A late Regency patinated bronze and ormolu double fusee bracket clock by Adams of Lombard Street c.1830-5. 5" circular brass dial with Roman numerals, minute track, and engine turned and foliate scroll engraved centre, signed Adams, London, brass 8 day double fusee movement striking on a coiled gong, the backplate signed 'Adams 36, Lombard St"t London', in an architectural patinated bronze and ormolu case with applied panels, the front with a lioness and cubs, snake and scrolling foliage, the corners with quoins, the sides with arched grilles pierced with palmettes and scrolling leaves, with a fan pagoda top with concealed handle, on leaf scroll bracket feet, with pendulum and winding key Height 31 cm.Condition: No case key. Winds, ticks and runs however no guarantee can be offered as to the full working order. Some rubbing to gilt on case. Top left spandrel to front has been glued back onto case with residue. Some corrosion spots to patinted bronze.
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Langley, Batty & Thomas Gothic Architecture improved by Rules and Proportions. In many Grand Designs of Columns, Doors, Windows, Chimney-Pieces, Arcades, Colonades [sic], Porticos, Umbrelos, Temples, and Pavillions etc. London: for John Millan, 1747. 4to (29.7 x 22cm), contemporary mottled calf gilt, engraved title-page, 2 pp. letterpress (headed 'On the Ancient Buildings in this Kingdom'; often lacking), 64 engraved plates, binding rubbed, spine-label perished, superficial cracking to joints in places [ESTC T132230; Harris 410]Note: Note: First edition, second issue, with a new title-page but retaining the plates from the first issue of 1741-2, which was published under the less explicit title Ancient Architecture, Restored, and Improved. 'An exceptional and original work, it was a pioneering attempt to give Gothic architecture the classical respectability of orders, motivated, as usual, by his interest in English freemasonry and handsomely engraved by his brother Thomas. Its novelty and light-hearted inventiveness, although scoffed at by amateur gothicists such as Horace Walpole and Thomas Gray, were just what many country squires wanted, prompting other architectural writers—William Halfpenny, T. C. Overton, and William Pain in particular—to follow Langley's lead' (ODNB).
An early 20thC Junghans oak cased mantel clock, the arched brass dial with foliate scroll spandrels, silvered chapter ring bearing Arabic numerals, subsidiary chime silent and slow fast dials, eight day movement with coil and rod strike, with Westminster chimes, the case of carved architectural form, with pendulum and key, 46cm high, 31cm wide.
A Victorian slate mantel clock, circular brass dial with visible brocot escapement, chapter ring bearing Roman numerals, Ansonia Clock Company eight day movement with coil strike, the case of architectural form with fluted column supports and classical statuettes, raised on plinth base, with pendulum and key, 43cm high, 44cm wide. (AF)
A late 19thC Abrahamson Bros of Liverpool mahogany cased mantel clock, circular tin dial bearing Roman numerals, J C Brown American eight day movement with coil strike, the case of architectural form, door with lower glass panel decorated with bowl of fruit, raised on a plinth base, with key, 50cm high.
