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(1) Omnibook. Architectural, Graphic, Product, Public, Textile and Surface Italian Designers. Udine, Magnus Edizioni, 1984-88. Nos. 1, 3 and 4. All hc w. ill. dust-j. (2) Il campo della grafica italiana. (Bologna, C.I.P.I.A., 1981). Sc w. ill. dust-j. -and 3 others. (total 7)

(Bouwkundige tijdschrift/ Bouwkunst). Years 1-6 (all publ.). The Hague, Maatschappij ter Bevordering der Bouwkunst, 1909-15. Unif. hcalf w. marbled paper boards. 4to. Together w. precursors: Bouwkundige Bijdragen. Vol. 1-26 (all publ.). Amst., 1843-80. Bound. Folio. Lacking vols. 6 & 26 part II. W. "Verslagen van de Algemeene Vergaderen". Nos. 21-40/41. 1863-80. Bound in 4 vols. (nos. 1-20 not publ. separately). 443 lithogr. plates. Then continued as: Bouwkundige tijdschrift. Vol. 1-24 (all publ.). Amst., 1881-1908. First 7 years bound, rest orig. wr. Folio. Lacking vol. 12. Added: Verslagen van de Algemeene Vergaderingen. Nos. 42/44-59/60. 1881-89. Bound in 1 vol., w. 27 plates. Generally in good condition, some plates lacking, not entirely collated. Very rare collection of the 3 most important 19th cent. Dutch architectural and applied arts periodicals. (total 63)

Venice, Gabriel Giolito de Ferrarie Fratel, 1553. 1st ed. (12),309,(1) p. Large 8vo. Rebound in green leather w. gilt title on spine. Title in woodcut historiated architectural border, 93 woodcut text ills. (some duplicates), historiated letters beginning each canto, half p. woodcut zonal world map incl. the Americas, last leaf w. printer's device, printed in italics in 2 columns. Rare, beautiful 1st ed. of Dolce's Italian transl. of Ovid's Metamorphoses in ottava rima. Ex libris G. Fumach upper pastedown. Sl. foxing/ staining, some early paper repairs throughout esp. last few pages, last p. w. printer's device sl. dam./ reinforced. Good condition.

et apparatus urbis ac templi Hierosolymitani. Commentariis et imaginibus illustratus. Rome, A. Zanetti/ S. Marcus, 1596-1605, XV,(4),360,(6),104; (20),655; XVI,573,(1) p., w. the following engravings (mostly inside collation): 3 engr. titles, 1 full-p. and 4 double-p. plates in vol. 1, 15 ills. on 14 (very large) fold. architectural plates and several (double-p.) plates in vol. 2, large fold. plan of Jerusalem and a number of fold. plates and tables in vol. 3, contemp. unif. mottled calf w. gilt and ribbed spines (vol 1-2), contemp. blindst. calf (vol. 3), all vols. w. matching contrast. Mor. letterpieces on spine, folio. Ex library copy, w. scattered stamps; most of the very large architectural plates in the 2nd vol. w. (large) closed tears and restorations; third vol. waterst.; all vols. with hinges split. Sold w.a.f. Important architectural text in first edition, by two Jesuits from Andalusia. They tried to reconstruct the Temple of Solomon and ancient Jerusalem following the vision of the prophet Ezekiel.

CIRCULAR ARCHITECTURAL GARDEN MIRRORS, pair, 80cm diam., applied glazing bars, aged white painted metal frames. (2)

ARCHITECTURAL GARDEN MIRROR, 180cm H x 75cm W, gated design, metal frame.

ARCHITECTURAL GARDEN PERGOLA, 300cm high, 225cm diameter, Regency style, rust oxidated metal.

ARCHITECTURAL WALL MIRRORS, a pair, 100cm high, 70cm wide, Regency style, pierced gilt metal frames. (2)

FRENCH ARCHITECTURAL LITHOGRAPHS, a set of four, 53cm x 40cm. (4)

Our National CathedralsThe richest architectural heritage of the British Nation. Their History and Architecture from their foundation to Modern Times. 3 Bände. Ward, Lock and Co., London/ New York 1889. Mit Stahlstichen, Grundrissen und Holzschnitten. Nicht auf Vollständigkeit geprüft, bitte selbst besichtigen.

