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PAAR LOUIS XVI-KAMINBÖCKE Frankreich, Ende 18.Jh., feuervergoldete Bronze mit feiner Ziselierung, architektonisches Gestell mit Bandwerk, plastischen Vasen, diese mit Flamme und seitlichen sitzendem Putto mit Helm bzw. Schild, HxB: ca. 27/33 cm. Alters und Gebrauchsspuren, Elemente verschraubt, Unterseite unpatiniert. | PAIR OF LOUIS XVI FIREPLACE TRESTLESFrance, end of the 18th century, fire-gilt bronze with fine chasing, architectural frame with ribbon work, sculptural vases, these with flame and sitting putto with helmet or shield on the side, HxW: ca. 27/33 cm. Signs of age and use, elements screwed together, unpatinated underside.

Harlequin set of ten Edwardian walnut dining chairs - set of four with architectural pediment over pierced and carved urn splat, six with rosette and scrolled foliate cresting rail with balustrade rail, each with sprung seats upholstered in evergreen fabric with lozenge and strawberry repeating pattern, raised on ring turned supportsDimensions: Height: 90cm  Length/Width: 45cm 

A Victorian slate mantel clock, the case, of architectural form, inset with green serpentine marble, the circular gilt dial with ivorine register and black painted Arabic chapter ring, eight-day time piece drum movement stamped with H.A.C crossed arrow emblem. H27cm.

A 19th Century cast Bronze and ormolu Architectural Model of The Arc De Triomphe, having lift up lid supported on an oval base. H22cm W24cm D15cm

A Late XIX Century Oak Cased Mantel Clock, of architectural form (finials missing), the brass dial with Arabic numerals, two keys and pendulum present, 48cm high.

§ Geoffrey Clarke R.A. (British 1924-2014) Column, 1993 (LeGrove S692) stamped artist's mark, aluminium Dimensions:26cm high (10 1/8in high) Provenance:ProvenancePrivate Collection, UK. ExhibitedChappel Galleries, Chappel, Geoffrey Clarke RA - Latest Work: Sculpture, Paintings & Drawings, 29 October - 26 November 1994. LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.209, S692, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Maquette for Sainsbury Sculpture Competition (Climber), 1965 (LeGrove S260a) stamped artist's mark, aluminium Dimensions:26.6cm high (10 1/2in high) Provenance:ProvenancePrivate Collection, UK.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.100, S260a, illustrated. Note: This is one of a series of maquettes for a sculpture submitted for a competition for a site between the King's Road, Chelsea and a new branch of Sainsbury's. This example was later titled Climber. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Sea at Aldeburgh, 1978 initialled and dated (lower right), mixed media on polystyrene Dimensions:11cm x 14.5cm (4 1/4in x 5 3/4in) Provenance:ExhibitedStrand Gallery, Aldeburgh, Geoffrey Clarke RA and the Aldebrugh Connection, 16 October - 20 November 2004. Note: This was one of two works acknowledged by Clarke to have been inspired by Aldeburgh. Clarke owned the Martello Tower there and he and his family enjoyed trips to the seaside at Aldeburgh. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

Thonet Set of Four 'Le Corbusier' Dining Chairs model no. B9, painted white bentwood with woven wicker seat Dimensions:82.5cm high, 52cm wide, 44cm deep (32 1/2in high, 20 1/2in wide, 17 1/2in deep) Provenance:ProvenanceAcquired by Leslie Martin and Sadie Speight circa 1960 and thence by descent to the current owner. Note: The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

§ Geoffrey Clarke R.A. (British 1924-2014) Head I, 1951 (LeGrove S36) iron on aluminium, unique Dimensions:18cm high (7in high) Provenance:ProvenancePrivate Collection, UK.ExhibitedGimpel Fils, London, Geoffrey Clarke, Peter Potworowski, March - April 1952, no.41;Redfern Gallery, London, Geoffrey Clarke: Recent Sculptures, March - April 1965, no.49;Yorkshire Sculpture Park, Wakefield, Geoffrey Clarke RA: Sculpture and Works on Paper 1950-1994, April-June1994, illustrated on the cover.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.29, S36, illustrated. Note: A cross on the top was missing by 1965 and has never been restored. Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Toriio, 1965 (LeGrove S294b) stamped with the artist's mark, numbered 3/10 and 533 and dated 65, aluminium Dimensions:15.2cm high, 7.5cm wide (6in high, 3in wide) Provenance:ProvenancePurchased from Whitford Fine Art, London in 2002 by the current owner.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.110, S294b, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

§ Geoffrey Clarke R.A. (British 1924-2014) Torii Prone One (i), 1965 (LeGrove S276) stamped artist's mark, numbered 1/10 and 512 and dated 65, aluminium Dimensions:10cm high, 19.5cm wide (4in high, 7 5/8in wide) Provenance:ProvenancePurchased from Whitford Fine Art, London in 2002 by the current owner.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.106, S276, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

