: J.S. Cotman, 1821, defective, 25 copperplate etchings only, various divisional titles, portions of text, etc., disbound, earlier 17th c Dutch vellum binding, gilt panelled, blocked and tooled with scrolling foliage, worn, folio (53 x 36.5cm), with [Mary Dawson Turner (1774-1850)], after John Scarlett Davis (1804-1845), John Sell Cotman, author of Antiquities &c., portrait, etching, s.l., s.n., 1818, 31.5 x 23.5cm, three topographical named-view prints by Cotman, lithographed by Vincent Brooks, etc., (6) The folio defective as catalogued and sold as a collection of plates not subject to return; its binding with wear and worn losses. The mixed media prints unexamined our of their respective frames &/or mounts, some foxing, other faults apparent from image.

A Dutch architectural oak and ebony cabinet on stand, late 17th c, the carved frieze of shells and leafy scrolling foliage with head corbels above a pair of arch panelled doors and three fluted pilasters, the lower part with conforming drawer, on four massive globe knopped legs with geometric stretchers, 183cm h; 55 x 118cm Good condition with only some small faults and replacements. The later replacement bun feet wormed

Architectural Salvage. An Art Nouveau stained glass rectangular panel, c. 1910, 45.5 x 80cm  Some wear, imperfections and inclusions.

Architectural Salvage. A stained glass oval portrait of John Wesley, the Methodist cleric, 19th/20th c, inscribed William C Langford, 30.5 x 26.5cm, ten further pieces of stained glass, mixed designs, shapes and sizes, (11)  Wesley generally good condition, some light surface scratches and wear, its outer-border with stable cracks. The rest in mixed condition.

A late 19th century albumen photograph album of architectural subjects, Greece, Italy France and Britain including Frances Bedford, the Acropolis with temple of Venus to foreground; others unattributed - the Temple of Segesta; Paestum; Hephaestus; Rheims Cathedral (multiple) and others; Castles; Stonehenge; Pompei; images sizes vary, approx. 80, the largest 25.5 x 35.5 cm (album size 42 x 32 cm

A pair of antique pine carved and grey washed architectural wall brackets, each 60 cm h (2)

A William IV silver wine coaster,by Henry Wilkinson & Co, Sheffield 1838, with an architectural Gothic style pierced border,15cm diameterCondition ReportSplit and dents to the base rim. No damage to the pierced decoration. Tarnished, with residue polish marks.

Boxed quantity of various hardback and other reference books including architectural, historical etc

Antique books of architectural interest, leather bound volumes 1 and 2 of Border Antiquities of England and Scotland comprising specimens of Architectural Sculpture, Prize model cottages 1848, Parliament buildings of the world.

° ° DERBYSHIRE: Rayner, S. The History and Antiquities of Haddon Hall, 2 vols., 32 lithographed plates with tissue-guards, 2pp. bound-in publisher’s advertisement, original green cloth with decorative gilt to upper covers, Derby, Robert Mosely and London, Architectural Press, 1836, folio. Sold with Stephen Glover’s ‘The History and Gazetteer and Directory of the County of Derby’, 2 vols., 1829, and seven more volumes related to Derbyshire and the Peak District (11).

After Robert Garland (fl. 19th century) five architectural views of the interior and exterior of Ely Cathedral, tinted engravings; together with three further prints, the largest examples 28 x 32cm including ebonised and parcel gilt frames (8)