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AN IRISH GEORGE III FOUR DOOR BREAKFRONT BOOKCASE,surmounted with pierced architectural pediment above astragal glazed doors, enclosing adjustable shelving, the base with fluted frieze and fall-front secretaire, on square tapering legs. 235cm high, 232cm wide, 43cm deep Condition Report: The twin centre doors open and reveal a space where you could put a televisionThe glass generally is old and some of the panes are wavy and bubblesone pane is cracked (see photo)The mahogany has a brownish hue but also slightly reddish

NEAPOLITAN SCHOOL, 19TH CENTURY Four views of Naples including 'Camaldoli della Torre', Isola di Capri' and two of the Bay of Naples Gouaches on paper, slight variations in size, c.31 x 44cmThe Italian vista was popularised throughout the 17th to 19th centuries with the tradition of The Grand Tour, a rite of passage in the uppermost echelons of society designed to both inspire and educate the privileged few who could afford the fare, and no doubt impress those who could not.The itinerary varied but Italy was certainly a very popular destination. Venice, Florence and Rome were well trod. Naples, though generally the terminus on the Italian peninsula was also considered an obligatory stop for the more adventurous traveller wishing to gaze at the city from the smoking crater of Mount Vesuvius. Visits to Naples only gained momentum once the ruins of Pompeii and Herculaneum were first excavated in the 18th century, further positioning the city as a major locus of ancient history in the Italian peninsula.Naturally, the migration of wealthy nobles across Europe encouraged a thriving souvenir trade across the Mediterranean, of which these ‘Guazzos’ pictured are an excellent example. The assurance of eager patrons encouraged the growth of the Vedutismo tradition, which served both as a true to life memento of the architectural and topographical sights of the Grand Tour, and also as an incentive to visit for those left behind.Stephanie Brennan, February 2025

An album of antiquarian postcards from the Grey-Turner family, mainly architectural views of Europe, circa 1938, including Paris, Antwerp, Bruges, Berlin, etc, further loose WWI silk postcards

A Bronze Spelter Figure of a Seated Cherub in the French Style Probably Finial for Architectural Clock, 13.5cm High

Three 19th century linen backed architectural drawings in the manner of Richard Norman Shaw for the Wilts & Dorset Bank in Salisbury on Blue Boar Row now the Lloyds TSB showing two front elevations and an Longitudinal section and Transverse Section interior view, largest illustration 50cm x 40cm. (3)

Two lithographs of architectural drawings, Stoneyhurst College, and two other ornithological prints.Qty: 4

An architectural drawing of the Parthenon du St Genevieve pen, ink and wash74 x 56cm

A Victorian black slate mantle / table clock, of architectural form, the dial marked ‘Cahoon Bros, Belfast’.

A collection of 20th century Bohemian cut glass items. The lot including a set comprising of dish, vase, goblet and lidded bon bon dish in clear and orange cut glass with etched architectural decorations of various German towns. Together with pair of frosted & cut coloured glass chalices. Each with yellow and pink decorations and gilt rims. Some chips present.Tallest measures approx. 20cm tall x 14cm in diameter.

1883 La Basilica di San Marco in Venezia publ. Ferd. Ongania Editore, Venice. Part II only. Publisher's original oversized paper wraps, age-toning to front, wear and loss to extremities and spine. Containing plates V, VI, VII, X!!, XIV, XV, XVI and XVII, age toned to edges. Plates XII, XIII and XIV all framed.(Vol III chromolithograph title, with only eight chromolithograph plates of the location of mosaics. Three of them framed). Each plate depicting architectural & eccelesiastical depictions from Saint Marks' Basilica, Venice. Elephant folio. Framed examples measuring approx. 81cm x 76cm including frame.

A late 19th century cast spelter architectural mask mount possibly from a fountain depicting the Roman goddess Ceres. H.21cm

A polished slate mantel clock of architectural form, with 12cm Roman dial flanked by neo-classical friezes, now fitted with a battery operated movement. 47cm wide, 30cm high.