Fornasetti-Milano, an architectural decorative tray, 1950s, screen-printed aluminium, numbered 5/94Fornasetti-Milano, een architectonisch decoratiedienblad, jaren 1950, gezeefdrukt aluminium.Diam. 40.5 cm

Great War pair and Memorial plaque to Royal Dublin Fusiliers casualty. British War Medal and Victory Medal to 38186 A.CPL. F. PEACOCK. R.D.FUS, attractively framed in architectural oak frame. Acting corporal Peacock died of wounds on 28 September 1918 and is buried in Moeuvres Communal Cemetery Extension, Grave Reference I.A.33. He previously served in the Royal Irish Regiment, number 16442.

Elliott of London - a brass skeleton clock, of architectural Gothic outline, circa 1975, having silvered Roman chapter ring, month-going wire-driven brass fusee movement with anchor escapement, the whole raised on an onyx plinth and under a glass dome, h.30.5cm (excluding dome)Excellent with no apparent faults.With original key and spare suspension spring.

A late 19th century French gilt bronze mantel clock, the case surmounted with a classical style urn, floral swag, opposing flags, further musical and military related items, the small white convex dial with single winding hole (with key), raised on an architectural base to toupie feet, h.21cm

Collection of C19th Italian Grand Tour plaster circular intaglio medallions, mainly Architectural studies, D6.5cm max, later framed, 104cm x 42cm

A FRENCH ALABASTER MANTEL CLOCK, 19TH CENTURY the architectural case surmounted by a two-handled urn above a dentil frieze, the front applied with alabaster carvings of flowers, swags and gryphons, to either side a roundel centred by a cabochon, two-train movement outside countwheel striking the hours and half hours on a bell, complete with pendulum and key. 40cm high

AN EGYPTIAN REVIVAL BRASS-MOUNTED, RED MARBLE AND POLISHED SLATE MANTEL CLOCK, 19TH CENTURY retailed by R. Drummond & Son, Paris, the engine-turned silvered dial with Roman numerals, two-train movement striking a bell on the hours and half hours, the architectural case engraved and highlighted with gilding, with key and pendulum. 33cm high

Adam Francis Watson (Sheffield 1859-1932): Flamborough North Landing, oil on canvas unsigned 30cm x 40cm Notes: Watson was an important Sheffield-based architect, one half of the architectural firm Holmes and Watson alongside Edward Holmes (1859-1921). Together, they were responsible for many fine public and private buildings in the north of England. Watson was also an accomplished painter, although left the majority of his works unsigned. We are grateful to the artist's estate for their assistance in cataloguing this lot.Condition Report:Good condition, slight indentation to the canvas top-left

Adam Francis Watson (Sheffield 1859-1932): Robin Hood's Bay, oil on canvas unsigned 30cm x 40cm Notes: Watson was an important Sheffield-based architect, one half of the architectural firm Holmes and Watson alongside Edward Holmes (1859-1921). Together, they were responsible for many fine public and private buildings in the north of England. Watson was also an accomplished painter, although left the majority of his works unsigned. We are grateful to the artist's estate for their assistance in cataloguing this lot.Condition Report:Good condition

A large Victorian mahogany wardrobe with architectural cornice over two panelled doors and a base, 222cm high, 154cm wide, 70cm deep

A PALE CELADON GLAZED ELEPHANT-FORM KORO (INCENSE BURNER AND COVER)Japan, Edo period (1615-1868)Finely modeled as an imaginary elephant with densely wrinkled skin and long curling trunk, the animal seated in a recumbent pose, the almond-shaped eye with a rust-brown pupil, the cover pierced with four small apertures.LENGTH 18 cmCondition: Very good condition with minor surface wear and firing irregularities, including rust-brown spots and small firing cracks.With an old wood storage box.Imaginary elephants (sozo-no-zo) like the present lot were also popular architectural elements found on temples, such as the Toshogu Shrine Complex in Nikko, Japan.Auction comparison: Compare a related elephant-form koro, also with a bluish-white glaze, also dated late 17th to early 18th century, 31 cm high, at Woolley & Wallis, 23 November 2021, Wiltshire, lot 1052 (sold for 24,000 GBP).