Marcel Breuer (Hungarian 1902-1981) for Isokon Set of Three Nesting Tables, designed 1936 each stamped MADE IN ESTONIA (to underside), laminated birch plywood, manufactured by Venesta, Estonia for Isokon Furniture Company Ltd., London, United Kingdom Dimensions:the largest 37cm high, 61cm wide, 45.5cm deep (14 1/2in high, 24in wide, 17 7/8in deep) Provenance:ProvenanceAcquired by Leslie Martin and Sadie Speight in the late 1930s and thence by descent to the current owner. Note: This design was created in February 1936, around the same time as Breuer was perfecting the Long Chair. The earliest models of the nesting tables were made by Venesta in Estonia, with later production moved to England. The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

Vico Magistretti (Italian 1920-2006) Set of Five 'Carimate' Chairs beech and rush seats Dimensions:75cm (29 1/2in) high, 52cm (20 1/2in) wide, 58cm (27 7/8in) deep Provenance:Provenance:Acquired by Leslie Martin and Sadie Speight in the late 1970s and thence by descent to the current owner. Note: The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

§ Geoffrey Clarke R.A. (British 1924-2014) Pyramid, 1993 (LeGrove S703) stamped artist's mark, aluminium Dimensions:20.5cm high (8in high) Provenance:ProvenancePrivate Collection, UK.ExhibitedThe Fine Art Society Limited, London, Geoffrey Clarke: Sculpture, Constructions and Works on Paper 1949-2000, 9 October - 2 November 2000, no.75.LiteratureLeGrove, Judith, Geoffrey Clarke Sculptor: Catalogue Raisonné, London: Pangolin and Lund Humphries, 2017, p.211, SS703, illustrated. Note: Geoffrey Clarke: Intimate yet MonumentalThe works by Geoffrey Clarke offered here date from 1951 to 1993, spanning over forty years of his long and prolific career and representing a range of phases within his practice. What they have in common, however, is an intimate yet monumental character in which sculptures as modestly-sized as 10 centimetres high encapsulate a power and presence more readily associated with larger works.Head I of 1951 comes from an early series and was made whilst Clarke was studying at the Royal College of Art in London. Worked in iron, it reveals an exploration of Cubism and Surrealism with a frank appreciation of the materiality of his medium. Clarke graduated the following year, with his talent being immediately recognised with nothing less than his inclusion in the New Aspects of British Sculpture exhibition in the British Pavilion of the 26th Venice Biennale that summer. Clarke’s work was shown alongside that of seven other sculptors, namely Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Bernard Medows, Eduardo Paolozzi and William Turnbull. He was therefore positioned within the vanguard of post-war British sculpture and his career was launched to spectacular effect.Maquette for Sainsbury Sculpture Competition of 1965 fast forwards us to the mid-1960s, Clarke’s interest in public commissions and the associated use of cast aluminium; Ann Elliott has described the sandbox he built for this purpose in his studio foundry in Suffolk in 1954 (see Ann Elliott, ‘Clarke, Geoffrey Cyril Petts’, Oxford Dictionary of National Biography, on-line entry accessed 19/9/23). A totemic central element is crowned with a spiralling form whose upwards thrust is akin to organic growth. The varied surface treatment of the two parts is key to expressing the contrast between their presentations of mass and movement.Torrii Prone (i) and Toriio also date from 1965. As Peter Black has explained ‘The title ‘Torii’ applied to this series of sculptures derives from the ceremonial gateways to Japanese Shinto shrines. The essence of these works is the contrast between the inanimate slab of metal and the organic structures that bud and grow from the top.’ (Peter Black, Geoffrey Clarke: Symbols for Man, Sculptures and Graphic Work 1949-94, Lund Humphries, London, 1994, p.70). This series encompassed works based on vertical and horizontal formats in which Clarke explored a softened geometry combined with a curvaceous and rhythmic solidity. It is interesting to compare the organicism of these sculptures with Adams’s contemporary Vertical Form No. 1, an austere and imposing bronzed steel work made on a human scale and the suppleness of Bernard Meadows’ Pointing Figure of two years later.The Sea at Aldeburgh of 1978 is a particularly personal work. Clarke had close links to the Suffolk seaside town, not least owning its Martello Tower between 1967 and 1971; the tower and its surrounding topography fed into his work for some time. Made from mixed media applied to a small rectangle of polystyrene – more readily associated in Clarke’s practice with carving and the casting process – it is a simplified sea view in which the composition is split almost equally between sky and sea.Column and Pyramid both date from 1993. By this point in his career, Clarke had brought together formerly disparate elements to create sculptural planes enlivened by rich, deep-relief patterning which encases (or reveals) a raw core. Both works refer to significant architectural structures, whose power is yet retained in their modest scale.Clarke’s 70th birthday in 1994 was marked by several exhibitions, including a solo show at Yorkshire Sculpture Park which featured a cast of Head I on its catalogue cover. Ever interested in new materials, Clarke made his first work in wood in 1996 and, with an eye to his legacy, donated his archive to Leeds Museums and Galleries in 2012, two years before his death.