A collection of decorative prints to include: Balinese School, figures, a set of bontalical interest contour prints and a French architectural engraving, largest 52 x 48cm. Condition - fair

A late 19th / early 20th century French black marble mantel clock, the case of architectural form flanked by doric columns, classical inset friezes to the upper and lower panels, typical French round plate 8-day movement striking on a gong with the added feature of a Brocot visible escapement, with pendulum and keys, 49 cm (h)

Three framed architectural studies titled "Art Arabe" and "La Decoration Arabe"

Ca. AD 600. An elegant gold ring with a flat-section hoop with applied beaded wire borders. The bezel has a raised architectural model with granule detailing that supports a trumpet-shaped setting for a garnet cloison. Size: D:13.3mm / US: 2 / UK: D; Weight: 7g Provenance: Private London collection pre-2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 100 BC - AD 100. A Samian ware skyphos composed of a conical body on a moulded foot. The body displays the image of a bearded man, as well as floral, geometric and architectural decorative motifs. Size: 91mm x 125mm; Weight: 107g Provenance: Private UK collection; Ex. property of a Suffolk, UK, gentleman; Ex. English collection, 1990s.

Ca. AD 200 - 400. An openwork gold pendant in gold, formed of an architectural frame securing an agate cameo representing standing victory holding a cornucopia. Size: 41mm x 23mm; Weight: 5.6g Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

ARCHITECTURAL WALL MIRROR. white painted in the form of a window, 220cm H x 60cm W.

ARCHITECTURAL GARDEN MIRROR. grey metal frame, 170cm H x 90cm.

ARCHITECTURAL WALL MIRRORS. A pair, gated design, 150cm x 60.5 approx. (2).

ARCHITECTURAL GARDEN SWING. Regency style, with two seats, on a metal frame, 228cm H x 180cm x 90cm.

Ca. AD 1368 - 1644 or later.A pottery figure portraying a female attendant standing on an integral two-stepped base, clad in a heavy and voluminous robe with distinctive yellow and green glazing. The attendant holds an object with her both hands, showcasing her role in domestic activities or ceremonies. The detailed facial features and elaborate hairstyle reflect the artistic sophistication of Ming Dynasty ceramics. Mingqi, "spirit objects" are small terracotta statues usually depicting court ladies, servants, dancers, and musicians - both men and women, but also horses, other domestic animals, mystical beasts and miniature architectural models of houses, farms, and granaries. These items were buried together with deceased people in graves to serve them in the afterlife.Size: 180mm x 50mm; weight 230gProvenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Art and Architectural History: James Gillespie "Details of Scottish Domestic Architecture", pub. George Waterston & Son, Edinburgh 1922, folio, cloth/gilt covers; "Catalogue of the Etched Work of Frank Brangwyn", pub. Fine Art Society, 1912, folio, cloth with calf spine; "Modern Masters of Etching, Sir David Young Cameron", pub. The Studio, London 1925; Rebecca West, "The Modern Rake's Progress", ill. David Low, pub. London 1934, cloth and gilt; "The Collected Drawings of Aubrey Beardsley", pub. Bounty Books, New York 1967, with dustcover; and Thomas Cook, "The Genuine Works of William Hogarth", pub. London 1808, re-bound in calf with gilt spines. (6)

A handsome George III gilt-brass mounted mahogany bracket clock, the arched silvered dial with Roman and Arabic numerals, with subsidiary seconds dial, strike/silent dial in the arch and with pull hour repeat, by Aquila Barber, Bristol, the architectural case with caddy top and with four acorn finials, the sides with arched grilles, on foliate-cast scroll feet, the backplate also engraved and signed, eight day movement striking on a bell, with keys. Height including handle 57cm. Note: Aquila Barber is noted in A.J. Moore "The Clockmakers of Bristol 1650-1900" as working from 48 Wine St., Bristol between 1781 and 1846.

