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An early 20th century oak cased chiming mantel clock with square brass face and silvered chapter ring set with Arabic numerals, in an architectural oak case with Corinthian column front, with key, height 39cm, length of base 28cm.Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/

French black slate and malachite inlaid mantel clock, late 29th Century, of architectural design, white enamel dial with Roman numeral chapter ring, with pendulum, 35cm high

Edwardian mahogany mantel clock, with architectural cresting and column pilasters, Arabic numeral dial, 36cm high, together with an Edwardian balloon clock with later quartz movement and another mantel clock with two train movement (3)

Cast iron boot scraper, cast metal architectural mount, possibly a balustrade, and a brass wall mounted bell

Pair of carved oak architectural brackets24 cm high, 25 cm wide both missing mouldings - see extra images

1950s Chinese giltwood mirror with architectural frame 79 x 46 cmSound condition, gilt painted rather than gilded , some losses and chips to pediment

JAUME PLENSA (Barcelona, 1955)."Man, III", 1983.Mixed media on paper.Attached certificate issued by the author.This work was exhibited at the Jordi Pascual gallery (Barcelona), in 2017.The glass is broken, but it does not affect the work.Signed and dated in the upper area.Measurements: 140 x 35 cm; 150 x 44,5 cm (frame).This work belongs to the first stage of Plensa's artistic career, who began to exhibit in 1980. In it he constructs the keys to what would later become his most recognised works, the representation of the human figure, a reflection on identity and the interaction between man and space. With this work, Plensa proposes a journey through simple strokes, which he sometimes reduces, while at other times he loads it with matter. He takes us to a mythical, telluric world, reminding us in a certain way of primitive painting, focusing his attention on the gesture and its expressiveness.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

JAUME PLENSA (Barcelona, 1955)."Untitled" 2012.Painting on cotton (T-shirt).Signed and dated.Size: 73 x 80 cm; 82 x 90 cm (frame).Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work both in terms of material and form, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

German table, 17th century.Cabinet front adapted to table top.Ebonised legs.Iron fasteners.Restorations (20th century).Break in one leg.Measurements: 65 x 90 x 58 cm.A German cabinet front, decorated with fine marquetry work, has been adapted as a table top. The marquetry shows a palace-like architectural scene, with Solomonic columns, and through whose windows church domes and courtly gardens can be seen. The sogueada legs, in ebonised wood, are joined with crossbeams and a double iron brace in the centre.

Spanish school of the third quarter of the 18th century."Jesus before Herod".Oil on canvas. Without stretcher.Measurements: 62 x 144 cm.We see in this canvas the representation of Jesus in the Court of Herod. The episode is narrated in the Gospel of Luke: after being judged by the Sanhedrin, Jesus is sent to the Roman governor Pontius Pilate, who when he found out that he was a Galilean understood that the case would be under the jurisdiction of Herod Antipas. The architectural background, based on steps, marble columns and arches, organises the space in which the figures interact with each other to form dynamic groups. It thus offers different levels of reading and focuses of attention, between the anecdotal anecdotes of the secondary plots and the central drama.

Spanish school of the third quarter of the 18th century."Jesus before Herod".Oil on canvas. Without stretcher.Measurements: 62 x 165 cm.We see in this canvas the representation of Jesus in the Court of Herod. The episode is narrated in the Gospel of Luke: after being judged by the Sanhedrin, Jesus is sent to the Roman governor Pontius Pilate, who when he found out that he was a Galilean understood that the case would be under the jurisdiction of Herod Antipas. The architectural background, based on steps, marble columns and arches, organises the space in which the figures interact with each other to form dynamic groups. It thus offers different levels of reading and focuses of attention, between the anecdotal anecdotes of the secondary plots and the central drama.

MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703)."Jesus and the adulteress".Oil on canvas.Relined.Measurements: 84 x 105 cm; 95 x 116 cm (frame).In this oil painting by Matías de Arteaga, as was typical of this painter's art, the architectural interior has been meticulously described and worked following the precepts of Italian perspective. However, Renaissance spatial solutions became more complicated in the Baroque period, with the superimposition of scenes and spaces. The main scene is occupied by Jesus, who points to the ground while saying "Let him who is blameless cast the first stone". In front of him is the woman who was to be stoned for adultery. The other figures are stunned and undecided by his words. The relief effect of the figures carved in the stone, the rich plasticity of the robes and the flesh tones, as well as the solution of the groups escaping towards a background of arcades are remarkable. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, such as the Wedding at Cana, which belongs to the collection of the Museo de Bellas Artes in Seville, or the Marriage of the Virgin, in the collection of the Museo del Prado.Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.

