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20TH-CENTURY ART AND DESIGN COLLECTION OF CATALOGUES, LIMITED EDITIONS AND REFERENCE WORKS to include:Marcel Duchamp. The Bride Stripped Bare by her Bachelors, even. A Typographic Version by Richard Hamilton of Marcel Duchamp's Green Box, [2002]. [Together with:] In the Infinitive. A typotranslation by Richard Hamilton and Ecke Bonk of Marcel Duchamp's White Box, [2002]. 2 works, each one of 300 copies, 8vo, original boards, housed together as issued in grey cloth slipcase with accompanying bookplate Notes et/and Notations, also one of 300 copies; Andrew Holmes (born 1947). London: Architectural Association, 1986. [Modernism] signed limited edition, number 65 of 1000 copies. Portfolio (12 x 12 inches) of 20 silkscreen prints which when assembled form a print 1525 x 1120 mm, together with a 28-page catalogue printed in colour, housed in folding box with ribbon pull release, titled in white, hand-numbered and autographed to outer box cover.; and approx. 50 others, including: Skelton, Eric Gill, The Engravings, 1993; Grayson Perry, [Exhibition catalogue], Victoria Miro Gallery, 2004, with Grayson Perry tea towel laid in and unopened; Christie's, A Selection from the Barbara Streisand Collection of Fine and Decorative Arts Part I [-II], March 3 [-4] 1994, 2 volumes, original cloth and wrappers, first volume with dust jacket and inscribed 'Dear Christopher, I hope you can make the auction, B. S.', in original slipcase; and other reference books, including Jugendstil, Arts and Crafts and Secession interest

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, 1909 oil on board, signed, inscribed and dated versoDimensions:26cm (10 1/4in), 34cm (13 1/2in)Note: Fergusson painted Royan during the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (1877-1959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ (1)Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. (2) First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ (3) Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (4) Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ (5) Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. (6) Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16.(2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.(5) Simister op.cit., p. 42.(6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.

A late 19thC American mantel clock by Jerome Clock Company, of architectural form with arched top and turned finials, Neale, white painted dial, the door with verre eglomise panel of fruit, leaves, etc, 65cm high.

[Alley, William]. Ptochomouseion.The poore mans librarie. Rapsodiae G.A. Byshop of Exceter vpon the first Epistle of S. Peter, read publickely in the Cathedrall Church of Saint Paule, within the Citie of London. 1560. Here are adioyned at the end of euery speciall treatie, certaine fruitfull annotations which may properly be called miscellanea, because they do entreate of diuerse and sundry matters, marked with the nombre and figures of Augrine. 2. Faithfully corrected and amended, 2 parts in one, Imprinted at London: John Daye, 1571, black letter text, title to each part within woodcut architectural borders, woodcut armorial to verso of first title, woodcut initials and ornaments, index at end, large woodcut portrait of John Daye in baroque and floral cartouche to colophon at end, lacking D5 & DD4 (folios 21 & 152), contemporary ownership inscription in ink of John Lewes to both titles and to foot of colophon, early annotations to front pastedown, occasional contemporary ink annotations (probably in the same hand), first title soiled & relaid, with loss mostly to blank margins, final leaf with some soiling & restrengthened to margins on verso, a few leaves closely trimmed to upper margins touching running title, occasional soiling & light water-stains, later endpapers with 19th-century ownership inscription to front pastedown, contemporary half calf (with later paper sidings), worn, small folioQTY: (1)NOTE:ESTC 375.The second of two editions of this work, first published in 1565. John Vowell, alias Hooker, whose narrative is the principal authority for the life of William Alley, says in his Catalog of the Bishops of Excester, 1584, Number 46, says ‘in all Q. Maries time, which were called the Marian daies, he travelled from place to place, in the North countrie, where he was not knowne; and sometimes by practising of physick, and sometimes by teaching of scholers, he picked out a poore liuing for himselfe and his wife, and so continued, being not knowne to have beene a preest, during all Q. Maries time.’ and 'Upon everie holie daie for the most part he preached, and upon the weeke daies he would and did reade a lecture of divinitie; the residue of his time, and free from his necessarie businesse, he spent in his private studies, and wrote sundrie bookes, whereof his prelections or lectures which he did reade in Paules, and his poore mans librarie he caused to be imprinted'.

