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

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

ARCHITECTURAL WALL MIRRORS, a pair, French Provincial style, aged painted finish, 180cm x 57cm. (2)

George III pine wall cupboard doors for architectural niche or cupboard, arched panelled doors, in moulded frameDimensions: Height: 105cm  Length/Width: 106cm 

Two Victorian black slate mantle clocks to include an example of architectural design with Corinthian column details (largest approx 41cm wide x 41cm high)

OPPENHEIM, DENNIS (1938-2011), 'Collage Scan' 1980, Art einer Bauzeichnung, Farboffsetlithografie/Velin, l. u. in Bleistift signiert und datiert, HxB: ca. 90x170. Alters- und Beriebspuren. PROVENIENZ: Privatsammlung Professor Dr. Karin von Maur, Stuttgart, ehemals stellvertretende Direktorin der Staatsgalerie Stuttgart. KEIN VERSAND! NUR SELBSTABHOLUNG!Bitte beachten Sie, dass dieses Los auf Wunsch der Einlieferer mit erhöhtem Preis € 550 aufgerufen werden muss. Bestehende Gebote werden als Gebote unter Vorbehalt gerne angenommen.| OPPENHEIM, DENNIS (1938-2011), 'Collage Scan' 1980, kind of an architectural drawing, color offset lithography/vellum, lower left and signed and dated in pencil, HxW: approx. Signs of age and use. PROVENANCE: Private collection Professor Dr. Karin von Maur, Stuttgart, former associate director of the Staatsgalerie Stuttgart. NO SHIPPING! PICKUP ONLY!Please note that this lot must be called up at the request of the consignor with a higher price € 550. Existing bids are gladly accepted as bids with reservations.

Victorian photograph album containing over 120 mainly topographical and architectural views of England, Scotland, including Whitby Abbey, Robin Hoods Bay, Windsor Castle, etc

R. D. (Dick) Russell RDI (1903-1981) A rare walnut shelving system for H. Morris & Co. Glasgow c.1960, comprising three bays with seven open shelves and six cabinets, Note: Dick Russell was the younger brother of Gordon Russell and following his architectural studies was put in charge of the design office for the firm before opening his own practice in London in the 1940s. Russell was appointed RDI (Royal Designer of Industry) in 1946 and Professor of wood, metal and plastics at the RCA in 1948. He was commissioned by Sir Basil Spence to design chairs for Coventry Cathedral in 1960 and Spence may have introduced Russell to the Morris firm, for whom he designed his famous Allegro chair.

* Embroidered picture. The Prodigal Son, late 17th/early 18th century, hand-worked in silk threads in earthy hues on a cream silk ground, depicting a father welcoming his son who kneels on the chequerboard floor before him, his other son, with hound beside him, looking on, against an architectural backdrop with archway, tree, and floral urn, worked in satin stitch, long and short stitch, stem stitch, and french knots, faces and limbs delineated in watercolour, faded and some staining, ground perishing in places, 34 x 39 cm (13.25 x 15.25 ins), framed and glazed (45 x 50 cm), together with an oval embroidered picture of Saint Francis of Assisi, early 18th century, depicting the saint standing, and holding a bird on a disc in his left hand, much of stitching to habit lost, but star embellishments composed of metal bullion stitch and spangles remaining, faded and some toning, 66 x 43 cm (26 x 17 ins), the oval stitched to a green fabric backing, 72 x 49 cm (28.25 x 19.25 ins), framed and glazed (78 x 54 cm)QTY: (2)

Assorted Books on Art, Yorkshire etc., including some from the collection of Kerry Downes, architectural historian. Volumes include, History of Gildersome and the Booth family, by Philip Henry Booth, completed 1920; The Oxford Comapanion to Western Art etc. (5 boxes)

A pair of 1970s' Aluminium clamp lamps in the style of Peter Nelson for Architectural Lighting, approx height 65cm Good condition, some surface wear commensurate with age and use.

A pair of 1970s' Aluminium clamp lamps in the style of Peter Nelson for Architectural Lighting, approx height 58cm Good condition, some surface wear commensurate with age and use.