Cabinet; Italy, 17th century.Wood, lapis lazuli, agate, jasper marble and bronze.It has an 18th-century base.It has faults, restorations and losses.Measurements: 49 x 80 x 31 cm.Italian cabinet from the 17th century, decorated with hard stones. It is a rectangular piece of furniture that stands on a base in the form of a smooth moulding. The front is divided into three sections separated by a column (the other is no longer preserved) of marbled marble, in Ionic order, with gilded bronze capitals and bases. The side sections, consisting of drawers, are decorated with mouldings, plaques and hard stones such as lapis lazuli, with round handles. The central body, topped by a pediment, contains a gilt-bronze sculpture of a young man holding a lyre, which suggests that it is a representation of the god Apollo. The sides of the cabinet are considerably simpler in decoration, although in the same style and with the same proportions. The decoration consists of recesses made up of inlaid fillets, combining different geometric shapes inscribed in rectangles. It should be noted that the cabernet hides several secret compartments that can be accessed by removing the main drawers.It is a piece that faithfully follows Italian models, in which it was common to combine different materials in search of chromatic and quality contrasts. The markedly architectural structure is also typical of the Italian school and, in fact, even the typology itself, given that in the 17th century the cabinet or desk was the furniture par excellence throughout Europe.

Cabinet; Italy, 17th century.Wood, lapis lazuli, agate, jasper marble, bronze and silver.It shows faults, restorations and losses.Measurements: 49 x 74 x 32 cm.High quality and beautiful piece of furniture with the interiors made of wood. The front is divided into three sections separated by columns of marbled marble, of Corinthian order, with capitals and bases in gilded bronze. The side sections, made up of drawers, are decorated with mouldings, brass plaques and hard stones such as lapis lazuli, with round handles. The central body, topped by a pediment, houses the gilt-bronze sculpture of an adult man leaning on a staff, which could be a representation of the god Asclepius, who in classical mythology was considered to be the god of medicine. The ornamentation of the piece of furniture goes beyond the front, as both the sides and the upper part have a geometrically structured fillet that serves as ornamentation. In addition, the base also has an aesthetic finish based on a profuse relief on the front in laceria and a central border depicting the figure of two animals facing each other. It is worth noting that the cabernet hides several secret compartments that can be accessed by removing the main drawers.It is a piece that faithfully follows Italian models, in which it was common to combine different materials in search of contrasting colours and qualities. The markedly architectural structure is also typical of the Italian school and, in fact, even the typology itself, given that in the 17th century the cabinet or desk was the furniture par excellence throughout Europe.

DANIEL VÁQUEZ DÍAZ (Nerva, Huelva, 1882 - Madrid, 1969)."Profile Portrait, 1923.Pencil on paper.Signed and dated in the lower left corner.Size: 30.5 x 23 cm; 46 x 38 cm (frame).Daniel Vázquez Díaz began to paint in his student years, after discovering the work of Zurbarán and El Greco. In 1903 he moved to Madrid to concentrate on painting and copying the masters of the Prado, where he became friends with Juan Gris, Solana and Darío de Regoyos. Three years later he settled in Paris, where he worked with the sculptor Antoine Bourdelle and met Picasso, Braque, Modigliani and Max Jacob, among others, and assimilated a certain avant-garde spirit. Around this time he began to develop his personal style, which blends the constructive brushstrokes of Cézanne with the geometric and flat structure of Cubism. On his return to Spain in 1918, he began to teach, first in his studio and later at the San Fernando School of Fine Arts, where he was awarded the chair of mural painting in 1932. Through his classes, Vázquez Díaz disseminated a Cubism of architectural monumentality, which served as a bridge between the young artists and the trends that were developing in the rest of Europe. In addition to being an excellent landscape painter, Vázquez Díaz excelled as an illustrator and portraitist of some of the most important figures of his time. His murals for the monastery of La Rábida in Huelva between 1927 and 1930, which established him as a painter, are particularly noteworthy. In 1968, a year before his death, he was appointed a member of the San Fernando Academy. He is currently represented in the Reina Sofía National Museum, the museum that bears his name in Nerva, the Patio Herreriano in Valladolid, the Telefónica Foundation and the Fine Arts Museums of Bilbao and Seville, among others.

LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Bouquet of flowers".Oil on canvas.Signed in the lower right corner.In good state of conservation.It has a stamp on the back from the restoration workshop.Measurements: 33 x 24 cm; 50,5 x 41 cm (frame).Lucien Genin studied at the Ecole des Beaux-Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.

LOUIS PASTOUR (1876-1948)."Rue Ensolille, 1909.Oil on panel.Signed and dated in the lower right corner. Signed, dated and titled on the back.Size: 24 x 32,5 cm; 42 x 51 cm (frame).Landscape scene in which the author starts from a diagonal that allows him to create a greater sensation of distance with respect to the spectator and to structure the space in this way. The work combines an architectural landscape with the natural one, although apparently dominated by human beings. It should be noted that the presence of the figure is not reflected, but the image is shown empty of activity, not in a desolate but in a peaceful way, which is determined by the warm palette used by the artist.

A Regency rosewood card table, the rounded rectangular fold-over top above an architectural column, on a quatrefoil base with scroll feet, 92cms wide.

An 18th century Persian carved wooden horse and bird architectural mount, 25cms high.

A Victorian black slate classical style architectural design mantle clock, white enamel and gilt dial and black numerals. H.33 W.34 D.13cm.

Clock; Genoese work, first quarter of the 18th century.Ebonised wood and bronze applications.It has French Jean Vaillaus machinery.Precise set up.Measurements: 70 x 46 x 17 cm.Table clock made of ebonised wood with a design based on an architectural structure. The piece is supported on eight gilded bronze chamfered ball legs, which give way to a moulded base with incoming and outgoing edges. This area is notable for the gilt-bronze appliqués that represent small cartouches, with the one in the centre standing out. The rectangular body is located in the upper area, flanked by two warped finials topped by pinnacles. The central area has a hinged door with glass, which allows a view of the inside of the piece where the clock face is located. Ornamented with reserved areas in the corners where a vegetal pattern can be seen, the centre is dominated by a dial in which black contrasts with gold, on which the Roman numerals are arranged. Finally, the piece ends with an upper cornice and a tympanum in the form of a split arch with a large crest.

Chapel clock, circa 1700.Ebonised wood.Preserves key.Precise set up.Measurements: 50 x 38 x 17 cm.Chapel clock made of ebonised wood with an architectural structure. Arranged on four chamfered ball feet. The base presents a mixtilinear profile of incoming and outgoing edges that generate a great dynamism, and in the centre it is ornamented with a gilded vegetal ornament, which stands out against the dark wood finish. This area has a drawer. The rectangular-shaped body houses the case with its gilt dial, black Roman numerals and openworked hands. The upper part of the case is finished with a moulded top, the corners of which are decorated with gold-plated cups.

Neo-Gothic gas lamp, ca. 1880.Gilt bronze.Formerly gas, now electrified.Typical wear and tear of the period.Measurements: 85 (height) x 75 cm (diameter).Ceiling lamp with the structure entirely made of bronze. It has a central fluted shaft from which emerge three arms on whose knees there are openwork fleurons in a marked neo-Gothic style. These arms are in turn ornamented with masks. The lamp belongs to the 'neo' period, a historicist movement, mainly architectural and decorative, which arose at the end of the 19th century in Great Britain and which sought to recall ancient styles, in this case Gothic.

Louis XVI clock; France, late 18th century.Polychromed and gilded wood.Measurements: 48 x 32 x 14 cm.Louis XVI style table clock, in polychrome wood. With a design of architectural inspiration, on a base there are four fluted columns of Doric order that support the case. The clock face is circular, with Roman numerals in black on a white background and gilt openwork hands. It is topped by a dome-shaped crown covered with gilt leaves.

A quantity of architectural drawings, relating to new buildings and building projects in North Lincolnshire, architect Rex Critchlow.