Serge Chermayeff (Russian / British 1900-1996) Pair of 'Plan' Chairs, designed 1933 laminated beech plywood and upholstery Dimensions:77cm (30 1/4in) high, 66cm (26in) wide, 75cm (29 1/2in) deep Provenance:ProvenanceAcquired by Leslie Martin and Sadie Speight in the late 1930s and thence by descent to the current owner. Note: The architect Leslie Martin (1908-2000) and his wife, the designer Sadie Speight (1906-92) played leading roles in twentieth-century architecture and design and as champions of progressive art. They met at the University of Manchester’s School of Architecture in the 1920s and married in 1935.Martin is renowned as much for his ground-breaking architectural practice as for his research and contribution to education. He held many important public and academic positions, including Principal Assistant Architect for the London, Midland and Scottish Railway (1939-48), Architect to the London County Council (1953-56) and Professor of Architecture at Cambridge University (1956-72). He was the architect of some remarkable post-war buildings, including the Royal Festival Hall on London's South Bank (1951), the Gulbenkian Foundation Centre for Modern Art in Lisbon (1979) and the Royal Scottish Academy of Music and Drama in Glasgow (1988).Speight was also a qualified architect and had a celebrated career as a designer. She was a founder member of the Design Research Unit of the Council of Industrial Design in 1943, established to make designer skills available to industry. Her designs for products such as kettles, electric irons, textiles and rugs are particularly revered. After her death, Martin paid testament to Speight’s skill at converting properties in which they could live and work, creating a ‘background for living’ by the selection and placement of furniture, carpets, fabrics, upholstery, ceramics, books and works of art in homes and studios which were widely admired.One of Martin and Speight’s collaborative projects, and their most obvious promotion of contemporary art, was their involvement with the seminal 1937 publication Circle: International Survey of Constructive Art. Martin was a co-editor with Ben Nicholson and Naum Gabo, whilst Speight acted as Secretary and Barbara Hepworth was responsible for its layout. Circle highlighted the vital British contribution to the European abstract movement and was re-printed in 1971.In 1938, Herbert Read commissioned Martin and Speight as joint authors of The Flat Book, which was published the following year. Conceived as a practical guide to contemporary furniture, fabrics and household projects, it is now considered a reference book about the 1930s Modernist aesthetic and is admired as an essential treatise on how the best of European design could be introduced into the British home. The foreword described its aim to be a ‘catalogue of well-designed furniture and equipment’ whilst attempting to ‘set out certain standards of contemporary design and…furnish at least a basis of criticism…to help the reader in selecting his flat…[and]…the problems of planning and furnishing’.Amongst the items featured in the ‘Living and Sleeping Space’ section was a ‘Nest of tables, by Marcel Breuer, birch, £3 13s 6d (Isokon Furniture Co)’ (p.116) and a ‘Plan’ chair by Serge Chermayeff, described as an ‘Easy chair, 5 gns (Plan Ltd)’ (p.134), manufactured by the cutting-edge design companies Isokon Furniture Company and Plan Ltd respectively. These items alone could be said to encapsulate Modernist living in their innovative use of laminated plywood and sleek, simplified silhouettes. Martin and Speight acquired a set of the Breuer tables (lot 122) and a pair of the Chermayeff chairs (see lot 125) in the late 1930s. They became key features of their homes thereafter, seen for example in the sitting-room and nursery respectively in a 1953 article in House and Garden about their former gardener’s cottage in Tring Park, Hertfordshire.Indeed, Martin and Speight enjoyed a longstanding friendship with Chermayeff and his wife Barbara, who on emigrating from England to the USA via Montreal in 1940, wrote to the couple: ‘We have met with great kindness and hospitality…we leave for the States on April 3 staying with Gropius…[Montreal]… is an astonishing place…the houses are incomplete and unindividual – the ‘Flat Book’ should be read.’ (Letter from Serge and Barbara Chermayeff of 28 March 1940 to Lesie Martin and Sadie Speight, Professor Sir Leslie Martin Personal Archive, National Galleries of Scotland GMA A70/4/1)In about 1960, ‘Le Corbusier’ dining chairs by Thonet were acquired for use in Martin’s studio in The Mill, the central building in a complex converted by the couple in Great Shelford, Cambridgeshire (four offered here as lot 123). Photographs of them in situ are reproduced in Martin’s 1983 publication Buildings and Ideas 1933-83 From the Studio of Leslie Martin and his Associates. In the late 1970s, Martin and Speight purchased a number of ‘Carmite’ chairs by Vico Magistretti, which formed part of the ‘background for living’ at The Barns nearby, to where they moved in 1977 (five offered here as lot 124). Originally built as the village granary in 1642, it was converted and extended for domestic and professional use.Martin and Speight chose their furniture with great care, and once acquired, it was treasured. Indeed, in 1992 Michael Parkin wrote: ‘Most of the contents of the Martins' home dated from this period, from the early Thirties, with chairs by Serge Chermayeff and Marcel Breuer, tables by Alvar Aalto, lights by Jorn Utzon and even a coffee service by Ben Nicholson.’ (Michael Parkin, Obituary of Sadie Speight, The Independent, 27 October 1992). The couple were arbiters of the very best in twentieth-century design and civilised living, in which the tables and chairs presented here played a long-term role.

An early 20th Century silver-faced photograph frame, of perpendicular architectural form, Charles S Green & Co Ltd, Birmingham, 1919, 26 cm x 15 cm

A large number of postcards of Beer, Devon showing numerous street, fishing, architectural scenes etc.