Architectural Portfolio of Tomas Cressy, Newark, New Jersey

HAMILTON & INCHES OF EDINBURGH, VICTORIAN BLACK SLATE MANTEL CLOCK LATE 19TH CENTURY architectural form, the dial set with Roman numerals and signed32.2cm highOperated by a key, does not come with a key, when tested does not run, assume mechanism will require attention

A box containing a quantity of framed small format mainly coloured prints including architectural, named views, etc.

* Flemish Crucifix. A 19th century Flemish carved wood crucifix, the carved wooden figure of Christ painted in pale cream with red, affixed to a tortoiseshell veneered wooden cross painted in black, with an architectural base housing an aperture for a relic, some minor loss and wear commensurate with age, height 98 cmQTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.

* De Morgan (Evelyn, 1855-1919). Blindness and Cupidity Chasing Joy from the City, circa 1897, gold coloured pastel and black chalk on dark grey-brown wove paper contemporaneously laid down on backing board (probably by the artist), depicting the robed female figure of Cupidity, carrying a hoard of precious objects, reaching out towards and following the male robed figure of Blindness, the two figures driving out the angel of Joy from the city towards an iron gate with flowers and vista beyond, some small patches of surface abrasion, and a few fox spots to lower edge, 40 x 59 cm (15 3/4 x 23 1/8 ins), framed and glazed (46.5 x 65.3 cm) QTY: (1)NOTE:Provenance: Clayton-Stamm Collection.One of a very small number of works by the artist executed in gold on dark wove paper. Apart from one such study in Leighton House Museum ('Victoria Dolorosa'), almost all other known studies in gold pastel are held by the De Morgan Foundation, and only one, to our knowledge, has ever before appeared at auction ('The Angel of Death', Dominic Winter Auctioneers, Fine Art Sale, 8th November 2018, lot 458). Only a very few artists used this technique, Edward Burne-Jones being one of them. De Morgan bought dry 'cakes' of gold pigment which she ground to make her own paint and pastels, using them to infuse light and warmth into her works. The De Morgan Foundation (DMF) states "These curious artworks are unlike works by any other artists of the period", adding that they "sparkle with a rare luminosity". These studies seem in the main to have been part of De Morgan's prolific and meticulous output of detailed compositional studies for the full-scale oils she executed, although as the DMF says "These pieces can be considered works of art in their own right and it is apparent that Evelyn often sold them as such".The current work is a preparatory study for Evelyn De Morgan's large-scale allegorical oil 'Blindness and Cupidity Chasing Joy from the City', painted in 1897, and now in the DMF (object number P_EDM_0018; Evelyn de Morgan Oil Paintings, DMF, plate 35). The oil painting was exhibited at the Walker Art Gallery in 1898, at Leighton House in 1902-3, and at Wolverhampton in 1907. The two figures of Blindness and Cupidity are chained to each other, and grope their way forward to an iron gate which blocks the way, a theme which De Morgan returned to at the end of her career in 'The Barred Gate' (circa 1918-19). Both pictures, and a number of others by the artist, convey a powerful message about the spiritual desolation of a life devoted to the corrupting influence of materialism and greed.Evelyn de Morgan's wealth of preparatory drawings give the viewer a fascinating insight into the workings of the artist's mind. Of particular interest here is the figure of Cupidity, who is clearly female in the drawing, but which has morphed into a very much more androgenous figure in the oil painting, with a still feminine figure, but more masculine features (indeed, stated as male in the DMF catalogue online). The figures are obviously the artist's main preoccupation here, with the gate and vista to the right not yet delineated, the dynamic attitudes of the dogs yet to be worked out - their presence only alluded to in outline - and various architectural elements only sketchily outlined or absent. Indeed, this approach is typical of Evelyn's studies in gold; the background detail is pared away, and the figures, in all their beauty, come into stark relief. 