An architectural drawing of Magdalene College Cambridge, by Rex Critchlow, various photographs of the college, and a printed detail elevation of part of the Victoria and Albert Museum by Aston Webb (1849-1930) architect. (3)

Various architectural plans and drawings by Rex Critchlow, former architect North Lincolnshire, to include Swinhope Rectory, proposed house near Grimsby, etc.

An American architectural shaped mantel clock, in a mahogany case, bearing paper label for E N Welch of Forestville Connecticut, with thirty hour movement, later printed dial above a verre eglomise panel title E Pluribus Unum, and decorated with American flags, 50cm high.

An American architectural mantel clock, in a walnut case, with painted label for Jerome & Co New Haven Connecticut, later printed dial, the door inset with a verre eglomise panel of a building and a stage coach, 50cm high.

A late 19thC American mantel clock by Jerome Clock Company, of architectural form with arched top and turned finials, Neale, white painted dial, the door with verre eglomise panel of fruit, leaves, etc, 65cm high.

An elaborate metal mantel clock, with 5cm diameter Roman numeric dial and a further Architectural style mantel clock. (2)

A 19thC slate and marble mantel clock, with 10cm diameter Arabic dial, fitted in and Architectural case, with fern leaf scroll decoration to the base, with eight day movement, 34cm high with key and pendulum.

A Victorian black slate mantel clock, the 11cm diameter Arabic dial with eight day movement, flanked by six columns, in an architectural case, with classical figures surmounted by urns, with key and pendulum. 39cm high.

A French Black Slate and Pink Marble Mantel Clock of Architectural Form, Movement Stamped PR and Numbered 792, 26cms Wide and 25cms High

Two 19th century Victorian slate mantel clocks. The first having open escarpment to face and the second having eight day movement with enamelled numeral to chapter ring. Both being set within architectural form case with gilt details and marble pillars to sides. Together with an early 20th century H.A.C wooden case mantel clock of architectural form with scagliola effect to case and eight day movement. Measures 30cm length.

A late 19th century mahogany cased American mantel clock. Of arched architectural form, white painted dial with black Arabic numerals. the glazed front door decorated with the Royal Arms, with striking movement, pendulum and key, 49.t5cm high

JAUME PLENSA (Barcelona, 1955).Untitled.Etching in aquatint.Hand signed in the lower margin.Size: 22 x 13 cm; 39 x 29,5 cm (frame).Jaume Plensa studied at the Llotja School and at the Sant Jordi School of Fine Arts, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

JAUME PLENSA (Barcelona, 1955).Untitled, 2015.Etching.Hand signed and dated. Size: 101 x 70 cm; 119,5 x 89,5 cm (frame). Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both in terms of material and form, and began to use different materials such as metal waste, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums in Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

Two Victorian marble cased mantel clocks of architectural design AF

A CLOISONNÉ AND BRASS CASED MANTLE CLOCK OF ARCHITECTURAL FORM, Surmounted with an urn, the bevelled glass door enclosing a bejewelled drum clock, raised on circular leaf cast feet. 38cm high

A GEORGE III INLAID MAHOGANY LONGCASE CLOCKThe architectural hood, with broken pediment centred by a brass finial, the enamelled dial painted with a figure of a female harvester, floral and fruit motifs, the case decorated with marquetry vases of flowers and shell patera, on a platform base with bracket feet. 46cm wide; 235cm high; 23cm deep     

A 19TH CENTURY INLAID MAHOGANY CORNER CABINETOf architectural form, the top section with broken neck pediment, above an inlaid frieze, over twin doors, the bottom section with conforming decoration, raised on bracket feet. 232cm high, 116.5cm wide

An Edwardian silver cream jug of plain fluted helmet form having reided decoration an architectural handle, Birmingham 1909, William Aitken, approx 106g

A matching silver cream jug and sugar bowl of oval form with architectural handles and bun feet, Birmingham 1920, Williams Ltd, approx 544g

A small Edwardian silver teapot of plain shaped form on pedestal foot with Architectural wooden handle, Birmingham 1908, William Aitkin, approx 380g

four antique Indian terracotta architectural elements (tiles from a balcony of a haveli), some with remains of polychromy || Lot van vier antieke Indische architecturale elementen van een balkon van een haveli in terracotta, sommige met restanten van de originele beschildering - ca 54 x 56 cm