With an important plateresque base in wood gilded with the fine gold of the time. Size measurements: 76 x 46 x 30 cm. Total measurements with base: 90 x 52 x 33. Origin: Catalan private collection. Very good state of conservation in both the polychrome of the face and hands, as well as the base and the Saint's clothing. Juan Martínez Montañés (Alcalá la Real, Jaén, March 16, 1568 - Seville, June 18, 1649), the greatest exponent of the Sevillian early Baroque, was a student of Pablo de Rojas, almost twenty years older than him. He was baptized in the parish church of Santo Domingo de Silos, on March 16, 1568, having as godparents Mr. Gil Fernández, provisor of the Abbey of Alcalá la Real, the most important position after that of abbot, and María de Mendoza, wife of councilor Francisco de Aranda. Once the apprenticeship period with Rojas was over, he moved to Seville, where his entire family would follow him. Several artists from Alcalá were already settled there, such as Gaspar de Rages or Raxis, nephew of Rojas. In this city he began to work in a sculpture workshop, which is believed to have been that of Gaspar Núñez Delgado. In 1632 he drew the architectural part of the main altarpiece of the church of San Lorenzo. The sculptures and reliefs were made by Felipe and Francisco Dionisio de Rivas between 1645 and 1652. Reference bibliography: Roldán Salgueiro, Manuel Jesús (2015). MONTAÑÉS, Juan Martínez Montañés and his Sevillian Works. Seville: Maratania Editorial. ISBN 978-84-942411-3-0. Related works: a Saint Ignatius of Loyola, of which Martínez Montañés sculpted the head and hands in 1610, of very similar workmanship, on the occasion of the beatification of the founder of the Society of Jesus, currently preserved in the church of the Annunciation of Sevilla.

NO RESERVE Spain.- Architecture.- Laurent (Juan) A group of c.50 mainly architectural black & white photographic prints of Granada, Seville, Cordoba, Segovia, Toledo, Madrid etc., mostly exteriors, a few interiors, most 260 x 350mm. or vice versa, a few smaller, some captioned in the plate, the majority with ink stamp of J.Ruiz Vernacci of Madrid to verso, one or two of N.Portugal, a few with embossed stamp in corner of image, a little dusty, a few frayed at edges, [mid-20th century].⁂ Juan Laurent (1816-86) was a French photographer settled in Spain who is known particularly for his photographs of Spanish art and architecture. In 1930 his archive was purchased by the photographer Joaquin Ruiz Vernacci (1892-1975) and then in 1975 by the Spanish government.

A PAIR OF FRAMED AND GLAZED ARCHITECTURAL PRINTS & 'THE BRITISH ARMY' PRINT (3)

Rare Zenith Art Deco style two train calendar  'Monnayer' clock with money box, the 6" square dial over three calendar apertures, the movement chiming on three rods, within a buttressed architectural case, 11.5" high (pendulum & key)

Good walnut Grand Sonnerie triple weight Viennese regulator wall clock, the movement striking gongs on two hammers, the 6.25" white chapter ring enclosing a recessed centre with blued steel hands within an architectural foliate carved glazed case with burr wood panels, 57" high (pendulum, three weights and keys)

Good walnut two train Vienna regulator wall clock, the 7" cream chapter ring enclosing a recessed plain centre, over a shaped glazed door decorated with butterflies amidst foliage on an opaque glass ground with clear lenticle window, within an architectural fluted and carved pillared case, 48" high (pendulum, key but missing detachable cornice)

Glimpse of India S G Thakursingh, Vol 1 - a unique collection of landscapes and architectural beauties 2nd edition, fully illustrated with colour plates, in blue cloth boards G

A 19th century stripped pine Gothic trestle type side table, with simple planked top and pegged architectural base, 75 cm high x 122cm wide x 58 cm deep.Provenance: The contents of The Birches, Kingston-upon-ThamesThe top shows signs of old cracks and splits and historic tin tack holes, the top and frame'surface is coated with an orange pigmented varnishthe frame has been resecured by some old crude screw repairs over the years to make the frame rigid.the sledge feet have suffered with historic woodworm infestation and one end support has lost and had replaced the tips (6") of each sledge foot replaced.it's opposite support has suffered also but that has only had a shim of timber placed on the bottom of the foot on one side to ring it up level.The table has all the hallmarks of an estate made table usually consigned to scullery or below stairs usage and has been attacked by woodworm and damp to the sledge feet and shows signs of fabric being tacked to it at some point the table I s now sturdy and it's old and crude repairs could be enhanced.Any further questions please ask

A pair of 17th-century Flemish carved wood oak rectangular architectural panels, Adam and Eve, and Abraham with Isaac, bearing the legends "Anno" and dated 1624, 67 cm x 30 cm

