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Manner of Edward Blore, 19th century architectural ink drawing of a medieval cloister door, monogrammed to the lower left corner, approx 9 x 11.5 cms, velvet mounted, framed and glazed.  Property of a West Yorkshire lady. 

PLASTER HEAD OF KING EDWARD VII, for an architectural corbel on Llandaff Cathedral, 46cm h

WYNDHAM CLARKE PLASTER HEAD OF KING GEORGE VI, 1938, for an architectural corbel on Llandaff Cathedral, 45cm h Provanance: The original model for the final stone sculpture.

WYNDHAM CLARKE PLASTER HEAD OF UNCROWNED EDWARD VIII, 1937, for an architectural corbel on Llandaff Cathedral, 33cm h Provanance: The original model for the final stone sculpture.

PLASTER HEAD OF KING GEORGE V, for an architectural corbel on Llandaff Cathedral, 43cm h Provanance: The original model for the final stone sculpture.

THREE DECORATIVE FURNISHING PICTURES INCLUDING ARCHITECTURAL SCENES AND A MAP OF LONDON. SIZES VARY (3)

A DECORATIVE COLOUR PRINT OF WORK HORSES AFTER LUCY KEMP-WELCH TOGETHER WITH A MAP AND A ARCHITECTURAL PRINT (3)

Two cartons of architectural and lake district interest including Norman Nicholson 'The Lakes, The First Tourists' and Nicholas Barker 'Treasures from the Libraries of National Trust Houses' etc.

CIRCULAR ARCHITECTURAL WALL MIRROR, bronzed finish frame, 100cm.

ARCHITECTURAL WALL MIRRORS, a pair, 128cm H x 48cm W, Italian style, aged white painted metal frames, overlaid glazing bars. (2)

ARCHITECTURAL WALL MIRROR, segmented plate in black frame, gilt stud detail, 120cm x 70cm.

ARCHITECTURAL GARDEN MIRRORS, a pair, gated design, 180cm x 75cm. (2)

ARCHITECTURAL GARDEN GATE, Regency style wrought metal, 245cm H x 152cm W x 23cm D.

CIRCULAR ARCHITECTURAL WALL MIRROR, bronzed finish frame, 100cm diam.