A SUPERBLY EMBROIDERED PANEL OF YOMEIMON GATEJapan, Meiji period (1868-1912)A very intricately embroidered silk panel with silk threads in various shades of salmon, ivory, cream, bronze and grey, depicting the Yomeimon Gate at the Tokugawa Tosho-gu shrine in Nikko. Mounted by a slender frame on a board with silk brocade backing.SIZE 73 x 69.5 cmCondition: Excellent condition and intricate detail. Few stray strands and a small hole on the verso backing.The Yomeimon Gate is often referred to as the "Gate of the Setting Sun" and is renowned for its intricate carvings, gold leaf decorations, and vibrant colors. It serves as a symbol of wealth, power, and prestige, reflecting the high status and influence of the Tokugawa shogunate during its reign. The gate is also considered a masterpiece of Japanese architectural and artistic craftsmanship, showcasing various styles, motifs, and techniques, including Buddhist, Shinto, and Chinese influences.

Malton, T. Views of Oxford, comprising title and six line-engraved topographical & architectural views, slim folio, contemporary blue paper covered boards with remnants of title label at spine, covers worn, some dampstaining internally but mostly confined to margins, sold as found with all faults

Photography. A 19th-century album of photographs depicting topographical & architectural views of castles, abbeys, coastal resorts, towns, including Ruthin, Lake District, Torquay, Whitehaven, captioned to mounts, many 8" by 6" or 10" by 12" inch, cloth boards, amateur spine repairs, quarto, c. 1890

Photography. Topographical & Architectural Views. A collection of approximately 70 mounted albumen prints, including European topo./arch. views, art/paintings/sculpture (inc. one of Dance of Death at Basel), various sizes, mounted on card album pages, some with manuscript captions, to include seven larger albumen prints, one stamped 'Achille Quinet' [French photographer, 1831-1900], the majority of smaller prints on slightly warped/cockled card but photographs generally good, the larger examples in good order but some with light spotting, c. 1870

Calvin (John) Sermons of Master Iohn Calvin, upon the Booke of Iob, ?first edition in English, translated by Arthur Golding, title within woodcut architectural border, woodcut decorative initials, colophon to verso of final text f. with woodcut device, a few instances of early ink marginalia, with a few ink scribbles to foot of 2*6v, 2H6 & 2K7 with portion of fore-margin torn away, touching printed side-note to 2H6, a few very short marginal tears, including to head of title, water-staining, mostly marginal and concentrated at beginning and end, scattered foxing, the odd leaf lightly browned, modern polished calf, rubbed, [STC 4444], folio, by [Henrie Binneman] for Lucas Harison and George Bishop, [1574].⁂ One of two variants published in the same year, with identical imprint.

Bacon (Sir Francis) The Historie of the Raigne of King Henry the Seventh, first edition, first issue with errata uncorrected, engraved portrait frontispiece by John Payne, title within engraved architectural border, woodcut initials and headpieces, lacking initial blank, occasional scattered foxing, ink ownership inscription to endpaper, contemporary calf, neatly and sympathetically rebacked, wear to corners, some rubbing and surface wear to covers, [Gibson 116a; STC 1160; Pforzheimer 32], small folio, by W. Stansby for Matthew Lownes, and William Barret, 1622.

Gardiner (Stephen, Bishop of Winchester) A Declaration of suche True Articles as George Joye hath gone about to confute as False, black letter, title within woodcut architectural border, woodcut initials, title with outer margin cut away, affecting woodcut border, title and 67ff. with crude tape repairs, most with some loss to text, several ff. with upper corner burnt, occasional ink notes in an early hand, 20th century calf, abrasion to upper cover, [STC 11588], 8vo, [in Aldersgate strete by Iohannes Herford, at the costes and charges of Robert Toye, dwellynge in Paules churche yarde at the sygne of the Bell], [1546].⁂ A rare work, usually found defective, in which the author defends himself against Joye's charges that he had been involved in the entrapment of Robert Barnes which had ultimately led to Barnes' execution by burning at the stake in 1540.