* After Fra Angelico (1395-1459). Madonna della Stella, with Six Attendant Angels, Florence, circa 1850's, oil or tempera and gilding on seven individual panels, each figure with punctured nimbus, central panel 47 x 21 cm (18 1/2 x 8 1/4 ins), side panels 42 x 15.5 cm (16 1/2 x 6 ins), presented within original integral architectural or tabernacle gilded wood frame, some restoration and replacement to the outer decorative ornamentation, overall size 90 x 141 cm (35 1/2 x 55 1/5 ins)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK. Presented to Downside School by Alfred Jones of Bath in 1927 (see inscription to lots 53 and 55).An impressive seven-panel reredos, freely adapted from the works of Fra Angelico, including the Madonna della Stella (central panel), the original of which, dating from around 1433-34, was made for the sacristy of Santa Maria Novella in Florence, and moved to the Museo Nazionale di San Marco in 1868. The six panels of attendant musician angels are copied from the the Linaiouli Tabernacle of 1432-33, now also in the Museo Nazionale di San Marco.

* Bartram (Harold). Folder of 18 architectural studies and designs, circa 1950-60, 18 pen, watercolour and pencil studies, comprising studies of architectural landmarks and interior designs, including: interior of Kenwood House; Wells Cathedral; St. John's College, Wren Bridge; Brighton Pavillion; Longleat and King's College, etc., sheet size 27 x 36 cm 10 5/8 x 14 1/8 ins), loosely containing in a grey folio, together with three colour lithographs by an unknown artist, depicting a church, a beach promenade and a country scene, all 16.5 x 13 cm (6 1/2 x 5 1/8 ins), all framed together (30.5 x 64 cm)QTY: (1 folio and a frame)NOTE:Harold Bartram taught at the London School of Printing (now the LCC) and was an advocate of continental graphic design. He received his training as a pupil of Anthony Froshaug and Herbert Spencer at the Central School of Art and Design in London.

* After Fra Angelico (1395-1455). Three Musician Angels, Florence, circa 1850's, tempera and gold on wood panels, with punctured nimbus and contours, two angels with a trumpet, dressed in green and red robe respectively, and one angel in a blue robe with a drum, each panel 42 x 15 cm (16 1/2 x 6 ins), each presented within three original architectural or tabernacle gilded wood frames, 75 x 24 cm (29 1/2 x 9 1/2 ins) QTY: (3)NOTE:Provenance: Downside Abbey, Somerset, UK. Painted inscription to verso of each panel 'Presented to Downside School from Alfred Jones of Bath June 1927' (or similar wording).The triumphant angels are taken from the surrounding border of Fra Angelico’s Linaiuoli Tabernacle (1432-3), now in the museum of San Marco in Florence. Richly decorative paintings of angel musicians, such as these examples, were produced in Florence during the 19th century as Grand Tour souvenirs.

* Galestruzzi (Giovanni Battista, 1618-1677). Niobe adored on the Altar; & The Slaughter of Niobe's Children, from the Niobid frieze of the Palazzo Milesi by Polidoro da Caravaggio, 1656 or later, etchings on laid paper, good impressions, the latter with a double encircled Three Mounts surmounted by a Fleur de Lys watermark (similar to Briquet 11935), with margins, together with six architectural engravings by Antonio Lafreri (1512-1577) on laid paper, one sheet with a Three Mounts in a Shield watermark (Briquet 11939, dated 1598), two sheets with a crowned Fleur de Lys within a shield watermark (similar to Briquet 7110); and other Italian old master etchings and engravings by or after Benigno Bossi (1727–1792), Giacomo Bonanni (active 1624), Annibale Carracci (1560-1609), Giovanni Battista Cipriani (1727-1785), Domenichino (1581-1641),) Vincenzo Ghajassi (1811-1861), Giovanni Maria Ghisalberti (active 1750's), Luca Giordano (1632-1705), Carlo Lasinio (1759-1855), Pietro Longhi (1702-1785), Carlo Maratti (1625-1713), Jan Popels (active 1633), Salvator Rosa (1615-1673), Aegidius Sadeler (1570-1629), Andrea Scacciati (1725-1771), and Giuseppe Zocchi (1711-1767); plus 13 etched copies of Figurines by Salvator Rosa, on wove paperQTY: (41)