(Amalfi (SA) 1863 - Napoli 1920)Cm 47x29,5 | In 18.50x11.61Oil on canvasDevoting himself initially to architectural studies, he abandoned them to train artistically, under the guidance of Giacomo Di Chirico. Residing in Naples, starting in 1891, he had the opportunity to live in a climate of strong movements of cultural evolution, coinciding with the changing urban physiognomy following the controversial Plan of Renovation, wanted by the Savoys. Indeed, on the one hand there was the creation of new residential neighborhoods, and on the other the construction of public works of great impact, such as the Galleria Umberto I and the Palazzo della Borsa. In this context, Pietro Scoppetta moved skillfully, showing great talent especially in the depiction of his native Amalfi coast and the Valley of the Mills. With his works he participated in several exhibitions of the Promotrice Society of Naples. The city's activity was also expressed in the birth of elegant cultural gathering places, such as the café-chantant Salone Margherita and the Caffè Gambrinus, which soon became landmarks of the Neapolitan Belle Époque. It was precisely the Gambrinus that provided him with an important opportunity to showcase his skills, when in the period 1889-1890 he was called upon to fresco its vaults with other leading painters of the Neapolitan milieu of the time (Luca Postiglione, Vincenzo Volpe, Edoardo Matania, Attilio Pratella, Giuseppe Alberto Cocco, Giuseppe Casciaro, Giuseppe Chiarolanza, Gaetano Esposito, Vincenzo Migliaro, Vincenzo Irolli and Vincenzo Caprile). Like other earlier and contemporary artists, who alongside his main painting activity pursued an alternative profession, he worked as an illustrator for the magazines la Cronaca partenopea, La tavola rotonda and Illustrazione Italiana, working in the employ of the Treves publishing house. Despite his commercial and critical success, which led him to have as admirers of his works King Umberto I and the Prince of Sirignano, Scoppetta decided to leave Italy for foreign countries, and stayed for a long time in London and Paris. In the French capital, where he stayed between 1897 and 1903, he became part of the large group of Neapolitan painters attracted by the bourgeois suggestions of the Belle Époque, including Lionello Balestrieri, Arnaldo De Lisio, Ulisse Caputo, Raffaele Ragione and Vincenzo La Bella, and inserting himself in the strand of Italian pro-Impressionist artists, of whom Giuseppe De Nittis was a great precursor. From his French experience he retained important elements of Impressionism, which he brought together and amalgamated in his painting technique with the vivid hues of the Neapolitan school. The Parisian period also saw a marked change in the subjects of his paintings. In fact, having abandoned the landscape representations that had characterized his previous career, he turned to the depiction of bourgeois life, in which he identified the elements of optimism and striving for the future that best suited his temperament. After 1910 he left Paris for Rome, where he frequented the home of his friend Pietro Carrara and his wife, Marchesa Maria Valdambrini, for a long time. He died in Naples on November 9, 1920. Upon his death, the 1920 Venice Biennale dedicated a personal room to him where thirty-five paintings were exhibited. In addition to excelling in painting, Scoppetta was also a poet. Under the pseudonym Pictor Petrus he published in 1919 in Naples the collection "Rhythms of the Heart." The guiding thread of the work is the yearning for love, a literary reflection of a true love that the artist cultivated at an advanced age for a young pupil. Works in museums: Museo civico di Castel Nuovo in Naples with the works: Portrait of the Princess (1911), Marina. Pinacoteca Comunale di Porto Recanati with the work: Portrait of a Lady. Pinacoteca De Nittis in Barletta with the works: The painter Attilio Pratella and the self-portrait of Pietro Scoppetta, Paris - CaffèChantant, Confidence. Museo nazionale di Capodimonte in Naples with the work: La valle dei Mulini di Amalfi Galleria dell'Accademia di belle arti in Naples with the work? Venezia, oil on panel.

Erich Heckel (1883 Döbeln - 1970 Radolfzell) (F)'Bewachsene Düne', Aquarell über Bleistiftzeichnung auf Bütten, 51 cm x 68 cm Blattmaß, signiert, 33 datiert, betitelt, am unteren Bildrand 'Dünen' bezeichnet, mit einem Trockenstempel 'Friedenau Ars', partiell leicht stockfleckig, verso montiert, Provenienz: Nachlass Erich Heckel (bis 1988), Kunstsammler aus NRW. Das Aquarell ist im Nachlass des Künstlers registriert. Wir danken dem Nachlass Erich Heckel, Hemmenhofen, für die wissenschaftliche Unterstützung. Ausstellungen: Kaiserslautern 1952 (Pfälzische Landesgewerbeanstalt Kaiserslautern), Erich Heckel Gemälde, Aquarelle, Graphik, Kat.-Nr. 25. Heilbronn 1965 (Kunstverein Heilbronn), Erich Heckel Aquarelle - Grafik, Kat.-Nr. 19. Information: Für dieses Objekt wird die gesetzliche Umsatzsteuer von 19 % auf den Zuschlagspreis + Aufgeld berechnet (Regelbesteuerung).Erich Heckel gilt als einer der Hauptvertreter des deutschen Expressionismus. Während seines Architekturstudiums in Dresden begann der Künstler unter dem Einfluss von Edvard Munch, van Gogh und den Fauves autodidaktisch zu malen. Mit seinen Kommilitonen Karl Schmidt-Rottluff und Ernst Ludwig Kirchner gründete Heckel die weltbekannte Künstlergruppe "Die Brücke", welche sich als neue Generation von Kunstschaffenden verstand. Die beiden Aquarelle sind auf 1933 und 1943 datiert, noch bevor der Künstler an den Bodensee zieht und seine Professur an der Karlsruher Akademie übernimmt. Die bewachsenen Dünen und Hänge, die Landschaft, die vom Künstler eingefangen wird, erzählen von ruhigeren Tagen. Tagen in der Natur, fern vom städtischen Berlin. Auch stammen sie nicht aus der Zeit, in der der Künstler spitze Formen und kraftvolle Farben nutzt, um unmittelbar und unverfälscht zu Schaffen und sein Verständnis von Kunst in die Werke zu übertragen. Es scheint gediegener, ruhiger und dennoch erkennt man in der Bleistiftzeichnung beider Aquarelle die Kunstfertigkeit der Hand des Künstlers und seine Erfahrungen aus den vorherigen Dekaden.Erich Heckel (1883 Döbeln - 1970 Radolfzell) (F)'Bewachsene Düne', watercolour over pencil drawing on handmade paper, 51 cm x 68 cm sheet dimension, signed, 33 dated, titled, inscribed 'Dünen' at the lower edge of the picture, with a dry stamp 'Friedenau Ars', partly slightly stain spotted, mounted on verso, Provenance: art collector from NRW. The watercolour is registered in the artist's estate. We thank the estate of Erich Heckel, Hemmenhofen, for their scholarly support. Information: For this object the VAT of 19 % will be charged on the hammer price + buyer's premium (regular taxation).Erich Heckel is considered one of the main representatives of German Expressionism as a painter and sculptor. During his architectural studies in Dresden, the artist began to paint autodidactically under the influence of Edvard Munch, van Gogh and the Fauves. With his fellow students Karl Schmidt-Rottluff and Ernst Ludwig Kirchner, Heckel founded the world-famous artists' group ''Die Brücke'', which saw itself as a new generation of artists. The two watercolours are dated 1933 and 1943, before the artist moved to Lake Constance and took up his professorship at the Karlsruhe Academy. The overgrown dunes and slopes, the landscape captured by the artist, tell of quieter days. Days in nature, far from urban Berlin. Nor do they date from the time when the artist uses pointed forms and powerful colours to create directly and to transfer his understanding of art into the works. It seems more dignified, calmer, and yet in the pencil drawing of the watercolours one recognises the artist's hand and his experiences from the decades before.