A Charles X patinated and gilt bronze 'fountain' automata clockindistinctly signed to the dial Neff a Paris, the clock movement stamped B.P. & F. and numbered 3568the case formed as a rusticated architectural fountain niche with grotesque mask issuing a rotating spiral glass rod water spout into a silvered shell cistern flanked by drinking swans before chain hung engine turned bollards, the whole surmounted by an acanthus cast drumhead with 3.5' silvered Roman dial with engine turned centre, the rusticated stepped plinth below with pierced arched sides fitted a cut glass rectangular tray, raised on foliate scrolling feet, the twin train clock movement with silk suspension and outside count wheel (lacking bell, pendulum and key), the glass rotating rod operated by a spring driven movement (lacking winder), 52cm high This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An important Irish George I walnut and featherbanded, sycamore, cedar and marquetry 'architectural' secretaire cabinetCirca 1725, possibly by John KirkhofferThe upper section of breakfront form, with an ogee moulded cornice above a pair of ogee moulded panelled doors with re-entrant upper angles, each door inset with bevelled mirror glass, interspersed by four fluted Corinthian pilasters with acanthus and scroll-inlaid capitals, enclosing two shelves, over one deep oak-lined drawer with a facing of two half veneered surrounds flanking a pair of central vertical tablets, each tablet inlaid with a bucranium mask and scrolled foliate strapwork pendant within a stylised foliate border, with two inlaid pedestal bases below the drawer, flanked by two conforming tablets, each end with a curved shaped and scrolled bracket surmounted by a ring turned knop finial and inlaid with concentric scroll work, foliate strapwork, Green man mask and acanthus inlay, the spandrel mounted to each end with a brass scrolled candle arm, above a lower section with a hinged top and hinged front, enclosing a cedar-lined interior with three short apron drawers over a central projecting portico door flanked by eight pigeon holes and four drawers, interspersed with four Corinthian pilasters, above a brushing slide, with six short graduated oak-lined drawers below flanking the kneehole, the door to the recess enclosing one shelf, on later elongated bracket feet, with a brass handle mounted to each end, 127cm wide x 57cm deep x 219.5cm high, (50in wide x 22in deep x 86in high)Footnotes:Featured and IllustratedD. Fitzgerald, Knight of Glin and J. Peill, Irish Furniture, 2007, Yale University in New Haven and London, fig. 46, p. 51.OverviewThe present lot is one of an important group of four similar walnut and marquetry secretaire cabinets, dated circa 1720, which all appear in the above seminal work on Irish furniture produced by D. Fitzgerald, Knight of Glin and James Peill. It is a widely held view that this book remains the most interesting, academically practical and intellectually insightful that has yet been published upon the subject of Irish furniture, together with carving and woodwork from the same country. In chapter three the co-authors re-affirm a previous assertion that such walnut cabinets are indeed of Irish origin.R.W. SymondsThis theory had been originally expounded by the esteemed furniture historian, decorative arts academic and author, R.W. Symonds, in his 1956 article called 'Dean Swift's Writing Cabinet and Two Others' as part of The Antique Collector, Vol. 27, No. 7, April 1956, pp.'s 60-63. Within this text, Symonds details a number of shared design elements and similar characteristics between three of these aforementioned cabinets, which includes the offered lot. He argues logically, and it would seem with the benefit of hindsight correctly, that this selection of three cabinets are in fact all very closely related.Jonathan Swift and the alleged 'Swift cabinet'However, it was the belief that one of the three discussed therein had been a possession of Jonathan Swift (1667-1745), the famous author of 'Gulliver's Travels', poet, conservative 'patriot' and Anglican cleric, who eventually became the Dean of St Patrick's Cathedral (in Dublin), which led Symonds to posit that all three examples had undoubtedly been executed in either the same Dublin workshop, or at least made by similar Dublin makers. The first, which is the supposed Swift model, has been at the Victoria and Albert since being bought by the museum in 1912 from Alfred A. de Pass, Accession No. W.32: 1-1912. It appears in P. Macquoid, A History of English Furniture, The Age of Walnut, published 1904-1908, 1989, London, pl. XXX & p. 195, and is also illustrated in J. Peill and D. Fitzgerald, Knight of Glin's Irish Furniture, fig. 44, p. 50. Interestingly Macquoid is in fact the first to describe it in writing as having been the 'property of Dean Swift'. Following Macquoid, Alfred de Pass certainly believed the illustrious provenance to be true and this can be seen in a letter, dated 2 May 1912, which was sent to the Victoria and Albert by de Pass, registered file 12/2496, 12/2622. But unfortunately there