Pharmacy & Medicine.- Ruscelli (Girolamo) The Secretes of the Reverende Mayster Alexis of Piemount. Conteinyng many excellent Remedies agaynst dyvers diseases, woundes, and other accidentes...Distillations, Parfumes, Confitures, dyinges, colours, fusions, and Meltynges, first edition in English, parts 1 and 2 only (of 4), largely printed in black letter, part 1 bound after part 2, part 1 final preliminary leaf blank, last leaf laid down, part 2 with woodcut architectural border (slightly trimmed and laid down), inner margin of A2 and A3 reinforced, early ink annotations throughout, often heavy, part 1 with ink diagram on verso of title and on blank leaf, trimmed close with some loss to headlines and to first word of text on a few preliminaries, occasional slight worming sometimes affecting text, soiled, modern cream morocco, gilt, by M.J.D. Lahey, [STC 295 and 300], 4to, part 1 imprint by Henry Sutton, 1559; part 2 by Jhon Kyngston: for Nicholas Englande, 1560.⁂ Important and oft-reprinted early receipt book, mostly of a medical or pharmaceutical nature, but also covering metallurgy, food, cosmetics etc.

Beatrice Ethel Lithiby RBA (1889-1966) A large artist sketchbook, circa 1931/2, to include mosaic tracings, architectural, figural and landscape studies

A late 19th Century Gothic Revival ornate ebonised cased table clock of architectural design with regulator to the silvered and brass arched dial, with Winterhalder & Hofmeier eight day twin fusee 'ting-tang' striking movement

A framed coloured cricketing print and small †W. Russell Flint print - sold with two unframed coloured prints and a small architectural watercolour

The Architectural Antiquities of Great Britain: by John Britton, vols I to IV (V missing), Folio, gilt leather - Vol I 1807, Vol IV 1814 - sold with The History of France: by Rev. Alexander Ranken in 9 vols, 8vo., full leather, Printed by A. Strahan, London 1801-1822 - various condition

A FRENCH EBONISED PORTICO CLOCK, the architectural case with four pillars having decorative gilt mounts to top and bottom, the circular dial with Roman numerals, the movement stamped with Japy Freres medallion, H 43 cmCondition Report:Lacking pendulum and bell

AN OAK CASED 8 DAY 'TING TANG' STRIKE MANTLE CLOCK, the dial with silvered chapter ring, Roman numerals and corner spandrels, quarter chiming, gong strike, the movement stamped L & K with shooting star and numbers 23441, the wooden case with architectural surmount, overall H 42.5 cm

A collection of assorted antique & vintage rules to include wooden examples. Lot includes 5 small architectural scale rulers and 2 large John Rabone & Sons rules - No. 1137 3 foot boxwood T square and No. 1611 folding 5 foot ruler.

A group of five Roman and other ancient copper alloy brooches, including fighting gladiators, a galley, a hound attacking a hare and an architectural arch. Note: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A post war Blenko oversized architectural glass decanter, 5815-M, of globe and shaft form with teardrop shaped stopper, in the tangerine colourway with a graduated red to yellow amberina ground, designed by Wayne Husted circa 1958, height 62cm.

A 19th century Aesthetic style gilt framed architectural overmantel mirror. H.193 W.164cm.

A late 19th century, two pencil Architectural drawings on paper, one of a castle tower, other of a church, both framed. H.40 W.33cm. (largest)

After W. Chambers, E. Rooker (Sculpt.), two architectural prints depicting a Classical dentil cornice and ionic column. H.67 W.55cm

Architecture, Modern German -- Collection of modern German architectural images, interior and exterior views. 1920s. Circa 125 glass plate slides. Each circa 8,5 x 10 cm. Each annotated in ink on paper tape seals, in 2 wooden boxes.The slides show well-known architectural projects of famous, mostly German architects such as Martin Gropius, Bruno Taut, Mies van der Rohe, Erich Mendelsohn, Le Corbusier, Otto Bartning, Ludwig Hilbersheimer and others. The projects are modern industrial and residential buildings and show Bauhaus Dessau, Weissenhof Siedlung, Stuttgart; Siedlung Britz, Berlin; Onkle Toms Hütte, Berlin; various department stores buildings of "Das Neue Frankfurt" as well as images of bridges, stations and industrial structures. – In good condition.