An Asprey George III style bracket clock, circa 1900, in an Architectural case, with arched top, silvered dial, signed Asprey, late Payne & Co,, Bond Street, the fusée movement signed Payne & Co., London 5224 on the backplate, striking on a gong, with repeat mechanism, the sides with brass fishscale panels, on compressed bun feet, 48cm high, 27cm wide (pendulum requires new suspension spring, repeat string missing)

A Victorian Architectural ebonized mantel clock, late 19th century, with a barrel movement, striking on a bell, enamel face and brass pilasters, 36cm high

An 18th/19th century Architectural stone gable ornament, in form of Fleur de Lys, carved in one section, with weathered patina, possibly a church or hall finial, 82cm high

Two 19th century grindstones/ small millstones, 56cm and 51cm diameter; together with a cap stone, with architectural detailing and weathered patina (3)

A green Onyx architectural mantle clock - Height 30cm x Width 36cm - with key, running

A large George III style pine architectural breakfront bookcase

A 19th century gilt gesso framed overmantle mirror, architectural pediment on columns. Plate glass 113 x 88 cm. 

A framed oil painting on board possible remount early 18th century Architectural study with a horse drawn carriage and other figures. 91x46cm

A French brass carriage time piece, the white enamel dial with Arabic numerals, signed 11 jewel movement, architectural case, key, 13cm.

A French Empire mid-19th century marble and gilt brass mounted clock garniture having an eight-day duration movement striking the hours and half-hours on a bell, the cream enamel dial with Arabic numerals with engraved & pierced gilt-brass hands, the case of architectural pagoda form, surmounted by a floral spray and applied frieze decoration, within four marble columns and square plinth base, all standing on gilt-brass feet, together with a pair of matching vases with gilt metal floral spray decoration, standing on square bases. H40, W19, D11cm. (3) With pendulum and key.

A 19th century Viennese double weight wall clock, the two part white enamel dial with Roman numerals, the unsigned movement striking on a gong, architectural ebonised and walnut case, pendulum, two weights, key, 104cm

Architectural - A late eighteenth century figured Bath stone ecclesiastical model of St. Francis of Assisi holding a cross with Jesus and a skull, wearing monk's robes. Measures 33cm tall. 