* After Fra Angelico (1395-1455). The Annunciation, and The Adoration of the Magi, Florence, circa 1850's, tempera and gold on two wood panels, some minor marks and slight paint loss (generally in good condition), 24 x 26.5 cm (9 1/2 x 10 1/2 ins), and 21 x 26.5 cm (8 1/4 x 10 1/2 ins) respectively, presented within original gothic-style architectural gilded carved wood frame, some minor restoration, 85 x 39.5 cm (33 1/2 x 15 1/2 ins)QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK. Painted inscription to verso of upper panel 'Presented to Downside School from Alfred Jones of Bath June 1927'.Fine Florentine copies of the reliquary made by Fra Angelico for the church of Santa Maria Novella in Florence, depicting scenes from the life of the Virgin Mary. The upper scene represents the Annunciation, with a kneeling Gabriel on the left and a pious Mary seated on the right with her arms folded across her chest. The figure at the top of the composition is God the Father, sending down the rays of the Holy Spirit. The lower scene depicts the Adoration of the Magi, with the Virgin Mary seated inside the manger with the baby Jesus on her knee and Joseph standing behind her.

After Thomas Bowles, a set of six 18th century architectural engravings, to include 'The Foundling Hospital, Holborn'; 'St. James's Palace, Pall Mall'; 'A View of St. James's Square, London'; 'Ranelagh House & Gardens with the Rotunda at the Time of the Jubilee Ball'; 'A View of the Lord Mayor's Mansion House London'; 'A View of the Chinese Pavillions and Boxes in Vaux Hall Gardens', each plate approx. 26x40cm

Debuignes after Demontblanc, 'Plans, Coupes et Elevations géométrales du Théâtre d'Orange', 34x50cm; together with a further architectural study, 'Forum Nerva, Corniche de l'entablement', 32x48cm (2)

A Grand Tour style architectural model. Turned and stained wood, modern, featuring a staircase and a column supported dome, height 42cm.There are no condition issues.

A French onyx cased mantel clock. 19th century, the case of architectural form with applied brass mounts and a Japy Freres movement stamped number 5636 4.1, height 27cm.

A plaster architectural spiral column. Height 99cm diameter 22cm.

A Vienna regulator type walnut wall clock. Late 19th century, with ebonised mouldings and architectural cornice, circular white enamel dial, and single weight, height 106cm.We have not seen this clock running, it has a key, weight, and pendulum.There are a few hairline cracks on the dial. There is a split on the case and some veneer loss, please see extra images online.

VICTORIAN BLACK SLATE AND MARBLE MANTEL CLOCKof architectural outline with a circular brass and enamel dial with Roman numerals and an escapement movement, 42.5cm wide

VICTORIAN BLACK SLATE MANTLE CLOCKof architectural outline with a circular brass and enamel dial with Roman numerals, with an eight day movement, 34cm wide

A Scottish Arts and Crafts mahogany wardrobe, the architectural pediment above a central door with bevelled mirror panel, flanked by a leaded glazed panel to either side, all over two drawers and raised to bracket feet, height 212cm, width 153cm and depth 56cm, some damage.

The Happy Easter Church is made of handcrafted and hand-painted ceramic. It features intricate details and architectural elements reminiscent of a traditional church such as a steeple and stained-glass windows. This item has its original box which measures 12"L x 7.5"W x 12.5"H. Includes light cord. Department 56 backstamp. Issued: 2003Dimensions: 7.25"L x 7"W x 10"HManufacturer: Department 56Condition: Age related wear. Tested, functionality not guaranteed.

Hill (Oliver), Scottish Castles of the Sixteenth and Seventeenth Centuries, 4to; Gillespie (James ), Details of Scottish Architecture, folio, The Edinburgh Architectural Association, 1922; Edinburgh Architectural Association Sketch Book, folio, 1886. (3)

Ian Weatherhead (b.1932) British, 'Reale', Architectural view with figures, watercolour, inscribed, signed and dated '96 in pencil, The Wykeham Galleries trade label verso, 10.25" x 20.5", (26x52cm).