is no evidence proving that this marvellous piece was ever owned by Swift. Indeed it would seem apparent that this provenance was previously based upon what is now considered to be a misreading of an inscription discovered below one of the drawers. Until fairly recently it was thought that this inscription read: 'Mrs McAndrews.... Mr Swifts House', however in 2012 infra-red photography brought to light the true hand written message which is instead rather different: 'Mr McAndrews / in Proper Lane facing / the Sugar House'. Consequently this casts serious doubt upon the early proprietary history of this specific example, www.collections.vam.ac.uk.If it had been possible to prove the opposite - that the museum cabinet had categorically belonged to Jonathan Swift - then judging from certain text published by the revered satirist and essayist in 1720 there would be further proof (if needed) that it was definitely made in Ireland, and most likely Dublin. Within this pamphlet, entitled 'A Proposal for the Universal Use of Irish Manufacture in Cloaths and Furniture of Houses... Utterly Rejecting and Renouncing Everything Wearable that Comes from England', the influential Dean laments the English mercantilist policy prevalent at that time in Ireland. In his opinion this approach had a thoroughly negative impact on Ireland, and in particular upon the wealth of the nation as a whole, D. Fitzgerald and J. Peill, Irish Furniture, p. 61.John Kirkhoffer and the Kirkhoffer modelThe second variant from the R.W. Symonds article has a pencil signature to the underside of one drawer which reads: 'John Kirckoffer / facit [sic.] / 1732' (made by John Kirckoffer in 1732). This features in Ibid, fig. 45, p.50, as well as being discussed by the same authors in an article published the following year called 'A Newly Discovered Signature on a Piece of Irish Furniture', The Magazine Antiques, October 2008, Vol. CLXXIV, No. 4, pp.'s 140-145. It is subsequently highlighted in the chapter, 'Irish Furniture' also by J. Peill, from Ireland: Crossroads of Art and Design, 1690-1840, ed. by W. Laffan and C. Monkhouse, 2015, Chicago, pp.'s 166-7. This specific model resides with the Art Institute of Chicago and is close in terms of overall design and also in a number of details to both the Victoria and Albert comparable and of course the present lot, www.collections.vam.ac.uk.John Kirkhoffer (whose name appears in numerous guises) was probably the son of a German Palatine called Franz Ludwig, who arrived in Ireland as a refugee in 1709 after escaping the Rhineland-Palatinate area, which had been subjected to many years of conflict by that date. The Kirkhoffer family of Protestant immigrants made it to the counties of Kerry and Limerick before ultimately settling in Dublin. Although this particular John Kirkhoffer was evidently a cabinet maker working in Dublin during the 1730s and someone recorded as leasing premises for this purpose in 1736, others also referred to by the same name are likewise documented as cabinet makers active in Dublin in the 18th century.
A good first half 19th century mahogany floorstanding regulatorsigned for Molyneux, London the case with architectural pediment over canted front angles and a silvered sight-ring, the long glazed trunk door flanked by canted angles to a panel base, the 12' signed silvered circular dial with Arabic outer minute track framing the large subsidiaries for running seconds and hours, with three blued steel hands, the tall rectangular movement with thick plates united by four knopped pillars, pinned to the front and screwed to the rear, the entire train with wheels of six crossings and high-count pinions, and Harrison's maintaining power to a deadbeat escapement with fine-screw adjustment, the wooden rod pendulum with very heavy lenticular brass-faced bob, driven by a small brass-covered weight, with case key and an associated winding key, 208cm high This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A Victorian gothic revival carved panelled screenincorporating four 16th century tracery panels, with slender architectural finials, the whole raised on shaped feet united by mortise and tenon joined stretcher, 106cm high, 76cm wide, 36cm deepThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An Austrian modernist silver candleholderM&C possibly Münchmeyer & Co, Vienna early 20th century, stamped Oesterreicher Wien 800 standard and 352, designed by Otto Prutscher (1880-1949) Of cube form, the whole plain polished, featuring three cubes of varying heights attached together, with a recess on each for a candle, length 14cm, weight 11.5oz.Footnotes:Otto Prutscher (1880–1949) was an Austrian architect and designer, an exhibition designer, teacher, and member of all the important arts and crafts movements — from the Secession to the Werkbund. After training at the Fachschule für Holzindustrie in Vienna, from 1897 to 1901 Prutscher studied at the Kunstgewerbeschule under Josef Hoffmann, who later became a Director of the Wiener Werkstätte (Vienna Workshop). At the turn of the century, a number of