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Cotman (John Sell). A Series of Etchings Illustrative of the Architectural Antiquities of Norfolk; with references to the authors who have described or figured them, London: Longman and Co & others, 1818, 60 engraved plates, bookplate of Robert Henry Inglis Palgrave to front pastedown, lightly spotted & dust-soiled, number 38 toned & browned, a few loose engraved prints loosely inserted into volume, near-contemporary blue half morocco gilt, spine faded & worn, marked, folio QTY: (1)

Radclyffe (Charles W.) Views in Birmingham and its Vicinity, Birmingham: Knott, Hawker and Coburn, circa 1840, tinted additional lithograph title,8 tinted lithograph views, some spotting and water stains, original cloth-backed stiff wrappers, upper corners clipped, some soiling and edge wear, oblong folio, together with Waller (Frederick S.) A General Architectural Description of the Cathedral Church formerly the Abbey Church of St. Peter at Gloucester, London: Day & Son, 1856, 2 mounted photographic frontispieces, 6 plates (one tinted), some spotting, contents loose in original cloth-backed wrappers, tear and loss to rear wrapper, some edge wear and toning, folio, plus two others: Charles Frederick Green's The Legend of Shakespeare's Crab Tree, 1857, and Studies and Figures selected from the sketch books of the late Thomas Gainsborough (never before published) executed in lithography... by Richard Lane, 2 volumes, circa 1825 QTY: (5)

Irving (Robert Grant). Indian Summer, Lutyens, Baker and Imperial Delhi, 1st edition, New Haven: Yale University Press, 1981, numerous colour & monochrome illustrations, previous owner sticker to the front pastedown, original cloth in dust jacket covers lightly faded & rubbed to the head, 8vo, together with:Hitchcock (Henry-Russell), Rococo Architecture in Southern Germany, 1st edition, London: Phaidon, 1968, numerous monochrome illustrations, previous owner sticker to the front pastedown, original cloth in price-clipped dust jacket, covers lightly rubbed to the head, large 4to, plusHarris (John), Sir William Chambers, Knight of the Polar Star, 1st edition, University Park: Pennsylvania State University Press, 1970, numerous monochrome illustrations, some very minor marginal toning, original cloth in price-clipped dust jacket, large 8vo, and other modern architecture reference & related, including publications by Yale, Oxford, Architectural Press, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQTY: (6 shelves )

* Architectural drawings. A group of 8 plans, drawings and elevations, by Mervyn Handley, mid-20th century, including designs for: Institute of Contemporary Art in Russell Square (dated 1949); Factory at New Cross for Messrs Avern & Bucknall Ltd; Perspective Sketch of Medical Officers House (1947); Design for a Town Square (1948); Labour Saving Kitchen (1948), all with hand-colouring in gouache or watercolour, 7 on thick wove paper, one on thin wove paper laid down on board, 7 in pen & black ink, some pencil, all but one signed, 6 dated, generally dusty, few edge losses and tears, one with staining to lower right corner, affecting signature, sheet sizes 54 x 75 cm and similar, the largest 50 x 86 cmQTY: (8)

Architectural salvage - three Victorian crown top chimney pots, 97cm tall (3)

A late 19th century French onyx mantel clock, the case surmounted with spelter figure, Apres Les Papillons, after Ferrand, 52cm high; an early 20th century French onyx architectural mantel clock, 32cm high (2)

A 19th century French gilt metal mounted architectural mantel clock, Brocot escapement, c.1880

A 19th century black marble architectural mantel clock, Brocot escapement, c.1880

LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Place sur le Boulevard".Gouache and charcoal on paper.Signed in the lower right corner.In good state of conservation. Moisture on the passe-partout.Size: 16 x 16 cm; 32 x 32 cm (frame).Lucien Genin studied at the School of Fine Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.

A late 19th/early 20th century architectural oak carved bracket clock with brass dial, silver chapter ring, having an 8 day ting tong movement.

A 19TH CENTURY MAHOGANY CASED PEDESTAL CLOCK, with oval brass dial below and architectural top, on a stepped and panelled plinth base. 240cm high, 84cm wideCondition Report: Clock is in two sections Upper section with an upright side door for access to movementThe stepped base missing some veneer to sides and has cured worm holes to the pine underneath Some missing pieces of moulding, see specific imagesGlazed oval door with split to veneer (at 10 o'clock)Came to us without weights and pendulum

A Medieval red stone architectural corbel, 13th/14th c, carved with foliage, 22cm wide, another, similar, a 19th c oak capital of a musician, 33cm high, and a post-Medieval oak capital of a wyvern, 23cm wide, (4) The masonry corbels weathered with worn losses, though stable. Slight worn losses to the oak carvings.