EDOUARD VUILLARD , CUISEAUX, 1868 - LA BAULE, 1940Woman on a sofa (L'Attente)Oil on canvas mounted on panel 75.5 x 41 cmWith her head tilted to one side and a melancholic air, this woman seated on a sofa is letting herself go to her thoughts. Everything in her bearing and dress, hat, coat and fur collar barely unzipped, suggests that she is visiting, waiting to be received. Occupying the centre of the canvas, all in length, she is represented in the centre of the room, in the second plan, as if observed from a point of view that accentuates this feeling of solitude, even of abandonment. Perfectly balanced, the frontal composition organises the planes in a succession of horizontals which gives the work stagnation and flatness, crushing perspective. The wall panelling and the edge of the table superimpose their parallel lines. The bas-relief and the Japanese print hanging in the background align their geometric planes, which are echoed by the table top in the foreground. The sofa, the only organic form, creates a break with its colour, bright red, and its size, occupying the entire width of the canvas. The artist's touch, more and more present as she approaches the foreground, contributes to creating this aspective effect, close to abstraction. Isolated in her world, the young woman seems to be sitting on a cloud, levitating. Vuillard, by asserting his touch, makes painting his true subject.Provenance: Theodore Duret, Paris ; galeire Bernheim Jeune, Paris ; Svensk-Fransk Konstgalleriet, Stockholm ; Carl Matthiessen, Stockholm ; Nore Lungren, Stockholm ; collection Bonnier, Geneva ; Wildenstein & co., New-York ;Stockholm, Svensk-Fransk Konstgalleriet, Uställning ung svensk Konst, 1938 ; Stockholm, Nationalmuseum, France through artists' eyes, 1941 ; Stockholm, Svensk-Fransk Konstgalleriet, French Art : from private collections in Stockholm, 1951, n°74 ; Stockholm, Liljevachs Konsthall, Cezanne to Picasso, French art in Swedish ownership, 1954, n°395, illustré ; Stockholm, Nationalmuseum, Five centuries of French art, 1958, n°173 ; Tokyo, Wildenstein, Bonnard, Vuillard, K. X. Roussel, 1974, n°22 illustrated, Tokyo, Fujikawa Galleries; Osaka, Fujikawa Galleries; Fukoko, Fujikawa Galleries, Masterpieces from 1850 to 1950, 1977, n°14, illustrated; Roslyn, New-York, Nassau County Museum of Art, Long Island Collects, The Figure and Landscapes, 1990; Roslyn, New-York, Nassau County Museum of Art, La Belle Epoque, 1995.Signature: Signed lower left 'E. Vuillard'Bibliography: I. De HOOR, Nägra franska malningar i Carl Matthiessens samling, Konstrevy, 1928, p. 8; I. De HOOR, La collection Matthiessen à Stockholm, L'Amour de l'art, vol. 11, 1930, p. 412, illustrated; Architectural Digest, May-June 1976, p. 64, illustrated in colour; Antoine SALOMON & Guy COGEVAL, Vuillard: Le Regard innombrable, critical catalogue of paintings and pastels, vol. II, Milan, 2003, No. VII-201, p. 644, illustrated in colour.

Sir Norman Foster signed The Architectural Review FDC. 20/6/06 London postmark. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

A late 19th century Continental walnut mantel clock, of architectural form, 43.5cm high, with pendulum. 

Miscellaneous collection of Italian books & engravings, including 53 etched plates of fountains, many signed & dated in the plate, Joannes Maggius, 1618, plus an etched pictorial title page (presumably related) for Fontaine Diverse, by Giovanni Maggi, Rome: Rossi, 1645; 55 engraved plates of statues, 21 of architectural views, no printmaker or publisher details; eight etchings of landscapes by Johann Georg Hertel; two etchings by Hertel & Eichler, and several others with damage; a small quantity of 17th- & 18th-century manuscript letters with wear & loss; Novelle di Giambattista Casti, three parts bound as one, Capolago, n.d., three title pages with woodcut frontispiece to each, quarter-calf; Riflessioni Politiche et Morali, by Cardinal Bichi, Venice: Guglielmo Oddoni, 1644, worn vellum; Grammatica Delle Due Lingue Italiana E Latina, by Francesco Soave, Napoli, 1842, vellum, and six others, all ex-library, bearing labels & stamps for Biblioteca di G. Salomone, Nicosia, 1911, condition varied, some evidently incomplete, collection sold as found with all faults