Spätrenaissance-Dokumentenschatulle: Römhilder Kästchen. Thüringen, 1. Hälfte 17. Jh.Ebonisiertes Holz und teils gravierter Alabaster, innen teils Marmorpapier. 18 x 30 x 21 cm. Miniaturtruhe mit von Halbsäulen rhythmisierter architektonischer Gliederung in der Front und an den Seiten; auf der Rückseite Kassette mit Alabaster-Füllung. Gerader Scharnierdeckel mit Scharniergriff über zentraler Ornament-Kassette, flankiert von 2 Kassetten mit Schachbrettmuster. Innen alt mit rotem Marmorpapier ausgeschlagen sowie kleine Beilade mit Klappdeckel. Mehrere Geheimfächer mit Schubfächern. Schloss fehlt, restauriert mit einigen Ergänzungen, Alters-/Gebrauchsspuren.Aufrufzeit 26. | Okt 2023 | voraussichtlich 15:25 Uhr (CET)Spätrenaissance document box: Römhilder Kästchen. Thüringen, 1st half 17th century.Ebonized wood and partly engraved alabaster, inside partly marbled paper. 18 x 30 x 21 cm. Miniature chest with architectural arrangement rhythmized by half-columns in the front and sides; on the Rück side cassette with alabaster filling. Straight hinged lid with hinged handle üover central ornamental cassette flanked by 2 cassettes with checkerboard pattern. Inside old lined with red marbled paper and small hatchet with hinged lid. Several Geheimfächer with Schubfächern. Lock missing, restored with some ergänzungen, signs of age / use..Call time 26 | Oct 2023 | expected 15:25 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

PIRANESI, Giovanni Batista(1720 Venedig - 1778 Rom) Ansicht der antiken Ruine eines römischen BauwerksRadierung. In der Platte signiert "Cavalier Piranesi F". Druckplatte: 43 x 65 cm. Gerahmt & hinter Glas : 62,5 x 82,5 cm. Ansicht der antiken Badeanlagen, der Caracalla-Therme in Rom: "Rovine del Sisto, o sia della gran sala delle term Antoniniane"; aus "Vedute di Roma". Bugfalte, etwas stockfleckig. Italienischer Kupferstecher, Archäologe, Architekt und Architekturtheoretiker; seine Meisterwerke gelten bis heute als Standard für Architekturgrafik. Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:05 Uhr (CET) PIRANESI, Giovanni Batista(1720 Venice - 1778 Rome) View of the ancient ruin of a Roman buildingEtching. Signed in the plate "Cavalier Piranesi F". Print plate: 43 x 65 cm. Framed & behind glass : 62.5 x 82.5 cm. View of the ancient baths, the Baths of Caracalla in Rome: "Rovine del Sisto, o sia della gran sala delle term Antoniniane"; from "Vedute di Roma". Buck crease, some foxing. Italian engraver, archaeologist, architect and architectural theorist; his masterpieces are still considered the standard for architectural graphics. Call time 26 | Oct 2023 | expected 17:05 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

 Undeutlich signiert: Architektonische Darstellung eines klassizistischen BauwerksFarblithografie. Bleistiftsignatur. Exemplar: 5/75.Druckplatte: 40 x 60 cm. Gerahmt & hinter Glas : 64 x 82 cm.Nachtrag 21.10.23: Es handelt sich um den Künstler Peter Paul (1943 - 2013) Aufrufzeit 26. | Okt 2023 | voraussichtlich 17:08 Uhr (CET) Indistinctly signed: Architectural depiction of a classicist buildingColor lithograph. Pencil signature. Copy: 5/75.Print plate: 40 x 60 cm. Framed & behind glass : 64 x 82 cm. Call time 26 | Oct 2023 | expected 17:08 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) "Don Quichotte"Siebdruck. Im Druck signiert. Hinter Glas : 50 x 35 cm. In französischer Sprache beschriftet "Il faut le battre contre des moulins! Il faut renverser Troie...il fait être cheval ou fiacre tous les jours! 6 octobre 53, Bon Courage! Votre L-C". Schweizerisch-französischer Architekt, Architekturtheoretiker, Maler, Bildhauer und Möbel-Designer; gilt als einer der einflussreichsten Architekten des 20. Jahrhunderts - 17 seiner Bauten gehören seit 2016 zum UNESCO-Welterbe. Aufrufzeit 26. | Okt 2023 | voraussichtlich 18:39 Uhr (CET) LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) "Don Quixote"Silkscreen. Signed in print. Behind glass : 50 x 35 cm. Inscribed in French "Il faut le battre contre des moulins! Il faut renverser Troie...il fait être cheval ou fiacre tous les jours! 6 octobre 53, Bon Courage! Votre L-C". Swiss-French architect, architectural theorist, painter, sculptor and furniture designer; considered one of the most influential architects of the 20th century - 17 of his buildings are UNESCO World Heritage since 2016. Call time 26 | Oct 2023 | expected 18:39 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