A 19th Century French gilt metal and porcelain mounted mantel clock of architectural form with urn mount to the case and side porcelain panels depicting cherubs and flowers, set on a plinth base under a glass dome, clock with some losses to decoration and movement untested, total height including dome 48cm

Late 19th Century Vienna style wall clock set in a walnut veneered architectural case, the white enamel dial to a brass movement fitted with a large disc pendulum, 100cm high

Junghans, an early 20th Century mantel clock set in an oak case of architectural style with arched brass face and a brass movement striking on rods, 42cm high

A late 19th century black slate mantel clock, of architectural form, having an enamelled chapter ring showing Roman numerals, and twin winding holes for an eight-day movement, striking on a gong, h.28cm

A late 19th century green onyx mantel clock, of architectural form, having a dome top surmounted by a brass finial with allegorical frieze below, the gilt dial showing Arabic numeral cartouches, having twin winding holes for an eight-day movement, height 41cm

Unbekannter Maler, Biedermeier-Portrait, Brustbild einer Dame in weißer Bluse mit aufwändiger Brosche vor einer weiten Landschaft mit Architekturkulisse. Öl/Lwd 47 x 39 cm. /Unknown painter, Biedermeier portrait, bust portrait of a lady in a white blouse with an elaborate brooch in front of a wide landscape with an architectural backdrop. Oil on canvas 47 x 39 cm.

Unbekannter Künstler, 19. Jh., Hirten mit ihren Tieren bei der Rast. An einer Geschützten Stelle haben sich mehrere Männer und Frauen mit Eseln, Kühen, Ziegen sowie zwei Hunden eingefunden. Rechts geht der Blick auf eine hügelige Landschaft mit einer Architekturformation und mittig einem prägnanten runden Turm. Öl/Lwd. (aufgez) 81 x 106,5 cm. Altersspuren, kleine Fehlstelle im linken Bildbereich. / Unknown artist, 19th century, Shepherds resting with their animals. Several men and women have gathered in a sheltered spot with donkeys, cows, goats and two dogs. The view to the right is of a hilly landscape with an architectural formation and a striking round tower in the centre. Oil on canvas. (mounted) 81 x 106.5 cm. Traces of age, small loss in the left area of the image.

Orientteppich, PERSIEN, 20.Jh., 256x188 cm. Persischer Bildteppich mit erzählerischer Szene, vermutlich Isfahan, Tabriz oder Kerman, aufwendig handgeknüpfter persischer Bildteppich, der eine detailreiche ländliche oder mythologische Szene zeigt, die Darstellung umfasst mehrere Figuren, darunter Reiter, Hirten, Musiker und Tiere wie Pferde, Kühe, Schafe und Ziegen, die Landschaft ist reich an floralen Details, fließendem Wasser und architektonischen Elementen im Hintergrund, der Teppich ist von einer ornamentalen Bordüre mit floralen Motiven umgeben, im oberen und unteren Bereich sind kalligrafische Inschriften in persischer Sprache eingearbeitet, die vermutlich eine poetische oder religiöse Bedeutung tragen. Starke Alters-und Gebrauchsspuren, die Seiten an einigen Stellen offen.| Oriental carpet, PERSIA, 20th century, 256x188 cm. Persian tapestry with narrative scene, probably Isfahan, Tabriz or Kerman, elaborately hand-knotted Persian tapestry depicting a detailed rural or mythological scene, the depiction includes several figures, including riders, shepherds, musicians and animals such as horses, cows, sheep and goats, the landscape is rich in floral details, flowing water and architectural elements in the background, the carpet is surrounded by an ornamental border with floral motifs, calligraphic inscriptions in Persian have been worked into the upper and lower sections, which presumably have a poetic or religious meaning. Significant signs of age and wear, the sides open in some places.

MacGibbon, David and Thomas Ross. The Castellated and Domestic Architecture of Scotland. 5 vols. Reprint plus 8 other architectural titles

Architectural Salvage - A Renaissance 16th / 17th century hand carved stone fountain head. The fountainhead depicting a male bearded face to front with elongated vessel to back.Measures approx. 30cm x 70cm x 40cm.

Maple & Co., London - A Victorian 19th century walnut Arts & Crafts triple wardrobe compactum. The central mirror door enclosing hanging robes, linen press and drawers. Left-hand door is not attached. Flared pediment atop with architectural carvings. Maple & Co. label to interior. Measures approx. 222cm x 195cm x 60cm.