A pair of 17th century architectural salvage carved fruitwood pilaster / wall plaques. Both carved into heavy relief and depicting carved religious female figures raised on scroll and flower brackets below triform pillar tops. Measures approx. 72cm long.

Architectural Salvage - A pair of classical revival clam shell pedestal garden planters in the neo-classical style. Re-constituted stone comprising pedestals with clam shell bowls set atop. Measures approx. 78cm high x 55cm wide.

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

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

America.- Laet (Johannes de) Novus Orbis, seu descriptionis Indiae Occidentalis, first edition in Latin, half-title, engraved architectural title, woodcuts, lacking all maps, supplied in good facsimile, light damp-staining, ex-library stamp to title and one or two others in text, bookplate, 18th century panelled calf, coat-of-arms blind-stamped in gilt to covers, leather and metal closing clasps (top re-glued, bottom with newer metal fixing), one or two worming holes to lower cover, rebacked, folio, [Burden 229-232; Sabin 38557; Willems 382], Leiden, [Bonaventure & Abraham Elzevier], 1633.⁂ First Edition in Latin, first published as "Nieuwe Wereldt ofte Beschrijvinghe van West-Indien" in Leiden in 1625, dubbed "the finest description of the Americas published in the seventeenth century" by Burden.

Hardyng (John) The chronicle of Ihon Hardyng, from the firste begynnyng of Englande, vnto the reigne of kyng Edward the fourth wher he made an end of his chronicle, part 1 only (of 2), without all after G6, title within woodcut architectural border, small defect at blank lower edge, D8 with manuscript ink inscription to margin, lacking 8ff. (E1-8), top edge trimmed, endpapers loose or coming loose, eighteenth century calf, joints cracked but stitching firm, rubbed, 8vo, [STC 12767], Richard Grafton, 1543.⁂ Without the "A continuacion of the chronicle of England", appended by Richard Grafton, taken from work by More and Vergil, which appears with a separate divisional title and within the foliation at 2A1 (following G6). Alison Hanham in her article 'The Two Editions of Grafton's Chronicle of John Hardyng' (Bibliographical Society of Australia & New Zealand, Bulletin, III (1979) ) claims that STC 12767 is the earlier of the two editions.

Bible, Hebrew.- Biblia Hebraica, eleganti charactere impressa. Editio nova, edited by Menasseh ben Israel, 4 parts in 1, second edition, double column, architectural metal-engraved general title and 3 wood-engraved part titles (these with printed date of 1631 altered by hand to 1636), letterpress title in Latin with woodcut printer's device, woodcut cartouches, verse numbers supplied by hand in various coloured inks in the 20th century, short marginal repaired tear to Latin title, final part ink stain to upper inner gutter of last 30 ff. or so, just touching text on last few ff., but still perfectly legible, some spotting or staining, lightly browned, later blind-stamped calf over wooden boards, sympathetically rebacked in modern ornately blind-stamped calf in compartments, upper corner of lower cover restored, leather of others worn, stained, rubbed and marked, [Fuks, Amsterdam 153; Vinograd, Amsterdam 34; cf. D&M 5124], a solid copy, 4to, Amsterdam, Hendrick Laurensz, 1635-1631.⁂ 'The second, and most important, of the editions prepared by Menasseh b. Israel.' (Darlow & Moule). According to Fuks three variants of this edition exist; ours being variant B, with the Five Scrolls after Kethuvim and dates altered from 1631 to 1636.