A FRENCH GILT METAL AND MARBLE MANTEL CLOCK IN LOUIS XVI STYLELATE 19TH CENTURYWith eight-day bell striking movement serial numbered 1415 6 to the backplate, the Arabic numeral dial with central inscription D'arlot Horloger Du Roi, the case surmounted by a cherub and a cockerel above the architectural case40cm high Condition Report: The case with marks, knocks, scratches, abrasions consistent with age and use, the marble with dirt and discolouration, chips and nibbles, there is certainly some elements of gilt metal missing around the plinth, old holes are visible to the plinth where these have been attached. The gilt metal with dirt and discolouration including some verdisgris, rubbing and wear, oxidation, the rear glass cracked throughChips and nibbles around the winding holes of the clock dial, there is a key present (a replacement) which winds the movement, at time of report the movement ticks in a laboured way - Dreweatts do not guarantee the movement as working and make no comments as to accuracy or longevity of the movement - it will almost certainly require a clean and overhaul by a professional prior to use in a domestic settingWith winding key, bell, pendulum (pendulum associated - serial numbers do not match the clock)Please see additional images for visual reference to condition Condition Report Disclaimer

A STONE AND COMPOSITE STONE BENCH OR LOW TABLECOMPRISING ARCHITECTURAL ELEMENTS52cm high, 115cm wide, 69cm deep

Indentures-A quantity of early 20th Century vellum and paper indentures to include a 1904 Conveyance of a shop at No 79 Newborough St, Scarborough between Burgon & Co Ltd to W&A Gilbey and a 1906 Mortgage between Mr Herbert Perry to The Trustees of the Loyal Chandos Lodge of the Independent Order of Oddfellows together with blue solicitor copies, coloured architectural plans for the proposed house for PJ Preston Esq off Chessington Avenue and near the North Circular Road in 1935, coloured architectural plans by Gelder & Kitchen of Hull in 1907 for Mr George Eccles shops on Princes Avenue, Hull and pre 1910 food/brewery receipts of historical interest of that time.

A mid 20th Century A ntler Sunseeker suitcase and contents to include a blue Dereta ladies 2 piece skirt suit, 26" waist x 36" chest, a Golden Crest Couture ladies brown woollen 2 piece skirt suit, 26" waist x 36" chest, a 1970's Wavelength blue and white cotton shirt with architectural design, 32" chest and a large quantity of vintage gloves.

Hayward (John). The Life, and Raigne of King Edward the Sixt, 1st edition, 1st issue, London: John Partridge, 1630, initial blank lacking, engraved architectural title page with portrait of Edward VI in oval at centre, engraved portrait of John Hayward, with allegorical figures below, on page vi signed ‘Will. Pass.’, woodcut printer’s device on verso of last, leaves L3, M3, N3, and Q4 are cancels printed in slightly smaller type, old small monogram ink stamp to verso of title page and facing leaf (upper margin of facing leaf also with ink stamp word 'Duplicate'), occasional light scattered spotting, upper pastedown with oval bookplate label "Ex Musaeo Huthii", i.e. from the Huth Library, late 19th-century speckled calf, gilt decorated spine, upper joint lightly cracked, slim 4to (17.6 x 13.5 cm)QTY: (1)NOTE:STC 12998; Pforzheimer, 459; Lowndes II 1018.The first edition of Sir John Hayward’s posthumous ‘Life and Raigne of King Edward VI,’ the earliest biography of the last Tudor king, reprinted in 1636, and again in White Kennett’s Complete History of England in 1706.The Huth Library was begun by Henry Huth (1815-1878) and continued by his son Alfred H. Huth. The Library was dispersed by Sotheby's in a number of sales between 1911 and 1920.