Photography. A collection of 53 loose 19th-century albumen prints, mostly UK & Ireland topographical & architectural views, including several hand-tinted views of Japan (Mount Fuji & temples), several views of Notre Dame, some with printed captions, some inscribed verso, various sizes, two bearing publisher's blind-stamp: Frith's Series and Pettitt of Keswick,. Loose/unmounted, generally very well-preserved, some folds and creases at edges (53)Provenance: By descent of the family of John Benjamin Stone (1838-1914)

Taxidermy: A Victorian Cased Diorama of British Game Birds, circa 1870-1900, a diorama of various game birds to include - Black Grouse, Woodcock, Snipe, Jack Snipe, Grey Partridge, Corncrake, French Partridge, Quail, and a young Rabbit, all mounted upon painted faux rockwork, amidst lichen, moss and grasses, set against a pale blue cloudy sky back drop, enclosed within a period architectural mahogany framed three-glass display case, 94.5cm by 23cm by 56cm, (af).Case is damaged and requires structural repair, all glass good, both supporting frame columns are broken and glued, all birds within have suffered sun damage conducive with age, 03/10/22

Theodoor de Bry -Commander of Folly, Duke Alva with upside down jester head Duke of Alva as Commander of Folly; with an upside down head of a jester; surrounded by a round band of dense ornament decorations. Design for an engraved tazza, circular plate. c.1588 ---L lettered around the portrait "DE HOOPMAN VA NARHEIT / LE CAPITAINE DES FOLLIE". With six columns, each two lines of verse around the design. From a series of four designs for richly ornamented dishes (Hollstein 178-181). This is the largest and most interesting one of the group. 12,20 x 12,20 cm / Condition: Excellent impression in very good condition. The circular print has full plate border and is on the uncut square sheet with good margins. Remains of album tipping at the backside of the four corners. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (179) --- Lit.: M. de Jong and I. de Groot, 'Ornamentprenten in het Rijksmuseum I, 15de & 16de eeuw', Amsterdam 1988, no. 56. --- T.Clifford, 'Designs of Desire: Architectural and Ornament prints and Drawings 1500-1850', National Galleries of Scotland, ex. cat., 1999, no. 28. / Medium: Engraving /Circa: 1588

Wenceslaus Hollar - The Lute player with the Nun - Holbeins Dance of death / Description: An early state from Hollbein's Dance of Death, etched from two separate plates, but already wit hthe monogram of Hollar and Holbein in the plate. The Nun; a young woman kneels before an altar in a bedroom, but is looking around to the right where a young man sits on the bed playing a lute; behind her Death is about to extinguish a candle on the altar; in architectural border, with bearded and winged man with hour glass and scythe on the left, and a woman holding a serpent with tail in its mouth on the right; draped coffin at top and lying skeleton at bottom; after Hans Holbein the Younger; the border from a separate plate after Abraham van Diepenbeeck; first state. 1651. Etching, from two plates made by Wenceslaus Hollar, After: Abraham van Diepenbeeck (border) and Hans Holbein the Younger (subject). Beneath the border Ab. Diepenbecke inv. W.Hollar Fecit / Dimensions: 11,50 x 9,40 cm / Condition: Good impression on laid paper trimmed outside the borderline leaving small margins. Tiny defect to left corners. Tipped with top side on a support sheet. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (1156) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (233A) --- From a series of thirty plates after Hans Holbein the Younger, with borders by Abraham van Diepenbeeck; see New Hollstein pp.170-171 and Pennington pp. 28-31 for detailed descriptions of the series, and New Hollstein 1126-1158 and Pennington 233-266 for the plates. / Medium: Etching /Circa: 1663