Yiannis Tsarouchis (Greek, 1910-1989)Le café de Mavrokefalos signé en grec (en bas à droite)huile sur toile73 x 100cm (28 3/4 x 39 3/8in).Peint en 1971.signed in Greek (lower right) oil on canvasFootnotes:ProvenanceKokkas collection, Athens.Private collection, Athens.Expositions Ioannina / Xanthi / Rhodes, Techni Poliouchos, travelling group exhibition, Society for the Study of the Visual Arts - Ministry of the Interior, Public Administration and Decentralization, 2003-2004 (illustrated in the exhibition catalogue, p. 31).LittératureE. Florou, Tsarouchis – Painting, doctoral dissertation, Athens 1989, pp. 21, 108 (mentioned), p. 261 (listed), fig. 794.Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 253 (illustrated).E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1999, no. 946, pp. xxxiii, 127 (mentioned), 283 (catalogued).Dimotiki Icho newspaper, no. 4, December 2003, p. 16 (illustrated).Y. Bolis, Yannis Tsarouchis, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, pp. 110-111 (illustrated).With penetrating realism, Tsarouchis captured the charming neoclassical façade of the Mavrokefalos coffeehouse1 on Panepistimiou St—a traditional Athens establishment frequented mainly by sailors and soldiers—in all its austere simplicity and noble restraint, conveying a sense of monumentality and timeless order. By focusing on rhythmical verticality, geometric purity of form, accuracy of design, compositional balance and stark juxtaposition of light and dark areas, the painter sought to underline, typify and ultimately mythologise the folksiness and 'Greekness' of his subject, investing it with a poetic aura and inner mystery that recalls the enigmatic façades of Giorgio de Chirico (compare The enigma of the hour, 1910).The foreground figures, set against a flat monochromatic backdrop interrupted by pronounced vertical elements—a typical Hellenistic-Roman layout also evident in Byzantine church decoration, shadow-puppet folklore, and Theofilos's compositions—seem perfectly integrated into their surrounding space, imbuing the picture with a meditative feel and suggesting balance between the natural and the manmade. This subtle dialogue of monumental form and human scale creates a lyrically interpretative composition, a tranquil world of spiritual purity and shared humanity.'I first painted the Mavrokefalos coffeehouse in Paris around Christmas of 1950 from a small forgotten sketch of mine. I painted it twice. Once on a Christmas card, which I sent to Teriade, and a second larger one, which I sent to London with Elytis to be sold to an acquaintance of mine. The fact that I painted figures that did not dominate the painting with their size doesn't mean that my main concern was not finding the right proportions for the human figures in relation to their environment. The human presence in any work of mine is always the main subject no matter how small the figures are. The abstract harmony of a painting has never obliged me to neglect the human or humanistic element... All these coffeehouses took me a long time to make. I entered another world, both spiritually and pictorially.'2'To abandon drawing from models in the light of the studio in order to paint outdoors under the glare of the Greek sun and the shadows it casts, was for me an extreme departure. I hesitated to accept chiaroscuro with all its consequences because I feared that the pure structure of colours on canvas might be harmed. On the day I decided to abandon the lyrical and mystical interpretation of the world in order to discipline myself to see the exterior world objectively and narrowly, I felt as though my eyes had undergone an operation.'3 (Compare Y. Tsarouchis, Small coffee house in Athens / Kafeneion Mavrokefalou, Bonhams Greek Sale, November 25, 2014, lot 53). A cornerstone of urban genre, the traditional Greek coffee shop has always been a perfect place for philosophising and exchanging views on current events. Moreover, this engaging theme offered the artist the opportunity to express his love for the neoclassical architectural style. 'I was born in Piraeus in a neoclassical building and raised in two others, also neoclassical houses in Piraeus. For me, home meant only a neoclassical building. Later, when they started tearing them down one by one, I felt my life was being dismantled.'4 1 Tsarouchis also produced evocative renditions of the 'Neon' and 'Parthenon' coffee shops in the Omonoia Square district. 2 Y. Tsarouchis, 'Some Thoughts on my Works' [in Greek], The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 298-299; Yannis Tsarouchis-Painting [in Greek], Yannis Tsarouchis Foundation, Athens 1990, p. 51; N. Grypari, A. Szymczyk ed., Yannis Tsarouchis Dancing in Real Life, exhibition catalogue, Chicago 2021, p. 188. 3 Y. Tsarouchis, 'Notes and Speculations', Greek Heritage, the American Quarterly of Greek Culture, vol. I, no. 2, spring 1964, pp. 94-95.4 Preface to S. Skopelitis, Neoclassical buildings of Athens and Piraeus [in Greek], Dodoni editions, Athens 1975.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Summer House/ Maison d'eté signé et daté 'Ghika/72' (en bas à gauche); signé, titré et daté 'Ghika 72/ Summer House' (au revers)gouache sur carton58 x 40cm (22 13/16 x 15 3/4in).Peint en 1972.signed and dated (lower left); signed, titled and dated (on the reverse) gouache on cardFootnotes:A powerful post-cubist townscape displaying an almost abstract architectural network of close-knit rhythmical structures, fragmented interlocking planes, and spatially distorted labyrinthine grids, Summer house showcases Ghika's belief that 'the character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.'1 The rhythmically developed and spatially distorted depictions of Byzantine towns—used as backdrops for religious subjects in much of icon painting—are here pushed to a relentless extreme, transformed into a dense web of fragmented lines, sharp angles and spiralling curves. As the schematic undulations of the townscape ascend in petrified waves of subdued colour highlighted by wonderful lavenders and lilacs, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'21 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938.2 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