An architectural model of a staircase and gallery beneath a skeleton dome, 42cm high/see illustration CONDITION REPORT: Some nibbles and marks throughout. Specks of dirt/paint also present. Slight stain to half landing. Abrasion to the dome support, small holes throughout.

A white metal charger decorated a central bird surrounded by flowers, 31cm diameter, a brass plaque of the Royal Coat of Arms, a Lowe Sleigh Bevan & Co. carriage lantern with bevelled glass, a pair of architectural brass candlestick holders with square stems on square bases and floral decoration, marked WT&S, 17cm high, a blue glass and metal Gothic style vase, 16.5cm high and a pottery jug decorated a hunting scene CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

A late Victorian Vienna regulator type wall clock, twin-train movement, the architectural pediment with three finials above a carved bust, 110cm high CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

A fine mahogany-cased twin-fusee repeating verge bracket clock, signed John Taylor, London, third-quarter 18th century, the brass and silvered dial with 6¾ inch Roman chapter ring, pierced-steel hands, date aperture above 6 o' clock, ormolu spandrels, strike/silent hand above dial, the eight day movement with foliate-engraved back plate, striking on a bell, the domed architectural case with brass bow carry handle, raised on bracket feet, with winding key, 41cm by 25cm by 18cm. Together with an ogee mahogany wall bracket measuring 29.5cm wide by 21cm deep by 25cm high, with gilt beaded moulding. With some recent service history.

A box containing a large quantity of rolled architectural plans.

A 'Greenwich Clock' walnut cased mantel clock, early 20th century, made in Germany for W. E. Watts, Nottingham, no.18428, twin train movement striking the hours and half hours on a gong, fronted by a Roman enamel and gilt metal dial, in an architectural walnut case, 44.5cm high.

Late 19th Century mantel clock in architectural case

Small continental mantel clock in architectural case

Late Victorian American walnut mirror back sideboard of architectural form decorated with carved floral detail

TWO WOODEN CASED MANTEL CLOCKS, with keys and pendulums, comprising a dome topped mantel clock, the German movement stamped 'Kienzle Clock Factories', with US patent dates of 1914 and 1925 (does not currently run or chime), together with a mantel clock of architectural form, the movement stamped with maker's mark of B inside a crescent, has been running (not chiming), height 44cm (2 + keys) (Condition Report: generally appear in fair condition, some wear, paint spatters, a little loss to veneer, pediment of second clock is loose, running/chiming issues as stated)

A pre 1900 Victorian slate mantel clock, classical style Architectural design with Greek columns and a French movement.

A Series Of Picturesque Views Of Seats Of The Noblemen And Gentlemen Of Great Britain And Ireland With Descriptive And Historical Letterpress. Edited By The Rev. F.O. Morris R.A., Author Of “A History Of British Birds”, Dedicated By Permission To Her Most Gracious Majesty The Queen. Vol. I, London: William Mackenzie, Co. Ludgate Hill, Edinburgh And Dublin, circa 1880. This elaborately decorated book depicts the country seats, homes and estates of various British nobles and gentlemen, as well as views of Irish country houses during the late Victorian era. The series was begun in the 1860’s and eventually completed in six volumes in 1880, and this is the first volume of the series. There are 40 color plates, including the frontispiece and the preceding plate of Windsor Castle. The descriptions were done by Francis Orpen Morris (1810 - 1893), a parson and naturalist, and the plates were illustrated by Alexander Francis Lydon and coloured by Benjamin Fawcett. The woodblock illustrations were done on art paper and on average, Fawcett printed each plate in eight colours. The cover is ornately decorated in a bevelled red or terra cotta cloth binding, with elaborate gilt decorations to the spine and front, the British royal coat of arms is in gilt on the front and blindstamped with the same coat of arms on the back, there are soft chromo-lithographic plates, and all the edges are gilt. The book is 4to. and measures 11 1//8 x 9 in. wide, the binding is tight and secure, there’s a hint of wear at the crown and one tip, occasional spots, and this is a great record of Victorian and architectural history.

ARCHITECTURAL GARDEN ROSE ARBOUR, 220cm H x 120cm W x 40cm D, Regency style, aged metal.