avant-garde Viennese designers made an abrupt switch from the flowing organic lines of Jugendstil and Art Nouveau to a strict yet vigorous geometry. In 1903, these designers banded together to form the Wiener Werkstätte, a designers' cooperative under the direction of the noted architect and designer Josef Hoffmann. Founded on the principles of the Arts and Crafts movement, the Wiener Werkstätte strove to provide a range of well-designed, often handmade products for a sophisticated audience and indeed could supply everything from an architectural setting to the smallest decorative accessory.Outside manufacturers were frequently used to produce and distribute designs that the Wiener Werkstätte was unable to realise in their own studios. By the early 1920s the Wiener Werkstätte had opened branches in Paris, Zurich, and New York. Influenced by Hoffmann, Prutscher frequently used geometrical and square forms in his early works, as can be seen in this triform candleholder.For further information on this lot please visit Bonhams.com
A George IV gothic revival painted and parcel gilt bergere attributed to GillowsCirca 1825, probably after a design by William PordenThe hexagonal arm terminals each comprised of three tiers, each tier with five blind cusped ogee arches surmounted by a foliate boss, above a blind trefoil and quatrefoil seat frame flanked by lozenge embedded rosette angles, on four acanthus wrapped legs each with a lower section comprising five blind cusped ogee arches, signs of old screw holes and batten-carrying holes to the rails, approximately: 76cm wide x 94cm deep x 95cm high, (29 1/2in wide x 37in deep x 37in high)Footnotes:An identical bergere is illustrated in F. Collard, Regency Furniture, 1985, Woodbridge, p. 175. As with the offered lot, this carved giltwood example dates to circa 1825. Both of these are closely comparable to at least two of the armchairs which feature among the superb gothic revival furniture shown inside the Drawing Room at Eaton Hall, as depicted in one of J.C. Buckler's series of prints called 'Views of Eaton Hall', produced in 1826. The opulent and fantastical 'gothic' extravaganza that is Eaton Hall is also discussed in G. Acloque and J. Cornforth, 'The Eternal Gothic of Eaton', Country Life, Vol. CXLIX, Part I No. 3844, 11 February, pp.'s 304-7; Part II No. 3845, 11 February 1971, pp.'s 360-4. Whilst the aforementioned Buckler print appears in F. Collard, Regency Furniture, p. 172.In 1803 the architect William Porden (c.1755-1822) began work on Eaton Hall, where the Grosvenor family lived. And the project, certainly in architectural terms, seems to have been finished during the 1820s. It was evidently completed by 1826 since Mrs Arbuthnot opined the same year that Eaton Hall was: 'the most gaudy concern I ever saw. It looks like the new bought and new built place of a rich manufacturer... the house decorated with a degree of gorgeousness that is quite fatiguing & takes away all appearance of real grandeur.' See Ibid, p. 182. It is fascinating to note that this exact same model of bergere appears on one of the pages of the vast range of scrapbooks assembled by the renowned English decorator, David Hicks. This same excerpt is also included in a book entitled David Hicks Scrapbooks, which was edited by his son Ashley and published by Vendome Press. However this colour photograph of the chair actually first featured in a 1954 article in 'House and Garden' magazine, which arguably was what really kickstarted the career of David Hicks in the first place.This famous early period of David Hicks is described in some detail in a brilliant online article, once again with House and Garden, from 7 October 2017, see https://www.houseandgarden.co.uk/article/david-hicks-scrapbooksDavid Hicks (1929-1998)In 1951, as a 22 year old art student, David Hicks met up with John Fowler to discuss the possibilities of pursuing a career as a decorator. However their talk quickly turned to some flats on the King's Road, where Fowler then lived, and it wasn't long before Hicks decided to move into the one vacant flat belonging to Fowler which was located there.Despite this initial acquaintance, it seems that Hicks could not get a job working for Fowler and this led inevitably to the former moving out of the King's Road flat. Subsequently David transferred to 22 South Eaton Place, in SW1, where he resided with his mother in a William IV period house just within the bounds of Belgravia. Hicks started upon his first, and what turned out to be one of his most important, decorating schemes at this particular address.In instigating this project, a long period of preparation comprised of studying period interiors, visiting museums and galleries, along with sketching and collecting magazine pictures came to fruition for Hicks. His decision was to counter the well established 'country house' look promoted by John Fowler with his own bold and unique style, yet still to achieve this through the use of antiques and old patterns.As opposed to the apparent 'prettiness' of Fowler's output at that time, Hicks developed a striking