English ebonised double fusee boardroom clock, the movement striking on a gong and with locking pendulum, the 8.5" square brass dial with silver chapter ring enclosing a matted centre, within an architectural stepped case surmounted by a triangular pediment, 21" high (pendulum and key)

Junghans walnut two train mantel clock striking on a gong, within an architectural pillared case surmounted by three vase turned finials, 17" high (pendulum and key)

Junghans walnut two train mantel clock striking on a gong, within an architectural pillared case surmounted by three vase turned finials, 16" high (pendulum and key)

German walnut two train ting-tang mantel clock, the RSM movement striking on two gongs, within an architectural case decorated with brass foliate mounts, 19.5" high (pendulum)

German oak ting-tang mantel clock, the W & H movement striking on two gongs, the 7" brass arched dial with silvered chapter ring enclosing a matted centre, within an architectural scratch carved pillared case surmounted by a triangular pediment, 16.25" high (pendulum and key)

French black slate and green marble two train mantel clock, the 4.25" black chapter ring enclosing a gilt recessed centre signed Foord & Son, Hastings & St Leonards, the Mougin movement striking on a gong, within an architectural stepped pillared case sgraffito with gilt scrolling foliage, 14.5" high (pendulum and key); also another French black slate two train mantel clock with recessed visible escapement, 10.75" high (pendulum and key) (2)

A CONTINENTAL SILVER TEA CADDYCirca 1890 Of architectural tiered form, chased with panels of figures and further free-standing figures at the corners and surmounted by a watch holder containing the movement from an 18th century watch by Stoakes of London with enamel face, with foliate finial, 11oz gross, height 21cm.For further information on this lot please visit Bonhams.com

A 19thC. Japy Freres French architectural slate mantel clock, 13.125in high x 10in wide x 5.75in deep

French gilt brass striking mantle clock of architectural form with urn finial, the white enamel dial with Arabic numerals, the movement stamped for Japy Freres Co striking on a bell, 40cm tall.  

A Late XIX Century Rouge Marble and Gilt Metal Mantle Clock, of architectural form, the gilt circular dial inscribed J Barker, Paris and with Arabic numerals in circular panels, 25cm high.

A antique Scandanavian painted pine armoire, 19th century, the architectural arched cornice over a frieze with painted '1851' date tablet, over reeded panelled doors and two drawers beneath, enclosing a later fabric lined interior with three shelves, between canted corners and painted panel sides, decorated with rose hips, on turned pad feet, 59¼ x 22¼in. (150.5 x 56.5cm.), 75in. (190.5cm.) high.

A French brass architectural mantel clock 19th century, the white Roman enamel dial fronting a two-train movement with outside countwheel strike on a bell, stamped 'H.L.F.' and with Japy Fils exhibition mark, numbered 1120, the case with flaming urn and vine fruit finials to the pagoda top, turned columns and flared plinth base, 15in. (38cm.) high. * Condition: Winds and runs. Strikes correctly. Hairlines to dial. Gilt to case worn throughout. Decorated scrollwork panel below dial heavily worn, with only a trace of design remaining.