After Jeremy Houghton (contemporary)"The Meet""Moving Off"Signed and numbered colour reproductions, 24cm by 32.5cm (unframed); together with a large collection of decorative furnishing prints and frames, on architectural, and sporting themes etc (various sizes) (a collection)

Blenko John Nickerson architectural floor vase, 7223, from 1972. The vivid blue hue and graceful, elongated shape give the vase a modern yet timeless appeal. Ideal for adding a bold statement to any decor,Artist: John NickersonIssued: 20th CenturyDimensions: 25"HCountry of Origin: United StatesCondition: Age related wear.

A striking Baroque-style pedestal column featuring a twisted black lacquered shaft, adorned with a gilded Corinthian capital and base. The intricate carving on the capital showcases acanthus leaf details, paired with elegant scrollwork, reflecting the grandeur of classical architecture. The base and top are made of polished faux-marble, adding sophistication to the design. This pedestal is both functional and decorative, ideal for displaying a vase, sculpture, or other ornamental objects. The twisted column and richly gilded details are hallmarks of the Baroque style, emphasizing drama, movement, and opulence. This piece serves as a stunning accent for any classical or eclectic interior. The Baroque style, originating in 17th-century Europe, is known for its grandeur and intricate ornamentation. Inspired by classical forms, Baroque furniture and decorative arts often incorporated twisted columns, elaborate carvings, and gilded details to convey wealth and power. Pedestal columns were popular as both architectural and decorative elements, often used to elevate fine artworks or floral arrangements in grand settings. Dimensions: 13.75"L x 13.75"W x 48.25"HCondition: Age related wear.

Flemish or Italian school. 16th century.“1536: Franco-Ottoman strategic alliance between the lily and the moon.”Oil on panel.77,5 x 94,5 cm.Magnificent panel reflecting the Franco-Ottoman alliance, also known as the Franco-Turkish alliance, established in 1536 between the King of France Francis I and the Sultan of the Ottoman Empire Suleiman I the Magnificent. With the handing over of this ring, this strategic, sometimes tactical, alliance is symbolically sealed as one of France's most important external alliances, particularly influential during the Italian Wars, reaching its climax with the invasion of Corsica around 1553, during the reign of Henry II of France.This was an exceptional, non-ideological pact between a Christian state and a Muslim state, which caused a scandal in the Christian world. Carl Jacob Burckhardt (1947) called it “the sacrilegious union of the lily and the moon”. It lasted intermittently for more than two and a half centuries, until the Napoleonic campaign in Ottoman Egypt in 1798-1801.In an architectural space or frame, the encounter takes place: at the center of the work, two powers that are friendly, in an effective way, giving each other a ring. Under solid architecture made of ashlar stone, with great detail and avoiding monotony as far as possible, the figures meet, full of light and color. The artist, with superb mastery, fills this space with an almost breathable atmosphere, with stories and great expressive force both in movement and in the gestures of feelings depicted through his brush strokes. 

Attributed to Diego Quispe Tito (Cuzco, Perú, 1611 - 1681)"The Visitation"Oil on canvas. Accompanied by an imposing carved and gilded wooden frame from the period.56,5 x 41,5 cm. A superb composition of the narrative passage found in Luke 1:39-45, attributed to Tito Quispe, considered to be one of the most prominent members of the Cuzco school.The scene fills the entire canvas. In a misty background, a tree in a garden is faintly suggested along with the house of Zechariah and Elizabeth depicted with an unreal architectural perspective. With carefully crafted details in the foreground, our gaze focuses on the two couples from this biblical encounter: Zechariah and Elizabeth on the left, and Joseph and Mary on the right. The men play secondary roles, positioned humbly, somewhat distant, "a step back," in reverence for this meeting.The love between the two women—cousins—takes center place.  The two figures meeting here are based on the engraving The Visitation by Jean Leclerc (1587-1633): their joining of hands expresses welcome, as does the hand resting on Mary’s womb as she exclaims, "Blessed are you among women, and blessed is the fruit of your womb."The brushstrokes of the artist showcase his virtuosity through his depiction of intricate gold filigree and flowers scattered across the garments, as well as the trimming, lace, and edging that adorn them, symbolizing the importance of the characters in this scene. Serene, humble faces reflect affection and closeness, joy and respect. A blend of mysticism and tenderness brings this biblical event closer to a "simple family meeting," making it more relatable to the viewer so that they, too, "feel visited," invited as another member of this heavenly family.In a period frame, filled with overflowing leaves and flowers, highlighted by magnificent carving and gilding, rounding off this work of unsurpassed and delicate technical mastery and showcasing the artist's extraordinary skill in this painting. As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters." Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