colourist's approach to decoration. This was no doubt due to his background which included the fact that he had lost his brother in the war, had undergone two years' military conscription and hailed from country 'hunting' stock, all of which combined to produce a vivid element of masculinity or masculine boldness in his work.Also, having studied set design, David Hicks's style was always enjoyably theatrical especially in its dramatic contrasting of colours, whether between different rooms or even within the same space. A good example of this was in his completed interiors at South Eaton Place, where visitors or guests would move from the intentional colour-clashing of the drawing room to the entirely monochrome dining room, the latter with its hexagon-designed wallpaper.When everything was finished at the house in 1953, David then asked everybody he knew to come over and see its impressive new interiors. Among those acquaintances who visited was a veteran of the Second World War and hero of the North African campaign called Peter Coats. Following the cessation of hostilities Coats was appointed Viceroy of India, but he had only fairly recently become the gardening editor of the magazine, House and Garden, upon his own trip to 22 South Eaton Place.Peter Coats adored the house so much that in the course of just a week organised for it to be photographed for House and Garden. But perhaps more significantly he immediately began informing all of his own friends about David Hicks, the brilliant young man with a supreme talent, among other things, for interior decoration and design. As a consequence of all of this, the telephone at the Belgravia property started to ring much more frequently, effectively indicating the beginning of a great career for Hicks.From thereon the work and commissions accumulated rapidly, and 1954 was a year of huge activity. At that time, Hicks's important clients even included two good friends of Peter Coats, Mrs Rex Benson and Mrs Douglas Fairbanks Jr. The latter was a Hollywood celebrity whilst the former, who was the ex-wife of the famous publisher Conde Nast, actually resided in London. Ashley Hicks recalls a time when Mrs Benson, in conversation with his father, informed the latter: 'I've had Syrie Maugham and John Fowler; I want something new...' And the rest, as the saying goes, is history.See House and Garden, 7 October 2017, for more details or online at https://www.houseandgarden.co.uk/article/david-hicks-scrapbooksThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A large fruitwood architectural model of a spiral staircase,c.1880, French, with sixteen steps, with individually hand-turned balusters rising in a double spiral, set on a circular plinth, 61cm high In the 19th and 20th centuries, miniature staircases, along with all sorts of other architectural detailed models, were produced by architects and furniture makers to illustrate proposed features for projects. Collecting staircase models was popularised at the end of the 20th century by the late fashion designer, Bill Blass.Condition ReportSuperb condition, no damages detected
Of architectural interest: a cast brass Victorian plumb line, 19th century, owned and likely used by John Wolfe Barry in the construction of Tower Bridge,12cm longProvenance: The Cabinet of Curiosities - The Gary Pyper Collection. The vendor was the owner of lot 18 of sale no. 10414 at Christie's, 9 June 2015, which contained the original blueprints of London Bridge, however, the plumb line was retained at the time. The two were acquired together.
A pair of architectural studies of a monasteryearly 20th century, a pair of architectural studies of a monastery, each titled 'A Monastery Chapel', and depicting different elevations and cross sections, executed in the Tuscan tasteink and watercolour62.5 x 98.5cm, framed (2)Condition ReportWith some minor stains and marks occurring to both.
Victorian mahogany sideboard, architectural shaped back, inverted breakfront ogee frieze fitted with drawers, twin pedestals on plinth bases, width 207cm, depth 60cm, height 129cm.Condition report:The left hand pedestal houses two open drawers above a recess, the right hand cupboard has had a later half shelf put in to the top recess, otherwise there is just an open recess to the lower half. o keys for either lock mechanism. Some sections of moulding are missing from the drawer fronts. The top has patchy areas of colour and surface marks and scratches. Colour is a little faded throughout. Drawers are ok, run well, and the linings are all sound. Some kick marks and wear to the plinth bases. The top does become detached from the pedestals for transport.
A selection of hardback books, primarily relating to architecture, titles including: Sir Christopher Wren, A.D 1632-1723: Bicentenary Memorial Volume, 1923, in slip case; History of the Styles of Modern Architecture, by James Fergusson; A History of Architecture, by Bannister Fletcher; An Introduction. to Gothic Architecture, by John Henry Parker; A Handbook of Architectural Styles, by W. Collett-Sandars; and others, one box.