A late 19th century French gilt brass mantel clock in the Aesthetic Movement manner by Achille Brocot, with twin train movement striking the hour and half hour on a gong, no. 6153 16, AB and star trademark within an oval, the architectural case with five flaming urn finials and Corinthian columns, the Roman dial, columns and panels in porcelain with blue & white floral decoration on a silver ground, 15 ½in. (39.3cm.) high. * Condition: Dial VG, with minor wear around winding holes. Other porcelain parts in VG cdn. Case good - some tarnishing & spotting to gilt on upward facing surfaces. Clock is fully would and runs. The strike is erratic and very slow to start - movement would probably benefit from cleaning and oiling.

A Georgian-style stick barometer, mid-20th century, the broken architectural top with brass vase finial, over a silvered dial with aneroid thermometer, feather veneered trunk and turned mahogany cistern cover, 36 ¾in. (93.5cm.) high. * Condition: In good condition, with no faults.

FIVE STONE ARCHITECTURAL ELEMENTS

Two works Rev. F. C. Hingston-Randolph, The Architectural History of the conventual and parochial church of St Germans, Cornwall, Netherton & Worth, Truro, 1902 first edition, in original blue binding, gilt lettering to front cover. A good copy.John Pearce, The Wesleys in Cornwall, D. Bradford Barton, Truro, tipped in ’What is Episcopacy’’ by R. L. Frank, four pages, 1964 first edition. A very good copy in dustwrapper.

Edmund H. Sedding. 'Norman Architecture in Cornwall,' 1909. 'A Handbook to Old Cornish Ecclesesiastical Architecture, With Notes on Ancient Manor Houses with a Chapter on the Old Saints of Cornwall,' first edition, hard cover, 464 pages, white cloth spine with gilt lettering and architectural decoration to green boards, 162 b&w plates, large fold out map to rear, pages uncut, subscribers list showing 123 copies, this is large paper copy, fine condition, Ward & Co, Charing Cross, London, 1909.

John Sell Cotman (1782-1842), a portfolio containing a large loose collection of ancient architectural etchings circa 1810-1820, the majority 14.8cm x 34cm overall The Cotman Family Collection

Henry William Cotman (1876-1938), a portfolio of loose pencil sketches, principally architectural studies, most inscribed verso in pencil Pujin Prize Drawing The Cotman Family Collection

Henry William Cotman (1876-1938), a marbled portfolio of loose pencil sketches and watercolours comprising landscapes and architectural studies, the majority signed, some with ink inscribed labels for Pujin and some exhibited at the Art of the Seven Cotmans Exhibition, Norwich, July 1942The Cotman Family Collection

Cotman's Etchings Volumes I and II, published by Henry G Bohn 1838, to include 'Architectual Antiquities of Norfolk', 'Specimens of Norman and Gothic Remains in the County of Norfolk', 'Specimens of Castellated and Ecclesiastical Remains in the County of Norfolk', 'Architectural Remains in the Counties of York, Cambridge etc.' & 'Liber Studiorum; A Series of Sketches and Studies', half calf bound with gilt lettered spines and marbled boardsThe Cotman Family

Etchings by John Sell Cotman, London: Published for the author by Messrs. Boydell & Co. Cheapside, Colnaghi & Co. Cockspur Street, Todd & Co. York and Mr Whyte, Edinburgh, 1811, board bound with cloth binding & John Sell Cotman, 'A Series of Etchings Illustrative of the Architectural Antiquities with reference to the authors..., printed by C Sloman, Yarmouth, published by Longman & Co.; Lackinton; Colnaghi & Co. etc, 1818, half calf bound with gilt lettered spine and marbled boardsThe Cotman Family

Henry William Cotman (1876-1938), a collection of architectural studies comprising 'The Cathedral, Antwerp', signed and dated 1900, 'Kingsbury Episcopi', signed and dated 1901, 'The Cloth Hall, Ypres', signed and dated 1900 & 'Bruton Church', signed and dated 1901, pencil on paper, 35cm x 16.5cm (4)The Cotman Family