WOLTZE, Peter(1860 Halberstadt - 1925 Weimar) Stadtmauer mit Teich im SonnenscheinAquarell. Rechts unten signiert. 1916. 49 x 40 cm. Gerahmt : 59 x 50 cm. Blick über den Teich zur Burganlage hinter der Mauer. Architekturmaler in Weimar, studierte in Weimar, Karlsruhe, München, Venedig und Rom. Literatur : Thieme/Becker. Aufrufzeit 28. | Okt 2023 | voraussichtlich 17:39 Uhr (CET) WOLTZE, Peter(1860 Halberstadt - 1925 Weimar) City wall with pond in the sunshineWatercolor. Signed lower right. 1916. 49 x 40 cm. Framed : 59 x 50 cm. View across the pond to the castle complex behind the wall. Architectural painter in Weimar, studied in Weimar, Karlsruhe, Munich, Venice and Rome. Literature : Thieme/Becker. Call time 28 | Oct 2023 | expected 17:39 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Architekturmaler: Toreingang einer BurgÖl/Leinwand/Karton. Unsigniert. Ende 19. Jh. 31 x 35 cm. Gerahmt : 44 x 49 cm. Blick durch den Durchgang des Torhauses hinunter zu einem weiteren Torbogen an einem hellen Tag. Aufrufzeit 28. | Okt 2023 | voraussichtlich 17:49 Uhr (CET) Architectural painter: Gate entrance of a castleOil / canvas / cardboard. Unsigned. Late 19th c. 31 x 35 cm. Framed : 44 x 49 cm. View through the passageway of the gatehouse down to another archway on a bright day. Call time 28th | Oct 2023 | probably 17:49 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Emaildose mit Schwarzlotmalerei. 18. Jh., wohl Frankreich. Grisaillemalerei auf hellem Fond, vergoldete Kupfermontierung. 3,5 x 9 x 5,5 cm. Quaderdose mit leicht geschwungenen Seiten und stark gewölbtem Scharnierdeckel. Allseits und im Deckel Architekturdarstellungen, teils mit Staffage. Berieben, 1 Abplatzer alt verfüllt, leicht krakeliert. Aufrufzeit 25. | Okt 2023 | voraussichtlich 16:07 Uhr (CET)Email box with black solder painting. 18th century, probably France. Grisaille painting on light background, gilded copper mount. 3.5 x 9 x 5.5 cm. Quader box with slightly curved sides and strongly curved hinged lid. On all sides and in the lid architectural representations, partly with staffage. Bnished, 1 chipping old filled, slightly crackled. Call time 25 | Oct 2023 | expected 16:07 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

 Laternenuhr. Frankreich. 2. H. 19. Jh."R & Co. Made in Paris" gemarktes Vollplatinenwerk mit Ankergang und Handaufzug. Läuft nicht. Großes, floral graviertes Zifferblatt mit römischen Zahlen, Minutenkranz und vierpassigen Eisenzeigern.Bronze/Messing, vergoldet. H 24,5 cm. 1604 g. Architektonisches Gehäuse im Barock-Stil, offenes Kuppeldach mit großer Metall-Glocke und durchbrochen gefertigten, teils gravierten Zierblenden, auf 4 Kugelfüßchen. Wohl als Export-Artikel gefertigt. Teils berieben.Aufrufzeit 25. | Okt 2023 | voraussichtlich 18:47 Uhr (CET) Lantern clock. France. 2nd h. 19th c."R & Co. Made in Paris" marked full plate movement with anchor escapement and manual winding. Does not run. Large floral engraved dial with Roman numerals, minute ring and four-pointed iron hands.Bronze/brass, gilt. H 24,5 cm. 1604 g.Baroque-style architectural case, open domed roof with large metal bell and openwork, partly engraved decorative panels, on 4 ball feet. Probably manufactured as an export article. Partially rubbed.Call time 25 | Oct 2023 | expected 18:47 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A pair of richly sculptured and architectural, woodsculptured and patinated panels. Circa 1920.Dimensions: (W:62 x H:315 cm)

LUKE ADAM HAWKER, FILLED WITH LIGHT pen, ink, etching ink and oil paint on card album cover, signedNote: this lot includes a signed copy of Luke's best-selling book 'The Last Tree'31cm x 31cmLondon based artist Luke Adam Hawker specialises in drawing on location, working in Pen & Ink, his observations over hours and sometimes days enable the collective layers of the drawing to capture a sense of motion and dynamism, where the frenetic energy of the living breathes life into the surrounding architecture. Through combining his architectural training and draftsmanship with a curious, spontaneous line, Luke creates emotive imagery, truly capturing a sense of place and our position within it. After Graduating from University Luke begun his design career in London, the transition from designer to full time artist was gradual but inevitable. Over recent years Luke has grown a loyal audience across social media, now with over 200,000 followers. Instagram: lukeadamhawker

INKTERAKTIV, LINES CHAOTIC paper on card album cover, signed31cm x 31cmINKTERAKTIV, aka Caro Clarke is a London based Urban Paper Artist. She works mostly with fluorescent paper strips using paper quilling techniques, and playing with paper and light. Born in Paris, France in 1976, she has spent most of her life travelling, finally settling in London in 2006. Following a degree in Art History & Fine Art with an emphasis on paper, bookbinding and packaging, Caro went on to receive a BFA in Graphic Design & Photography from SCAD (Savannah College of Art & Design) in 1998. Caro's work emphasises the delicacy of paper versus its architectural structure within a minimalist setting. She draws inspiration for her pieces from the urban landscape and her own travels as well as her love for neon lighting, typography, architecture and geometrical patterns. Instagram: inkteraktiv

THE LONDON POLICE, A DOG WITH LYRICS permanent marker on card album cover, signed31cm x 31cmThe London Police is an art collective started in 1998 when two English geezers headed to Amsterdam to rejuvenate the visually disappointing streets of Hollands capital. They were part of a small group of artists at the end of the last century that helped pioneer the street art movement. After a few years of mixing traveling and making art in the street TLP began to receive worldwide recognition for their contribution to the graffiti/street art movement. The London Police are Chaz Barrisson who draws the iconic ‘LADS’ character and Bob Gibson whose tight portrait and architectural illustrations help marry the two styles to create an endearing, exciting fantasy world... Instagram: thelondonpolice