A LATE 19TH CENTURY BLACK SLATE MANTEL CLOCK, Japy Freres movement, bearing inscription 'Prince of Wales Theatre, Birmingham, presented to Miss M Chamberlain, on the occasion of her marriage, 28th May 1899', the case of architectural form with columns, carved foliate decoration, and brass friezes, the cream dial having black Arabic numerals, with pendulum, height 45cm x width 37cm x depth 15.5cm (1 + envelope) (Condition Report: runs and chimes intermittently, some chips to case)
A Late 19th/Early 20th Century German Oak Cased Mantel Clock by Winterhalder & Hofmeier, the 5.5ins silvered chapter ring with raised gilt Arabic numerals subsidiary slow/fast and chime/silent dials, to the eight day two train movement striking on two gongs contained in case of architectural design with shaped pediment and fluted pilasters to front on moulded base with bracket feet, 16ins high
MODERN BRITISH ARCHITECTURE: To include Mills, E. (ed.): 'The New Architecture in Great Britain 1946-53', ex-lib; ABERCROMBIE et al: 'A Plan for Plymouth 1943', 2nd ed.; GIBBERD, F: 'Report of the Oxford University Drama Commission with Supplementary Architectural Report 1948'; PRITCHARD, J., 'View from a Long Chair', RKP, 1984; and about ten further volumes
MODERN ARCHITECTURE: Le CORBUSIER, 'Concerning Town Planning', The Architectural Press, 1947; CROWE, S., 'Tomorrow's Landscape', The Architectural Press, 1956; VALINSKY, D. (ed.), 'An Architect Speaks The Writings and Buildings of Edward Schroder Prior', Limited ed. 232/500 signed by Valinsky, Shaun Tyas Press, 2014; CHILTON, J., 'Space Grid Structures', Architectural Press, 2000; LICHTENSTEIN etc. (eds.), 'As Found: The Discovery of the Ordinary', Lars Muller, 1993; OCKMAN J. etc., 'Architecture Culture 1943-1968 A Documentary Anthology', CBA, 2007. And others.
ROYAL NAVAL DOCKYARDS: Two large boxes of research papers/reports and other items from the work of Dr. David Evans, architectural historian, regarding the history and proposed restoration/development of these historic buildings. Includes his work (and others') on The Royal Clarence Yard, Chatham, and Priddy's Yard, Gosport and others. Mostly comb-bound and not widely circulated, a great deal of reseach has gone into some of these. Includes other papers related to the subject.
ARCHITECTURAL HISTORY ROYAL ORDNANCE BUILDINGS etc: a larger collection of reports (a full carton) and associated material on buildings used for the storage of ordnance/gunpowder etc, together with NAVAL MILITARY INTEREST: A large box of papers, photographs and other materials relevant to the architecture of NAVAL DOCKYARDS (Plymouth, Gosport, Sheerness etc.). Many of the items from The National Maritime Museum, English Heritage, Public Record Office etc. etc.
The City of London: A record of destruction and survival. The building of the development of the city, the damage suffered in the years 1940-1945 and the proposals for reconstruction as incorporated in the final report of the Planning Consultants, C. H. Holden Litt. , D. , F. R. I. B. A. and W. G. Holford F. R. I. B. A. presented in 1947 to the Court of Common Council. Prepared under the directions of the Improvements and Town Planning Committee o f the Corporation of London. Published on behalf of the Corporation by the Architectural Press, London 1950. Large format volume. Includes large photographic maps and coloured maps. A magnificent and definitive volume of London at the end of the 1940s after WW2. Many tables and reports etc. The definitive volume of mid-20th Century London Publisher's blue boards, decorated and titled in gilt. Excellent copy. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
A late 19thC Continental brass mantel clock, circular silvered dial, painted with Roman ruins in the Forum, chapter ring bearing Roman numerals, eight day movement with bell strike, the case of architectural form, the top surmounted by flaming oil lamps and a pineapple finial, inset with a plaque decorated with griffin's, the case with composite columns and a plaque painted with Roman ruins on a seashore, raised on bracket feet, above a shaped parcel gilt and ebonised base, with pendulum and key, 44cm high, 26.5cm wide, 15.5cm deep.
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35023 item(s)/page