Aviation -- Photographer: Alex Stöcker (1896-1962). Architectural model for Tempelhof Airport, Berlin. Circa 1936. 6 vintage ferrotyped gelatin silver press prints on doubleweight paper. Circa 12 x 16,5 cm. Each with collector's stamp, Modell des neuen Weltflughafens Tempelhof and Deutsche Lufthansa (Stöcker) stamp on the verso.Fine prints in very good condition.

[*] Mies van der Rohe, Ludwig -- Photographer: Hedrich-Blessing (architectural photography studio, 1929 - present). Ludwig Mies van der Rohe. Circa 1960. Vintage gelatin silver print. 25 x 20,5 cm. Photographer's stamp, therein negative number on the verso.Hedrich-Blessing studio was founded in 1929 by Ken Hedrich and Henry Blessing. Hundreds of photographic assistants would learn their craft at the studio. Beginning in the 1950's Hedrich-Blessing Photography became associated with the modernist movement and Ludwig Mies van der Rohe. Mies collaborated with both Bill Hedrich and Bill Engdahl and the firm's archives contain the most extensive photographic record of Mies' works. With a staff of six photographers, Hedrich Blessing also photographed the works of Albert Kahn, Buckminster Fuller, Minoru Yamasaki, Skidmore, Owings & Merrill and Harry Weese. – A few handling marks, otherwise in very good condition. – With: Typed letter from the office of Mies van der Rohe on his stationery, referring to the signed photograph offered in this lot. - Fold marks.

BEN NICHOLSON (BRITISH 1894-1982) AQUILEIA, FROM ARCHITECTURAL SUITEsigned and dated Ben Nicholson/1966 lower right; numbered VIII lower left coloured etching 32.2 x 27.7cm; 12 3/4 x 10 3/4in (plate) 39.5 x 33cm; 15 1/2 x 13in (sheet)58 x 50.5cm; 22 3/4 x 18 3/4in (framed)Property of a European CollectorProvenance:Galleria La Bussola, TurinARR may applyARR may apply