Mason (William). Arts Advancement or the most Exact, Lineal, Swift, Short, and Easy method of Short-hand-Writing hitherto Extant, is now after a view of all others, and twenty eight years practice) raised to a higher degree of perfection than any as yet published, 3rd edition, corrected and enlarged, [London]: Printed for the Author, 1687, 24 leaves, engraved portrait frontispiece, engraved title within architectural border, engraved text to one side of leaf printed within decorative border, leaf 3 with early ink doodle and leaf 21 with early manuscript, occasional fraying to margins, some light dust-soiling, front free endpaper with early manuscript calculation in brown ink and note 'S. Lowdell from Mrs Phillips', contemporary sheep, joints slightly cracked at head and foot, lightly scuffed, slim 12mo (14.4 x 6.9 cm)QTY: (1)NOTE:ESTC R23530; Wing M942. Wing gives format 16mo.Scarce, only two UK institutional copies found (Edinburgh Central Library and Senate House Library, University of London), and four copies in US institutional libraries found (Henry E. Huntington Library and Art Gallery, New York Public Library, Newberry Library, Yale University and Beinecke Rare Book and Manuscript Library).William Mason (fl. 1672-1709; d. 1719?) issued three influential treatises on shorthand: the present work, first published in 1682, and the more romantically titled "A Pen Pluck'd from an Eagles Wing" (1672) and "La Plume Volante" ("The Flying Pen") of 1707. Developed over half a century, Mason's system used 423 characters, and words were written as they sound, a fact that makes it of interest to modern linguists for the light it can shed on 17th-century English pronunciation. Mason's system was adapted by Thomas Gurney for use as the official shorthand of the criminal courts at the Old Bailey, his influence on stenography stretched into the 19th century. Mason's one-shilling publications both supplemented his income and promoted his services as an instructor of stenography; the title page here advertises lessons available at his "Writing School, the Hand and Pen in Grace-Church Street."

Mauro Antonio Tesi, Italian 1730-1766- Design for an architectural cartouche; traces of black chalk, pen and brown ink on laid paper, bears Edmond Fatio's collector's stamp 'EF' (Lugt 3472) (lower right), 20.9 x 14.8 cm. Provenance: Edmond Fatio (1871-1959) (Lugt 3472). [Presumably] His sale, Nicolas Rauch S.A., Geneva, 3-4 June 1959. Private Collection, UK. Note: Tesi's oeuvre consists almost exclusively of architectural and decorative designs, many of which depict solely small sections of a façade or an interior in a manner which provides the viewer with a tantalising glimpse into generally ornate settings. Edmond Fatio (1871-1959) was a Swiss architect and collector, with a particular focus on architectural drawings and designs. At least two other drawings by Tesi were owned by Fatio: one of similar dimensions to the present work which sold at Christie's, London, 27 September 2016, lot 51 (£3,000), and another which is held at the Metropolitan Museum of Art, New York [no.63.592.17]. 

Giovanni Battista Piranesi, Italian 1720-1778- Chimneypiece, Plate 52; etching, signed 'Cavalier Piranesi inv. ed inc.' (within the plate lower left), 25 x 38.6 cm. Provenance: Private Collection, UK. Note: This print is from the publication 'Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi desunte dall'architettura Egizia, Etrusca, e Greca con un Ragionamento Apologetico in defesa dell'Architettura Egizia, e Toscana', translated as 'Diverse Ways of ornamenting chimneypieces and all other parts of houses taken from Egyptian, Etruscan, and Grecian architecture with an Apologia in defense of the Egyptian and Tuscan architecture'. Unlike Piranesi's scholarly architectural surveys, this work serves more as inspiration for designers, combining elements from Etruscan, Greek, and Egyptian architecture and ornamentation to create an eclectic and whimsical style. 

Gottfried Laf Wurm (German born 1946), brightly coloured architectural study, signed and dated '01. Impasto oils on canvas. 34x49cm approx. Appearing original frame. (B.P. 21% + VAT) In good original condition.

A pair of silver architectural ear studs by Vicky Ambery Smith stamped with London hallmarks, together with a pair of cufflinks by Vicky Tomberg, of a similar architectural design, stamped with London hallmarks (4)approx. weight 0.58ozt, approx. diameter of the earrings 2cm, approx. diameter of the cufflinks 1.6cmCondition: In good overall condition

A late 19th/early 20thC German mantel clock, in an architectural carved oak case, the brass dial with rococo scroll spandrels, the silvered chapter ring with Arabic numerals, 39cm high.

Architectural wares, comprising a gothic wrought iron candelabra, meat hanging rack and swing seat. (3)

Tatsuro Yamamoto, Matsuo Ara, and Tokifusa Tsukinowa. "Delhi: Architectural Remains of the Delhi Sultanate Period, Detailed Report of Archaeological Survey Carried out by the Mission for Indian History and Archaeology." Tokyo: The University of Tokyo Press, 1967. Three volumes. Published by the University of Tokyo in conjunction with the Institute of Oriental Culture.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Each, height: 16 1/2 in x width: 12 in x depth: 1 1/4 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.