Art Déco - - Sites et paysages (Manuskript Titel).Mit gezeichneter Titelseite und 45 großformatigen Zeichnungen. o.O, o.J. Frankreich um 1920/25. Quer.-Kl.-4. Lwd.-Album. Eindrucksvolle Sammlung von Art Déco Zeichnungen, teils ausgeführt als kraftvolles Capriccio in Feder, Buntstift und Gouache aus imaginären pastoralen Landschaften und Architekturansichten im schönem Kolorit, eingerahmt von einer überwältigenden Vielfalt an vom späten Jugendstil aber vor allem vom Art Déco inspirierten Bordüren und prachtvollen ausladenden Rahmungen, welche sich wirkungsvoll mit geometrischen, floralen und zoomorphen Elementen amalgamieren. Gezeigt werden Ansichten und Szenerien meist aus Frankreich, einige Arbeiten sind betitelt oder eindeutig identifizierbar, wie Schloss Kew in Kew Gardens, Stowe Garden (beide England), Mereville (Frankreich), Arquà Petrarca (Italien), Akropolis in Athen (Griechenland). Der unbekannte Künstler setzt bei dieser Tour de Force ein besonderes Augenmerk auf die avantgardistische Art Déco Rahmung welche die traditionelle Bildauffassung mit großer Divergenz aufwendig rahmt. With drawn title page and 45 large format drawings. Impressive collection of Art Deco drawings, partly executed as a powerful capriccio in pen, crayon and gouache of imaginary pastoral landscapes and architectural views in a beautiful colouring, framed by an overwhelming variety of late Art Nouveau but especially Art Deco inspired borders and splendidly projecting frames, which effectively amalgamate with geometric, floral and zoomorphic elements. On display are views and sceneries mostly from France, some works are titled or clearly identifiable, such as Kew Castle in Kew Gardens, Stowe Garden (both England), Mereville (France), Arquà Petrarca (Italy), Acropolis in Athens (Greece). In this tour de force, the unknown artist pays special attention to the avant-garde Art Deco framing, which frames the traditional pictorial concept with great divergence.

VERNER PANTON (Denmark, 1926 - 1998) for Louis Poulsen.Pair of table lamps, Model "Panthella Mini".In chromed steel and aluminium.Made for Louis Poulsen.Original packaging.New, brand new.Dimensions: 33,5 x 25 x 25 cm; 40x31x31 cm (packaging, 2 packs).Pair of "Panthella Mini" table lamps. The Panthella collection includes some of Panton's best known lamps. It has a simple and balanced form. Base, shaft and shade merge into an organic design. The Panthella was made in several coloured versions, as the designer considered colour as important as form.Verner Panton was one of the most influential Danish industrial designers of the late 20th century. He introduced the Pop aesthetic into Scandinavian furniture. He attended the Technical School in Odense and then studied architecture at the Royal Academy of Fine Arts in Copenhagen. Between 1950 and 1952 he worked in Arne Jacobsen's architectural studio. In 1955 he opened his own architecture and design studio. He became famous with his furniture based on geometric forms manufactured by the company Plus-linje. Panton's spatial compositions are renowned for fusing floors, walls and ceilings, as well as furniture, lamps, fabrics and enamel or plastic panels to form a spatial unity that is as seamless as it is indivisible. The Visiona halls at the Cologne Furniture Fair (1968 and 1970), the offices of the Spiegel publishing house (1969) and the Varna restaurant in Aarhus (1970) are some of the most outstanding examples. The collaboration between Panton and Vitra began in the early 1960s. With Vitra, he developed his best-known design: the Panton chair, made from a single piece of injection moulded plastic, introduced in 1967. It is represented at MOMA and in leading museums of decorative art and design.

EERO SAARINEN (Finland, 1910 - United States, 1961).Tulip Table, 1960s.White enamelled metal base and veined marble top.Marks of use on the base, especially noticeable on the shaft.Measurements: 71.5 x 120 cm.Around 1955 Eero Saarinen designed a collection of furniture for Knoll International in which the four legs of the tables and chairs disappeared, as the designer considered them "horrible". This was to become known as the Tulip Collection, now one of the international icons of 20th-century design. The one we present here is a side table model, with a white enamelled metal base and a circular tabletop in light veined marble.Saarinen initially studied sculpture at the Académie de la Grand Chaumière in Paris, and later architecture at Yale University. He then furthered his studies in Europe on a scholarship, and on his return took up a teaching post at Cranbrook Academy, one of the most important architectural and industrial design academies in the United States. In 1937 he began designing furniture in collaboration with Charles Eames, winning the 1940 prize in the "Organic Design in Home Furnishings" competition organised by the Museum of Modern Art in New York. Later, as an independent designer, Saarinen created furniture designs for Knoll International. As an architect, Saarinen became famous for his spaces with curved lines, especially in the roofs of his buildings, with which he managed to give them a great lightness. One of his most representative and well-known buildings is the TWA terminal at J. F. Kennedy Airport in New York. Today, his designs are present in the most important collections around the world, including the MoMA in New York.