Groot (Hugo de). Nederlandtsche Jaerboeken en Historien, sedert het jaer MDLV tot hat jaer MDCIX; met de belegering der stadt Grol en den aenkleben des jaers MDCXXVII; als ook het tractaet van de Batavische nu Hollandtsche Republyk en de vrye zwvaert...vertaelt door Joan Goris, Ansterdam: Weduwe van Johannes van Someren.., 1681, half-title, additional engraved allegorical title, printed title in red and black with woodcut vignette, woodcut initial, engraved frontispiece, 26 double-page copper engraved plates by Jan Luyken, 20 single-page engraved portraits, pp.259-60 misbound after pp.261-2, 19th-century bookplate of Henry Lea Guillebaud to front endpaper, contemporary vellum, rubbed and some wear, rebacked, folio, together with:Opneer (Peiter). Opus Chronographicum Orbis Universi a mundi exordio usque ad annum M.DC.XI. Continens historiam, icones, et elogia, summorum pontificum imperatorum, regum, ac virorum illustrium, Antwerp, Hieronymi Verdussii, 1611, engraved title with architectural border, woodcut portraits to text, folding Geneology, Hhh1-4 supplied in manuscript facsimile, some light toning, title remargined and relaid, †2-6 with paper restoration to lower margins, early 19th century half sheep over light green marbled boards, worn, folioQTY: (2)NOTE:The first Dutch and the first illustrated edition.

Campbell (Colen). Vitruvius Britannicus, or the British Architect, containing the plans, elevations and sections of the regular buildings both publick and private in Great Britain, volume II only, [1717], engraved title and dedication, 78 engraved plates, some folding, bound without the subscribers list occasional light spotting, modern half calf, edges slightly rubbed, folio, 54 x 34.5 cm QTY: (1)NOTE:Fowler 76; Harris 97; Millard 10. Volume II only of the first two volumes of Campbell's Vitruvius Britannicus, which set the pattern for English architectural design in the eighteenth century. Volume I was first published in 1715, volume III in 1725 followed later by volume IV in 1767 and volume V in 1771.

Harte (Glynn Boyd). Temples of Power, Lithographs by Glynn Boyd Harte, with an Introduction and Architectural Notes by Gavin Stamp and a Foreword by Sir John Betjeman, Burford, The Cygnet Press, 1979,sixteen colour lithographic plates, letterpress illustrations., original quarter cloth to patterned boards and original cardboard box, oblong folio, unnumbered limited edition of 250 copies, signed by Harte and StampQTY: (1)

Middleton (Charles). Designs for Gates and Rails suitable to Parks, Pleasure Grounds, Balconys &c. also some Designs for Trellis Work on 27 Plates, London: published by J. Taylor, at the Architectural Library, [1805?], 27 engraved plates, including title, ownership signature of Trophimus Fulljames, dated 16 January 1817 to front pastedown, some light scattered spotting, single publishers advertisement leaf and 6pp publishers catalogue at end (the latter dated May 1816), original plain pale blue wrappers, rubbed and marked with some wear, 8vo, together with Robinson (Peter Fredrick). Rural Architecture, or a series of designs for Ornamental Cottages, 1st edition, London: Rodwell and Martin, 1823, 96 lithograph plates, some spotting throughout mainly to margins, contemporary half calf, rubbed and some wear with joints partly cracked, 4toQTY: (2)NOTE:Provenance: Trophimus Fulljames (1778-1864) worked with his brother Thomas Fulljames surveying the states, roads, rivers, enclosures, and public works in Gloucestershire, and between 1813 and 1820 was in partnership with William Womack of Gloucester.

Molinari (Luca). Massimiliano Fuksas, works and projects 1970-2005, 1st English language edition, Milan: Skira, 2005, numerous colour illustrations, original cloth in dust jacket, spine lightly toned & rubbed to heed & foot, large 4to, together with:Scully (Vincent), Modern Architecture and Other Essays, 1st edition, Princeton: University Press, 2003, numerous monochrome illustrations, original cloth in dust jacket, 4to, plusSalter (Walter), Walmer Yard, 1st edition, London: Circa Press, 2019, numerous colour & monochrome illustrations, original cloth with paper wrap-around to the rear board, oblong 4to, andHildebrand (Grant), Origins of Architectural Pleasure, 1st edition, Berkeley: University of California Press, 1999, monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, 8vo, plus other modern architecture reference & related, many original cloth in dust jackets, some paperback editions, G/VG, 8vo/4toQTY: (5 shelves)

Britton (John). The Cathedrals of England, 9 volumes, London: Longman, Hurst, Rees, Orme, and Brown, 1814-35, steel-engraved frontispieces to each, steel-engraved plates throughout, lightly spotted, contemporary black morocco gilt, some wear, 4to, together with:The Architectural Antiquities of Great Britain represented and illustrations in a series of views, elevations, plans, sections and details, of various ancient English edifices, 5 volumes, London: Longman, Hurst, Rees, and Orme, 1807-26, full-page etched & engraved plates throughout, lightly spotted & toned, contemporary calf gilt, rebacked with original spine laid on, red morocco title labels, some wear with loss, 4to, withBuckler (John Chessell). Views of the Cathedral Churches of England and Wales, with descriptions, London: John Nichols and Son, 1822, 18 steel-engraved plates some toning & spotting, speckled half calf gilt over blue marbled boards, rubbed, folio, with Winkle's Cathedral Cities (2 volumes, 1838)QTY: (17)