λ&nbspJOHN PIPER (BRITISH 1903-1992) URBAN READING Watercolour, ink and gouache Signed (lower centre) 63 x 56cm (24¾ x 22 in.)Provenance: Private Collection, William Henry Tee, Chief Executive, Reading Borough Council 1967-1988 (acquired directly from the artist)The present work, along with lot the previous lot, is the original design for one of two tapestries commissioned by Reading Borough Council in 1974 for their new civic offices. The tapestries, entitled Urban Reading and Rural Reading aimed to celebrate the town's contrasting urban and natural landscape. Piper knew Reading well. He and his family had lived at Fawley Bottom in the nearby Chilton hills since the 1930s and he was a freeman of the Borough. In 1949, he had been commissioned by Jock Murray, alongside his friend, John Betjeman, to produce a series of architectural guides as a successor to the pair's pre-war Shell Guides. In the Berkshire edition, they state that post-war Reading was perceived as a modern place, concluding that 'No town in the south of England hides its attractions more successfully from the visitor'. They championed Reading's history encouraging the visitor to explore further in order to reveal the town's fascinating heritage.In the present work, Piper presents his vision of Urban Reading, with its mix of red brick Victorian architecture and earlier Bath stone archway. The chimneys in the distance represent the iconic Huntley and Palmer's biscuit factory which, until production ceased in 1976, was a significant part of Reading's economic life. By contrast, the landscape creeping in at the left hand side hints at the town's rural connection and wider situation in the Berkshire landscape. The tapestries for which these works were designed, were produced in France by the illustrious Pinton weavers and are now housed at Reading Museum.  Condition Report: Executed on white wove paper, with two strips of additional paper joined with tape at the top and bottom of the sheet as per the original condition. The sheet is later taped to the overmount along each edge and there are remnants of old hinging tape at points along each edge. The sheet has discoloured slightly verso. There are multiple artist's pinholes to each corner, the one at the lower right corner has become enlarged over time. There is a short 1.5cm tear to the sheet running off the edge, three quarters of the way down the left hand side. There is some light undulation to the sheet. Otherwise, in good original condition. Framed under glass. Condition Report Disclaimer

λ&nbspJOHN PIPER (BRITISH 1903-1992) RURAL READING Watercolour, ink and gouache Signed (lower left) 66.5 x 56cm (26 x 22 in.)Provenance: Private Collection, William Henry Tee, Chief Executive, Reading Borough Council 1967-1988 (acquired directly from the artist)The present work, along with the next lot, is the original design for one of two tapestries commissioned by Reading Borough Council in 1974 for their new civic offices. The tapestries, entitled Urban Reading and Rural Reading aimed to celebrate the town's contrasting urban and natural landscape. Piper knew Reading well. He and his family had lived at Fawley Bottom in the nearby Chilton hills since the 1930s and he was a freeman of the Borough. In 1949, he had been commissioned by Jock Murray, alongside his friend, John Betjeman, to produce a series of architectural guides as a successor to the pair's pre-war Shell Guides. In the Berkshire edition, they state that post-war Reading was perceived as a modern place, concluding that 'No town in the south of England hides its attractions more successfully from the visitor'. They championed Reading's history encouraging the visitor to explore further in order to reveal the town's fascinating heritage.In the present work, Piper presents his vision of Rural Reading. The blue running through the centre of the composition represents the importance of the Kennet and Thames rivers on which the town is situated. The foreground is adorned with bulrushes and snake's head fritillaries, both of which are common along the river banks.The tapestries for which these works were designed, were produced in France by the illustrious Pinton weavers and are now housed at Reading Museum.     Condition Report: Executed on white wove paper with two additional strips of paper added at the top and bottom and taped verso as per original condition. The sheet has then been later taped to the overmount along each edge verso. Remnants of further old tape also visible verso. There are two artist's pinholes to the upper corners and one to the centre of the lower edge. A few faint horizontal creases running across the work, visible mostly in a raking light and a couple of very small flecks of paint loss to one of the creases just below the centre of the upper edge. Otherwise, in good original condition, the colours very vibrant. Framed under glass. Condition Report Disclaimer