VERNER PANTON (Denmark, 1926 - 1998) for VITRA Editor.Set of eight cantilever chairs "Panton", design 1960.Injection moulded polypropylene, white.Vitra Editor.With Vitra die-cut stamp.Slight signs of wear.Measurements: 82/46 cm (height).In the sixties Panton began his collaboration with the firm Vitra, with which he developed his best-known design: the "Panton" chair, made from a single piece of injection moulded plastic, which was presented in 1967. Now considered a classic of 20th century design, the Panton chair is part of such prominent collections as the MoMA in New York.Considered one of the most influential personalities of late 20th century furniture design, Verner Panton created a variety of innovative and futuristic designs during his career, especially constructed in plastic and bright colours. Most of his best-known designs are still in production. Verner attended the Odense Technical School and then studied architecture at the Royal Academy of Fine Arts in Copenhagen, graduating in 1951. In the early years of his career, between 1950 and 1942, he worked in the architectural office of Arne Jacobsen. In 1955 he opened his own architecture and design studio, making a name for himself with his furniture based on geometric forms, manufactured by the company Plus-linje. In the late 1950s his chair designs, with no legs and no discernible back, became increasingly unconventional. In the 1960s Panton began a close collaboration with Vitra, which culminated in 2000 with the Panton retrospective exhibition at the Vitra Design Museum. He is currently represented at the DesignMuseum in London and the MoMA in New York, among many others.

CHARLES EDOUARD JEANNERET-GRIS, "LE CORBUSIER"; (Switzerland, 1887 - France, 1965).LC6 table, design 1928.Elliptical tubular steel base with black finish. Glass top.Dimensions: 69.5 x 240 x 100 cm.The interest of the LC6 table lies in its refined steel and glass structure. On the one hand, the black chromed steel base gives stability and a robust appearance to the piece of furniture; on the other hand, the rectangular glass tabletop, with its sharp edges, provides lightness and weightlessness. Designed in 1928 by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, the base is inspired by the oval profiles used in aeronautical design to maintain the distance between the wings of biplanes. The result of their masterful design work is this multifunctional table, which can be used both in the office and at home.Architectural theorist, architect, designer and painter, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Exposition des Arts Décoratifs in 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.

RONAN BOUROULLEC (France, 1971) & ERWAN (France, 1976) for VITRA.Pair of "Slow" chairs.Varnished aluminium frame mounted on transparent fabric. Loose cushion upholstered in black wool fabric.Two loose back/decorative cushions included.With Vitra label.With slight traces of use, a small repair and a hole in each of them.Measurements: 90 x 95 x 90 cm.Ronan and Erwan Bouroullec are a couple of internationally renowned designers whose furniture and objects are destined for brands such as Vitra, Kvadrat, Magis, Kartell, Axor, Alessi, Issey Miyake and Cappellini. They studied at the Ecole Nationale Supérieure des Arts Décoratifs in Paris and at the Ecole des Beaux-Arts in Cergy Pontoise. Ronan started working on his own as soon as he completed his training, and his brother, who had not yet finished his studies, helped him. Since 1999, the two brothers have run a design studio in Paris, of which they are 50/50 partners. Their work ranges from small consumer items to architectural projects. In addition to designing household and office furniture, vases, porcelain tableware, jewellery and various accessories for the home, they also work with space and its configuration. It is in this context that "Algues", one of his less conventional products, was born in 2004. The collaboration with Vitra begins with the "Joyn" office furniture system, developed together with Vitra between 2000 and 2002 and constantly evolving ever since. With Jasper Morrison and Hella Jongerius, Ronan and Erwan Bouroullec are among the main architects of the Vitra Home, a constantly growing collection. In 2007 they exhibited "Airs de Paris" at the Musée National d'Art Moderne, Centre George Pompidou; and "Nature Design" at the Design Museum Zurich.