Four various mantle clocks, top include and Edwardian balloon shaped example, a late Victorian black slate clock, an Edwardian  eight day clock and another of architectural form (4)

Architectural Drawings (7) various- by David Crowe-example Motor Showrooms and garage, good condition. Measurements 70cm x 57cm

Pair of Qing dynasty polychromed wooden architectural roof carvings depicting dragon fish, a temple component with the wish of fire prevention.Each; height: 7 1/2 in x width: 24 in x depth: 8 in.

A late 19th century mahogany cased American mantel clock. Of arched architectural form, white painted dial with black Arabic numerals, the glazed front door decorated with the Royal Arms, with striking movement, pendulum and key, 49.5cm high

After Anthony Stonebridge (20th Century), an architectural lithograph. Bearing printed signature, circa 1980s, 59cm x 83.5cm exc. frame

A vintage floor standard lamp by Peter Nelson for the Architectural Lighting Company. Brushed aluminium, two way, two switch. 138cm high.

Patrick Lambert Larking (1907-1981), 'Little Girl', unsigned oil on canvas laid on board, typed label verso From the sale of remaining studio, Christies South Kensington 1982, (sold Bonhams 29-08-2008), together with JAR Hollow (ARIBA) 'Self-portrait in the studio', oil on board, 48 x 65cm, two architectural pen and ink sketches by the same hand and an oil on board portrait of JAR Hollow signed Geo Jepson '79, (5).

19th century English School, 'Three studies of exotic birds and architectural subjects', pencil drawings embellished with watercolour, 24 x 15cm, (album pages), together with a watercolour, 'Venice', by Conrad H R Carelli, 12.5 x 9cm, (4).

Four Boxes of Various Sundries to comprise 31 Day Wall Clock in Wooden Architectural Frame, Jigsaws, Teddybears, Textile Etc

A French Black Slate Mantel Clock for Restoration, Architectural Form with Reeded Pilasters, Movement Detached and Missing Pendulum and Back Plate, 33cms Wide

A Late 19th/Early 20th Century Oak Gothic Revival Oval Topped Side Table with Architectural Support and Claw Feet

A Victorian mahogany wall clock, the white enamel Roman dial within architectural case, 85cms high.

An Edwardian mahogany cased mantel clock of architectural design and inlaid design, small proportions, height approx. 25cm

ARCHITECTURAL GARDEN WALL MIRRORS, a pair, aged metal frames 160cm x 67cm.

ARCHITECTURAL GARDEN PERGOLA BENCH, 115cm x 210cm, painted metal.

ARCHITECTURAL GARDEN WALL MIRRORS, a pair, regency style 80cm diam.

ARCHITECTURAL GARDEN WALL MIRRORS, a set of four, aged metal arched frames, 60cm x 36cm. (4)

ARCHITECTURAL WALL MIRRORS, a pair, Regency style, aged metal frames, 112cm x 48cm. (2)

ARCHITECTURAL GARDEN GATE, Regency style, 136cm x 144cm x 28cm.

A late 19th century French gilt brass Gothic revival style Mantel Clock, the architectural case with circular dial and ceramic Roman numerals, brass 8-day movement striking on a coiled gong, H: 48cm x W:27cm x D:16cm, with pendulum and key.

A late Victorian black slate Mantel Clock, of architectural form with gilt metal columns and finials, 35cm wide x 32cm high.

19th Century slate mantle clock with Roman numerals on a brass dial, flanked by two four-column architectural structures housing classical statues, beehive-shaped roofs, bud finials, engraved scrolling decoration, mounted on a stepped rectangular base, with key, measures approx 45cm wide x 41cm high

A pair of glazed and framed German architectural montages with a Georgian glazed and framed print depicting six vignettes.

Late 19th Century mantel or bracket clock in architectural case with applied metal mounts fitted with a brass movement, 50cm high

Late 19th Century mantel clock in architectural oak case with applied metal mounts fitted with a brass movement striking on two coil gongs, 50cm high

Late 19th Century bracket or mantel clock, the architectural hardwood case with extensive applied metal mounts, pierced grills to the sides and a white enamel dial to a brass movement striking on a coiled gong, 43cm high

Late 19th Century German wall clock with elaborate architectural oak case with figural pediment, barley twist pillars and carved detail fitted with a brass movement with elaborate visible pendulum and coiled gong, 85cm high

the architectural pediment with central eagle on a rocky outcrop, above a rounded rectangular plate flanked by trailing fruiting vines, height 142cm, width 71cm. ** Splits and losses to decoration but presents well.