ARCHITECTURAL GARDEN MIRRORS, a pair, black metal frames, 90cm x 99cm.

ARCHITECTURAL GARDEN MIRRORS, a set of 4, arched top aged metal frames, 60cm x 36cm.

ARCHITECTURAL WALL MIRRORS, a pair, aged metal frames, Italian style design, 112cm x 48cm.

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

ARCHITECTURAL WALL MIRROR, segmented antiqued mirrored plate, set in structural metal outer frame, 100cm x 3cm x 160cm.

19th century inlaid mahogany architectural secretaire a abattant, the breakfront top section on three levels, central door flanked by oval birds eye maple burr inlay and ebony stringing enclosing a storage section with shelf, the lower section with fall front, the interior fitted with central cupboard and six pigeonholes, over six satinwood fronted drawers with bone handles, three long drawers belowDimensions: Height: 178cm  Length/Width: 97cm  Depth/Diameter: 47cm

Early 20th century two-sectional oak corner cupboard, swan neck pediment with central architectural column finial, dentil cornice over rosette carving, top section with astragal glazed door enclosing three shelves over single panelled door, on bracket feetDimensions: Height: 235cm  Length/Width: 76cm  Depth/Diameter: 52cm

An early 19th century mahogany glazed bookcase. With architectural pediment above twin arched astragal glazed doors and three adjustable shelves, on a base with frieze drawer and twin panelled cupboard doors, on reeded and tapering bun feet, L74cm x D47cm x H221.5cm

Four Victorian architectural etchings.

A 1930s mantel clock with Westminster chimes and pendulum; together with a 19th century architectural clock case and face, a retro steel and treen four branch candelabra, and a treen cake stand.

A collection of black and white printed photographs, to include architectural and topographical views

A Victorian postcard album containing mainly topographical and architectural views

A mahogany stick barometer, with unsigned brass circular main dial and unsigned thermometer dial, the whole of architectural outline, 95cm

A good selection of stick barometer frames, to include inlaid examples, various shapes to include round tops and architectural pediment examples, various sizes (23)

A good selection of mahogany stick barometer cases (only), to include some with square tops and of architectural outline, hygro top examples etc (approx 25)

A selection of Victorian and later wheel barometer cases, to include one large pointed topped example, some of architectural outline, generally for 8" and 6" dials (21)

A selection of mahogany barometer cases (faded), being architectural tops and four dials, with 8" main dials (8)

A selection of stick barometer cases (only), principally in mahogany, to include architectural examples, five being hygro top stick examples (14)

A selection of principally mahogany stick barometer cases, to include architectural pediment examples and round tops (10)

Three various onion topped two-dial wheel barometers (incomplete); together with three walnut barometer cases (only), each of architectural outline (6)

Ronald Basil Emsley Woodhouse, 1897-?, architectural landscape, signed etching, 20 x 26cm, together with various other etchings and prints (6)

Pair of Regency style architectural panels with cast brass paterae and foliate mouldings mounted on tin, 104 x 13.5 cm 

Belcher & Macartney: 'Later Renaissance Architecture in England', london Batsford, in six parts of loose folio form including plates and photographs, Twelve volumes of The Wren Society architectural books, and other architectural books and folios

An early 20th century probably German architectural soft wood mantel clock plus one other. An Edwardian mahogany mantel timepiece.  

A photograph album containing late 19th century British, European and American photographs, the majority topographical and architectural to include Edinburgh, Glasgow Cathedral, and others.

A Victorian black slate mantle clock of architectural form, the brass dial with Arabic numerals.

A Regency mahogany card table, the fold-over rounded rectangular top on an architectural column, with quatrefoil rectangular base terminating in dwarf sabre legs with brass claw feet, approx 88cms wide.