Group of two Chinese elm wood architectural wall hangings or room dividers. Each with openwork rectangular geometric designs.Provenance: The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Larger; height: 40 in x width: 40 in. Smaller; height: 35 1/2 in x width: 21 1/2 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.

An unusual 18 carat hallmarked gold large modernist / architectural style ring with raised and layered stylized leaves, 3 triangular tourmalines, 3 pearls and 7 diamonds in random design, 23.4gm gross, (maker H& ?)

Fine rosewood cased table / mantel timepiece, the architectural four glass case enclosing a floral engraved gilt brass dial with silvered centre and Roman numerals, the year going single train fusee movement with pendulum and key (the movement 19th Century, the case of later date), 24.5cms high

Almarie Carpreau, oil on canvas, architectural study, signed, 46cms x 61cms, framed

Miscellaneous Victorian gothic oak architectural elements Condition evident from image

A late Victorian silver presentation shield, engraved with a view of an architectural landscape, with the” old style” industrial mill and its coal fired boiler and smoking stack, next to the “new style” smokeless fuel- powered engine house with its clean air, inscribed “Presented to H. Fletcher Esq. C. G by the Rochdale Smoke Crusade Party in a recognition of his efforts to suppress the smoke nuisance July 18th 1893, Elijah Fenton and Geo. Harrison Hon. Secys” by Constantine and Floyd Ltd (of Caroline Street Birmingham), C.1893 (maker’s mark and “SILVER” only, in a lined and fitted case (with trade label of John Taylor, 36 Drake Street, Rochdale), 29cm long overall, 17oz.

An art deco three-piece silver tea set, with tapering rectangular bodies and architectural detail, by H. Pidduck & Sons, Sheffield, 1933, together with a silver-salver with incurved corners by the same maker, the salver 31cm square, 76.35oz. (4)

Early 20th century Continental architectural bracket clock

▴ Prospero Rasulo (Italian, b.1953), a brutalist stainless steel 'Amico' console table, composed of various geometrical and architectural movable pieces on a rectangular top, raised on three supports of various shapes, 386cm wide 65cm deep134cm highProvenance: Dreweatts, Newbury, ;Aynhoe Park: The Celebration of a Modern Grand Tour', 20-21 January 2021, lot 319;Tajan, Paris, 'XXth Century Decorative Arts & Design', 19 March 2013, lot 307.Condition ReportNo fixing bolts. Scratches but no dents or bends. With some stains to the surfaces. Dried dust where the components have sat. With remnants of old auction labels to some of the pieces. Would benefit from a clean throughout.

A Modern Ceramic Mantel Clock of Architectural Form, Clockwork Movement, 25cms High

A pair of Victorian carved limestone architectural elements of canted form decorated with acanthus leaf scrolls and flowerheadseach 63cm wide x 37cm deep x 30cm highQty: 2In weathered condition overall with some minor marks, losses and chips due to age and removal.

A pair of cast bronze mounts, possibly architectural furniture mounts, of classical form decorated with serpents entwined around arrows and surmounted by torchères76cm highQty: 2The remains of fittings where previously attached. Otherwise in good condition.

A William IV rosewood wall mirror, with gilt mouldings and central stylised flower head decoration to the architectural crest87cm wide x 102cm highQty: 1Minor marks, losses and dents overall, particularly to the gilding due to age and use. Some slight oxidisation to the mirror plate.

° ° Neale, John Preston and Edward Wedlake Brayley- The History and Antiquities of the Abbey Church of St. Peter, Westminster, 2 vols., 6pp. list of subscribers, 2 additional engraved titles, 61 engraved plates with tissue-guards, 20th century red half morocco, London, Hurst, Robinson & Co., 1818-1823, 4to. Sold with John Bayley’s ‘The History and Antiquities of the Tower of London’, 2 vols., 1821-1825, and John Britton’s ‘The Architectural Antiquities of Great Britain’, 5 vols., 1835, and Edward Blore’s ‘The Monumental Remains of Noble and Eminent Persons, Comprising the Sepulchral Antiquities of Great Britain’, 1826, and ‘Sixty-Two Additional Plates to Smith’s Antiquities of Westminster’, [1809], and a two more volumes (14).