An Indian Miniature Painting of Maharaja Ranjit Singh Seated Among Dignitaries, Circa 1942.A refined Indian miniature painting depicting Maharaja Ranjit Singh seated in a formal court setting, engaging with dignitaries and noblemen. The central figure, dressed in an elaborate green and red robe with an adorned turban, exudes authority. A courtier respectfully fans the ruler with a white cloth, while other courtiers, clad in regal attire, engage in conversation. The pavilion’s intricate floral carpet and delicate architectural detailing enhance the grandeur of the scene. This painting beautifully captures the grace and opulence of the Sikh court, emphasizing the stature and reverence of Ranjit Singh among his attendants.Approximately 29 x 21.8cmProvenance:From a distinguished collector based in E London

Nasreen Mohamedi, Untitled, Ink and Pencil on Paper (1937-1990).This composition by Nasreen Mohamedi exemplifies her mastery of precision and abstraction, rendered through fine, intersecting lines that create an intricate play of geometric forms and depth. The delicate yet rigid structure of the piece showcases her distinct approach to modernist aesthetics, where linear elements evoke architectural landscapes and spatial illusions. Her restrained yet deeply expressive use of ink and pencil reflects an introspective and meditative artistic practice, often inspired by the rhythms of nature and urban environments. Mohamedi’s work remains a significant contribution to contemporary Indian art, pioneering non-representational forms in a period dominated by figuration.Nasreen Mohamedi (1937–1990) was a pioneering Indian modernist known for her minimalist and abstract aesthetic. Her works, primarily composed of delicate ink and pencil drawings, explored precision, geometry, and spatial abstraction, setting her apart from her contemporaries. Inspired by nature, architecture, and calligraphic traditions, Mohamedi's art was deeply meditative, reflecting an introspective approach to form and structure. She rejected figurative representation, instead creating intricate, rhythmic compositions that evoke a sense of movement and timelessness. Despite receiving widespread recognition only posthumously, her influence on contemporary Indian abstraction remains profound, positioning her as one of the most significant artists in South Asian modernism.Approximately 48 x 38cm

**NO RESERVE**An Indian Miniature of a Meditating Figure in a Field.An Indian miniature depicting a serene scene of a bearded noble or sage seated in meditation beside a temple structure. Dressed in traditional attire with a turban, he sits cross-legged on a mat in a lush green landscape, with a small vessel placed nearby. The temple, painted in rich red and white tones, features ornate architectural elements and a golden door. Above the scene, a panel of Devanagari script provides a poetic or philosophical verseApproximately 21.5 x 14.5cmProvenance: From the collection of a distinguished gentleman in NW London

**NO RESERVE**An Indian Miniature of a Meditating Figure with a Lion.This Indian miniature portrays a serene scene of a noble or sage engaged in meditation outside a temple. Seated on a golden lion, the figure wears traditional attire and holds a manuscript, exuding wisdom and devotion. The architectural backdrop features a domed structure with red and orange flags, suggesting a place of spiritual significance. Lush greenery and a bright sun add vibrancy to the composition. A panel of Devanagari script above the scene provides poetic or religious contextApproximately 21.5 x 14.5cmProvenance: From the collection of a distinguished gentleman in NW London

A box containing a selection of framed small format coloured hunting prints, monochrome architectural etchings and bookplates - various artists