Attributed to Maynier et Pinçon, a fine Art Deco multi-gem-set and enamel brooch, circa 1925, designed as a spray of flowers, leaves and berries, within a scalloped circular frame on a horizontal bar, set with circular-cut diamonds, outlined in black enamel, and accented with cabochon rubies, sapphires and emeralds, mounted in platinum, length 6.5cm, French assay mark for platinum, partial French maker's marks for Maynier et Pinçon, caseMaynier et Pinçon were based at 10, Rue Castiglione in Paris, and were one of the capital's most prestigious jewellery workshops. Later known as the training ground of the jeweller Pierre Sterlé, jewels made by Maynier et Pinçon appeared in the cabinets of Boucheron, Linzeler et Marchak and Marzo at the seminal 'Exposition Internationale des Arts Decoratifs et Industriels Modernes', which took place in Paris in 1925. The abbreviation of the fair's rather long title gave its name to the bold new aesthetic that was reflected in the jewels and objects exhibited there, as well as their architectural surroundings - 'Art Deco'. Though it is widely reported that Maynier et Pinçon produced important jewels for these famed jewellery houses in the mid 1920s, documented examples of the workshop's jewels are extremely scarce, making this extraordinary jewel an exciting rediscovery from one of the unsung heroes of Art Deco jewellery, made at one of the great turning points in jewellery design history.The combination of carved or cabochon rubies, sapphires, emeralds and diamonds with accents of black enamel was a defining 'Art Deco' jewellery design aesthetic of the mid 1920s, and can be seen in designs by Cartier, Lacloche Frères, Mauboussin, Boucheron and Marzo, often used for stylised, geometric depictions of flowers and birds. Cf.: Pierre Contreau et al., Le Grand Négoce, organe du commerce de luxe français: Exposition des arts décoratifs 1925, Paris, 1925, pages 11, 19, 29 and 35, for stylised floral jewels of comparable style and technique exhibited at the 1925 fair by Mauboussin, Boucheron, Lacloche and Marzo. Cf.: Laurence Mouillefarine and Véronique Ristelheuber, Lacloche Joaillers, Paris, 2019, p.168-9 and 183 for additional mid 1920s jewels by Lacloche of comparable design, and p.265 for a later platinum, ruby and diamond bracelet later made by Maynier et Pinçon for Jacques Lacloche in 1938.

A late 19thC German oak cased mantel clock, square brass dial with foliate spandrels, silvered chapter ring bearing Roman numerals, Junghans eight day movement with coil strike, the case of architectural form, with pendulum, no key, 37cm high, and 27cm wide.

A 19thC Continental parcel gilt architectural pediment, carved with cherubs and rococo scrolls, 29cm x 58cm.

A pair of Timothy Richards plaster architectural bookends, modelled as the Baden Baden Theatre and Opera House, 17cm high. (AF)

Five 19thC gilt wood architectural elements, each with foliate carving.

A late 19thC Hamburg American Clock Company walnut cased mantel clock, circular brass dial with enamel dial bearing Arabic numerals, eight day movement with coil strike, the case of architectural form, with pendulum and key, 38.5cm high, 26cm wide.

A late 19thC French slate and green onyx mantel clock, circular brass dial with enamel chapter ring bearing Arabic numerals, thirty hour movement, the case of architectural form, with pendulum and key, 31cm high, 28cm wide.

A French 19thC gilt wood architectural element, carved with a bust of a gentleman within a shield and foliate scroll mount, 30cm wide.

A Victorian mahogany bracket clock, by W Greenwood, Leeds and Huddersfield, circular silvered dial bearing Roman numerals, eight day movement with coil strike, the case of architectural form, with brass finials and fluted quarter pilasters, fabric backed grilles to the front and sides, raised on brass bun feet, with pendulum, no key, 42cm high, 25cm wide.

WILLIAM STRANGE KINGSTON 12-INCH SQUARE DIAL LONGCASE CLOCK, the dial having pierced gilt spandrels and silvered chapter ring, set with Roman numerals, subsidiary seconds dial and date dial before a twin weight pendulum driven bell strike movement (pendulum and weights included), within a reproduction oak case, architectural capped hood with single glazed door, joined oak style four-panel long trunk door, on a carved corbel stepped base, 217cms H, 48cms WProvenance: private collection Denbighshire

Oak cased desk top perpetual calendar, architectural top and plinth base, 27x19cm, working and another similar beeahc cased calendar, 25x16cm, working.Qty: 2

Walnut cased desk top perpetual calendar, architectural top, plinth base, 33x26cm, working.

Black marble mantel clock, enamelled chapter-ring, visible escapement, French eight-day cylinder movement, signed, but concealed by sixth bell, plain architectural casing, slight breakfront form, 38cm. Description amended 15.33, 22/09/23 Condition report:This is not French, movement is by Hurt & Wray, Birmingham. Winds, ticks and strikes correctly but we haven't ran it for a long time to see about gain/loss, case is in good condition, dial cracked at 9. Additional images have been uploaded to the lot page on our website for you to view.

Julian Chichester Agostino Mirror adds instant architectural interest to any wall. It has a bevelled frame with a reeded detail in antiqued brass with distressed mirror plate finish 200 x 100cm  (Apt 16)

A Russian niello silver case84 zolotniki mark, assay master Viktor Vasilyevich Savinsky, 1863 date mark, the reverse with an architectural niello work landscape, opening to a gilt interior,11.5cm wideCondition ReportSlightly dented. Wear to the gilt interior. Minor losses to the niello decoration around the engraved initials to the front.

Four Italian style wooden architectural panels

Framed architectural interest engraving depicting the Claustro del Monasterio de Lupiana

19th Century walnut veneered mantel clock set in an architectural type case

A METTLACH, VILLEROY & BOCH STONEWARE TOBACCO JAR, decorated with Gothic revival architectural elements throughout base and cover, crown like finial, the base having applied relief figures of pipe smokers and similar motifs, model number '116' to the base within an applied cartouche, with photographs of the jar and other paperwork (1 + wallet of photographs) (Condition Report: appears in good condition, no obvious damage, some minor fairing faults to applied decoration, gilding worn on finial)