A mahogany architectural surmount (potentially mounted above a bar), with Corinthian style columns and plate rack, wall hanging, 232cm x 55cm x 40cm

ARCHITECTURAL STUDIES,depicting Corinthian capital and pediment,overall size 75cm x 60cm,Mounted, framed and under glass (one with broken glass) (2)

Confectionery.- Wallace (James) The Confectioner's Guide and Ladies' and Housekeeper's Instructor being a grand display of pastry, in a variety of forms: also confectionary; Iceing, candying, preserving, jelly-making, sugar-boiling, colouring, &c. &c., index ff. carelessly opened, just touching text on G11, but without loss, occasional spotting, original yellow engraved architectural boards, publisher's advertisements to rear board, lightly soiled, rubbed, [cf. Oxford p.159 (Leeds imprint in same year) & Simon BG 1594 (10th edition, Bungay, 1831)], 12mo, Joseph Smith, 193, High Holborn, [1st July, 1826 (date of 'Advertisement' following title)].⁂ A very good copy of a rare little work. It is difficult to establish a sequence for the early editions with their different imprints. All carry an advertisement from the author stating that the particular printing is a reaction to high demand. The matter is further complicated by the fact that we find no edition before 1826 to help us to establish the first edition. No copy of this imprint found on WorldCat or Library Hub.Provenance: 'Gwenllian Jones' Book, Tyn yr [illegible], 1876' (ink inscription to front pastedown).

Three volumes of Architectural History, Cambridge and a Harmsworth atlas, together nine volumes of The Magazine of Art dating from 1895 - 1902; Twelve volumes of The Studio and various Glyndebourne periodicals (qty)

An early 20th Century French brass cased carriage clock, the white enamelled dial with Roman numerals to the chapter ring, 8 cm wide x 6 cm deep x approx 12 cm high, together with a green slate cased mantel clock of architectural form, the German movement with brass circular dial and Roman numerals, 14 cm wide x 6 cm deep x 17.2 cm high

CRISTINA GRAU GARCÍA (Valencia, 1946 - 1997)."Urban landscape", 1992.Mixed media on canvas.Framed and dated in the lower right corner.With Punto Gallery label.Measurements: 92 x 73 cm, 95 x 76 cm (frame).Cristina Grau García was born in Valencia. She studied Fine Arts at the Faculty of Fine Arts of San Carlos. She graduated as an architect in 1972 at the Escuela Técnica Superior de Arquitectura de Valencia. Due to her training in Fine Arts, she could draw, and very well.The same year she joined the studio, they won 2nd Prize in the National Competition for Port Stevedores and 1st Place in the National Competition for Emergency Plan 14 EGB Schools of the Ministry of Education. In 1975 they won 1st Prize in the competition for the Altos Hornos de Madrid office building, which was never built due to the bankruptcy of the client. The great Spanish architects of the time took part in the competition. Together with Escario, Vidal and Vives, the Grau family competed with the Isósceles motto in the competition for the Valencia headquarters of the Official College of Architects of Valencia and Murcia (COAVM), where they came third (1976). In 1981, also with Antonio Escario, they won first prize in a competition and became the architects of the Valencia Royal Yacht Club.Other outstanding projects from this period were the Valencia Regional Telephone Exchange (1979), a building that they covered with a large mesh to protect it from the sun.In the 1980s the Grau family devoted themselves predominantly to the restoration of heritage buildings such as the transformation of the old La Salle school into the Palma de Mallorca Courts (1981), the restoration of the Alarcón Palace, originally from the 18th century in the Jativa City Courts, Valencia (1983), the transformation of an old prison into the Courts in Manacor (1986), the reform of the stage of the main theatre in Valencia (1990) and the integral transformation of the Raga Palace (1992).In 1988 Cristina Grau restored the Rialto Cinema, built in 1939, one of the emblematic works of art deco in the Valencian Community and which currently houses the Valencian Institute of Cinematography. In addition to her participation in the architectural project, Cristina played an important role in the design of the interiors.She also worked in the field of industrial design and more specifically in furniture design: for Martínez Medina S.A. she designed the Voluta and Dinámico sofas, the Raíz and Decó tables, as well as the Presidente armchair and the Secretario chair.Cristina Grau's architectural work was exhibited in the Official Architects' Associations of Alicante, Castellón and Madrid, in the Claustro del Patriarca and the Sala Parpalló in Valencia and in the Palacio del Almudí in Murcia.

Hope, W.H. St John. Windsor Castle, an Architectural History. 2 vols. Country Life 1913. Untrimmed paper. Ltd Ed. 474/1050. Fo. plus a set of eight folding coloured plans based on a plan on H.M. Office of Works 1898. Some worm damage to plans. All bound in half vellum and blue cloth boards. Used overall condition (3)

An early 20th century German mantel clock, the square brass dial with silvered Roman chapter ring, mask spandrels, and Lenzkirch 'Ting Tang' movement, the architectural case with turned finials brass mounts and panelled sides with swing handles, 48cm highMovement in need of attention. Key present.