Two pen and wash Italian architectural studies, 10" x 7", in gilt frames

Acrylic on slate, a pair of architectural studies, in common frame

JOHN WILLIAM GODWARD (BRITISH 1861-1922)A BIRTHDAY PRESENTOil on canvasSigned and dated 'J. W. Godward 97' (lower left)46 x 56cm (18 x 22 in.)Provenance: Messrs. Thomas McLean, London 21 September 1897Private Collection, UKLiterature:McLean letter to Godward (21 Sept 1897) Mio-Turner CollectionSwanson, Vern Grosvenor, The Eclipse of Classicism¸ 1997, p.195Swanson, Vern Grosvenor, The Eclipse of Classicism¸ 2018, p.275John William Godward (1861-1922) was one of the last of the classical painters of the Victorian age. Slightly younger than his better-known counter parts: Sir Frederic Leighton (1830-1896), Lawrence Alma-Tadema (1836-1912), and John Poynter (1836-1919) he was working in the dawn of a new, modernist era at the end of the 19th century, one which had little place for the Classical ideals of Antiquity which had dominated art for the last 500 years. His career has been described by Swanson as the 'Eclipse of Classicism'. The author goes on to expand that Godward's career 'offers the clearest example of the demise of classical Greco-Roman subject painting' (Swanson, p.8). As a reclusive genius, and someone who almost certainly had Asperger's Syndrome, little is known about Godward's private life. This is partly due to his strict family upbringing and somewhat overbearing mother, Sarah Eboral, who outlived her son by 13 years, dying at the age of 100 in 1932. When Godward moved to Italy with one of his models in 1912, his family broke contact with the artist, destroyed many papers, and removed his image from family pictures. Indeed, only one photo of the artist is thought to exist. Although little is known about the young artist's schooling, as the eldest of five children, by all accounts Godward came from a respectable bourgeois family and ideal Victorian home. It is therefore likely that his family would have been able to afford to send him a private school, as was common for middle class children at that time. What is certain, is that there was pressure for all the Godward children to follow their father's lead into the family profession of insurance, investing and banking. Although his siblings all seem to have succeeded in this expectation, John William did not. Between 1879 and 1881, it is believed Godward studied under the architect William Hoff Wontner (1814 - 1881). This apprenticeship seems the likely source for Godward's ability to render perspective and architectural elements, as well as being able to realistically depict marble and porphyry. It was around this time that Swanson believes Godward turned his aspirations to becoming a fine artist. Whether Godward received any formal art training is purely a matter of speculation as there are no records, but given his family's insistence that he follow in his father's footsteps into the work of business, it seems unlikely that he would have had access to any instructional study. We do know however that by 1881, Wontner had died, and his son William Clarke had taken over the family business. By 1885, Wontner and Godward had become best friends, and the former had taken a post at St. John's Wood Art School. It is perhaps not too much of a leap then, to assume that at least some instruction was taken from his friend. It is most likely that Goward's exposure to specifically Graeco-Roman subject painting came through seeing contemporary work at the Royal Academy or Royal Society of British Artists. In 1887, his own debut work, A Yellow Turban, (No. 721) was accepted into the Royal Academy Summer Exhibition. He continued to exhibit with the Royal Academy until 1905. It was also during 1887, that Godward exhibited for the first time at the RBA, with a painting called Poppaea (No. 401). Three years later, he was officially elected as a member of the organisation. In 1888, Godward exhibited his oil, Ianthe (No. 941), at the Royal Academy. Upon seeing the painting, he was approached by the infamous art dealer Arthur Tooth who asked whether he might include it in his own Winter Show of that year. In addition to Ianthe, Godward produced nine further paintings for Tooth's show. His relationship with Tooth ultimately failed to extend beyond the exhibition however, as he decided to proceed with another dealer and Tooth's next-door neighbour, Thomas Miller McLean (1832-1909). Throughout his career Messers. Thomas McLean would deal hundreds of oils for the artist with great success.The present lot is no exception, and together with another work from the previous year, Winding the Skein (Sawnson, p.69, illustrated), is one of only a handful of works from this period to include more than one figure. Here, in a marble walled garden, we see the skill in which the artist depicts the red and grey tones in the smooth creamy stone set against a planter of poppies and blooming oleanders. Classical motifs are arranged throughout the work, including a small bronze statue of Venus, a white marble carving of Pan pulling a thorn from a hoofed Satyr, a variation of the sculpture in the Pio-Clementine Museum, and to the right of the work, a bronze vase atop a round marble table with lion monopodia leg. Centre stage are two figures dressed in beautiful turquoise and purple tunics. One woman seated on a tiger skin, a common motif in Godward's work, is presented with a birthday gift by her attendant: a beautiful Portland cameo glass vase. The first decade of the new century was one of the best for Godward as an artist. Imperial interest grew as prosperity throughout the British Empire rose. However, by 1911, the art scene in Britain had changed significantly, and this would shortly be echoed throughout the whole of society with the start of the Great War. The founding of the Camden Town Group in 1911, followed by the death of Alma Tadema in 1912, and the emergence of the Vorticist movement just before the start of World War I in 1913-14, as well as the Great War itself, marked the beginning of the end of the Classicist painters. It was amongst this backdrop that Godward moved to Rome, perhaps believing that he could escape the new dawn on the horizon which was already a reality in London. In Italy he found a seductive blend of ancient, medieval, and classical cultures. Unsurprisingly, little is documented of Godward's time in Italy, however by 1916, the new way of painting which he had so hoped to escape in London had made its way to the Continent. Nonetheless, Godward stayed in Rome until 1921. He spent most of his time working out of a studio at the Villa Strohl-Fern despite the villa's one hundred or so studios being filled with younger, more modern looking artists. He returned to England briefly in 1919, to attend his nephew's funeral and again in 1920 to attend his brother's wedding. Returning to Rome, his mood was low. The following year his health deteriorated, affected by Spanish influenza and depression. As a result, he only produced five paintings. This reduced to two in 1921. London was much more hostile to his art than Rome had been, and his depression and ill health did not improve once home. He became a recluse, and failing to feed himself properly, soon became malnourished and fell ill to a peptic ulcer. Rather than continue in his misery, and see his art suffer further at his inability to paint, the artist committed suicide on 13 December 1922, aged 62.

Tomb Raider film cell, 2 vintage photographs, a painting and a folder of architectural prints

2 Framed and glazed Architectural prints of Steven's Mill, Burwell, Cambridgeshire 45cm x 53cm approx 

20th Century reproduction of 15th / 16th Century Russian folk art pine Gothic hand carved ecclesiastic panel. Carving depicting Russian orthodox icons / saints on architectural wooden panel painted in muted tones of red and green. Measuring approx 120cm x 22cm. 