A late Victorian brass and green onyx cased mantel clock of architectural design with decorative dial and eight day gong striking movement - small chip to corner and two loose panels

A late 19th Century German oak cased mantel clock of architectural design with silvered dial and Lenzkirch eight day gong striking movement

A Victorian mahogany breakfront sideboard of Architectural forum with three drawers to top and two cupboard pedestal supports, 111cm x 153cm x 52cm

A Seiko wooden cased wall-hanging clock with quartz movement, in architectural case, height 55cm, together with a Schatz German brass skeleton clock (2).Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/

JAMES HOWARD, LONDON; an early 19th century ormolu mantel clock of architectural form, the painted dial set with Roman numerals and depicting two cherubs, with twin drum movement striking on a bell, height 27.5cm.Condition Report: - Please note that this lot is not suitable for our in-house postage service. We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/

A Regency rosewood and gilt brass twin fusee repeating bracket clock with architectural top surmounted with pineapple finial, the white enamelled dial set with Roman numerals, approx. 20cm, the dial flanked by gilt brass grilles and drop loop handles, raised on plinth base, unmarked, height 47cm.Condition Report: - Please note that this lot is not suitable for our in-house postage service. We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/Dial is badly chipped around outer edge, and is scratched through the roman numerals from the minute hand.Gilt brass is dull and is missing in places.Pendulum is missing feather.Movement ticks when wound, although we offer no guarantee of full working order or accurate timekeeping.Case back door has loss to top left corner.Slight damage around screw holes to side of case.Otherwise appears OK.

JOSEPH FINNEY, LIVERPOOL; a George II mahogany cased eight-day longcase clock with architectural pediment, the 13" silvered dial set with Roman and Arabic numerals and internal calendar ring, relief moulded gilt brass corner spandrels, silvered chapter ring, subsidiary dial and applied maker's plaque, above shaped door flanked by reeded quarter pilasters, stepped plinth and bracket feet, height 224cm.Condition Report: Complete with weights, pendulum and case key.Ticks when wound, although we offer no guarantee of full working order or accurate timekeeping.

EDWARDIAN MANTEL CLOCK, OF ARCHITECTURAL DESIGN the circular white enamel dial with Arabic numerals and eight day movement, contained in an oak case41cm

An Early 19th Century George III pine 2 piece corner cabinet with Neogothic cornice, architectural sunburst interior and moulded panel doors. Circa 1800-1820. 88x42x202cm

Victor Lefebvre (1912-1998) View with different architectural elements, architectural styles and boat masts. Oil on panel. Signed and dated 1975. | 42 x 36 cm.

A large quantity of architectural drawings, diagrams, concept drawings from Prestcold stand at the Dairy Show, Olympia by Elizabeth LampsonLocation:If there is no condition report shown, please request

Timothy Richards architectural studies 10 Downing Street door and Praha door and Lichfield House London (3)

Timothy Richards architectural studies Ulrepfort in Koen and Queen Anne House, Charlotte Street, Bath (2)

RARE BLUE AND WHITE TRANSFER PRINTED DISH PRINTED WITH A SCENE ENTITLED 'KASKERAT', FROM 'THE OTTOMAN EMPIRE SERIES' EARLY 19TH CENTURY marked to the reverse ‘Kaserat’ within a simple architectural cartouche 32cm wide The print source for this scene is ‘A View of Kaskerat in Romelia’, by Luigi Mayer (1755-1803).  A copy of the print is in the V&A; Museum, South Kensington, accession number SP.390.  Fragments of a platter printed with the same design are in the collection of the NYC Archaeological Repository, object No.9. The Ottoman Empire series is by an unknown maker.  With the single exception of ‘The Pillar of Absalom’ all views in the series are taken from Mayers ‘Views in the Ottoman Dominions’, his prints taken from original drawings by Sir R Ainslie, and published by R Bowyer of 80 Pall Mall, London, 1810. The series is also known as the Torch Border Series and the Incense Burner Series, after the distinctive incense burner in the floral scroll border. See Coysh & Henrywood, Dictionary of Blue and White Printed Pottery, Vol.1, p 270.