Zerner (Catherine Wilkinson). Juan de Herrera, Architect to Philip II of Spain, 1st edition, New Haven: Yale University Press, 1993, numerous monochrome illustrations, minor marginal toning, original cloth in dust jacket, covers lightly rubbed to head & foot, large 4to, together with:Sutcliffe (Anthony), Paris, an architectural history, 1st edition, New Haven: Yale University Press, 1993, numerous colour & monochrome illustrations, minor marginal toning, original cloth in dust jacket, covers lightly rubbed to head & foot, large 4to, plusDe Jong (Sigrid), Rediscovering Architecture, Paestum in eighteenth-century architectural experience and theory, 1st edition, New Haven: Yale University Press, 2014, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and Krautheimer (Richard), Lorenzo Ghiberti, 2nd printing, Princeton: University Press, 1990, numerous monochrome illustrations, some minor spotting to the text-block, original wrappers, large 8vo, plus other architecture reference & related, many original cloth, some in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (6 shelves)

Etlin (Richard A.). Frank Lloyd Wright and Le Corbusier, The romantic legacy, reprinted, Manchester: University Press, 1994, numerous colour & monochrome illustrations, original cloth in dust jacket, 4to, together with:Shvidkovsky (Dimitri), The Empress & The Architect, British architecture and gardens at the Court of Catherine the Great, 1st edition, New Haven: Yale University Press, 1996, numerous colour & monochrome illustrations, original cloth in dust jacket, covers slightly faded, marked & rubbed to head & foot, large 4to, plusGomme (Andor, et al), Bristol, an architectural history, 1st edition, London: Lund Humphries, 1979, numerous monochrome illustrations, original cloth in price-clipped dust jacket, large 4to, and other architecture reference, mostly original cloth, some in dust jackets, G/VG, 8vo/folioQTY: (3 shelves & a carton)

Lewerentz (Sigurd). The Dilemma of Classicism, London: Architectural Association, 1989, monochrome frontispiece and illustrations, original printed limp boards, in original silkscreen printed silicon carbide abrasive paper dust jacket, slim folio (34.3 x 27.5 cm)QTY: (1)NOTE:The volume accompanied an exhibition of the work of Swedish architect Sigurd Lewerentz (1885-1975), displaying his original drawings and the unique buildings resulting from them.

AN ARCHITECTURAL MAHOGANY PEDIMENTED FRAME, late 19th century, in the empire style with arched opening and bronze(?) appliques of classical goddesses, ribbon tied laurel wreath and palmettes, 46 3/4" x 69" (Est. plus 24% premium inc. VAT)Minor losses to outer corners of pediment, otherwise good, green patination to mounts.

A George III-style carved giltwood and gesso overmantel mirror, late 19th century, of architectural form with a bevelled glass plate, 142cm wide162cm highCondition ReportRe-gilded, with some rubbing and wear to surface. Some cracks, small losses, breaks and repairs to gesso. Dirt and dust. Very light foxing to the mirror plate. Light surface wear and scratches to plate. Ready to hang.

A wooden birdcage,20th century, probably French, of architectural form,56cm wide56cm deep105cm high

A wooden architectural model,20th century, modelled as a country house folly,25cm diameter34cm highProvenance: Montpelier Interiors, Rye, East Sussex.Condition ReportThe model is in very good cosmetic and structural condition with very minimal signs of wear.

A painted wooden architectural model, early 20th century, of St Paul's Cathedral, 42cm wide25cm deep25cm highCondition ReportSome light wear, evidence of water marks, knocks and scuffs. Sits sturdy and flat. Appears solid and stable. Overall in pleasantly worn and aged condition.

A turned wooden architectural model of a staircase,20th century, French, the single staircase leading to a circular balustraded gallery,33cm wide59cm deep37cm highCondition ReportThere are a few small cracks and splits to the gallery and where the staircase meets the upper level. Repair/alteration visible to the underside where the stairs join the upper level. Probably beech. Some balustrades also repaired to the top gallery. Overall in a very good cosmetic and aesthetic condition and ready for placement.