A Large Art Deco Style Diamond Set Cocktail Dress Ring, of chunky architectural design, set with a line of old cut diamonds (finger size approximately M / internal sizer fitted).

Jonson (Benjamin "Ben"), The Works, volume I only (of 3), 2 parts, second edition, London: Printed by Richard Bishop, and are to be sold by Andrew Crooke, 1640, lacking all before A3, including the engraved portrait frontispiece and architectural title-page, but extra-illustrated with another cropped and mounted frontispiece from the same edition to verso of ffep, divisional titles, woodcut historiated initials and foliate headers, some marginal chips, final leaf [T6] repaired, further extra-illustrations to recto pastedown, verso pastedown with tipped-in ephemera and booksellers' tickets, 20th century but in-keeping polished calf, covers blind-ruled with a double-fillet borders, six-compartment spine divided by raised bands, folio.

Architecture. Desgodetz (Anthony, Architect) & Marshall (George, Architect, engraver and translator), The Ancient Buildings of Rome: Accurately Measured and Delineated, Illustrated with One Hundred and Thirty-seven Plates; and Explanations in French and English, two-volume set, first English edition, London: [s.n.], 1771, [&] Printed for I and J. Taylor, 1795, parallel French-English title-pages and text, pp: [ii], [xx], [1]-72, bound-in 4pp Taylor's advert/catalogue ('A List of Books on the various branches of Architecture and Building'); [v], [1]-64, illustrated with 137 full-page copperplate-engraved architectural plates as called for, plates II & IV respectively of the arches of Constantine and Septimius Severus repaired; the plates for the baths of Diocletian and Paulus Emilius with damp-stained margins, mostly not affecting the elevations/plans; some sporadic toning, foxing, and a trifle off-setting in places throughout, uniformly bound in contemporary c. 1795 mottled calf over marbled boards, eight-compartment spines of raised band, gilt-lettered morocco labels in the second compartment, numbered in the fourth, edges uncut, elephant folios (57cm x 39.5cm), (2).  Provenance: 1) Alexander Copland, (? possibly 1774-1834; the builder of Gunnersbury Park, Middlesex, between 1801-1828, and for which these books might have influenced the design of); early 19th century canted spade shield armorial bookplates to each pastedown; 2) the Seymour family of Thrumpton Hall, near Nottingham.

Miscellaneous. Three late Victorian/early Edwardian albums of crests and monograms, decorative and architectural lithograph-printed pages illustrated with clipped armorial and other devices from the writing-paper of aristocratic and gentry families, 'establishment' institutions, including public schools, universities, army regiments and further military bodies, etc., various leather and cloth bindings (the diced calf oblong 4to disbound), mixed sizes, The Humorous Travelogue of a Rotterdam Banker in London, 1925, approx. [75]ff pages of Dutch ink manuscript, written by Theo Waller and possibly his wife Constance Clara Caroline Jacqueline Andre de la Porte, the whole prefixed by their itinerary, which, while in London, included the celebrated musical 'No No Nanette' (the only English passage in the account), tipped-in ephemera, etc., original cloth, 8vo, a Victorian Neo-Gothic chip-carved oak desk blotter/folio, c. 1890, (5).

Newbold Verdon, Leicestershire. A bundle of 19th century and later deeds and manuscripts, including the ‘Survey and Valuation of the Parish of Newbold Verdon made by the Comm:s of Inclosure in 1811’, 12ff, which came to the annual value of £2,543-1-0, signed and dated by the commissioner John Smith, 22 July 1811, inscribed to recto only, presumably by a clerk, red-ruled, original paper wrappers, upper-cover titled in ink MS., 4to, the village’s parish council’s minutes book, dated from 1863-1893, the brief ‘minutes’ read more like summaries of the overall discussion &/or agreement, contemporary vellum, marbled edges, 4to, Coal Mining, a ‘Lease of all seams of coal underlying […] in the Parish of Newbold Verdon […], agreed between The Reverend H. Legge & The Desford Coal Company, Limited, dated 12th December 1938, including a map, a Leicester diocesan ‘Faculty for the erection of a Memorial Tablet’ for the latter, dated 1945, another, dated 1959, for the Restoration of the Church tower, including architectural elevations, perspectives and plans, by Cecil Ogden & Sons, a Counterpart Mortgage for securing the payment of £200 with interest, from The Revd. W.W. Greenway to The Governors of Queen Anne’s Bounty, dated 22nd October 1866, inscribed vellum, correspondence between Messrs. Ingram & Moore and the Revd. W.G Cole, incumbent of NV, viz. a conveyance and the churchyard, dated 1899, probates, etc., further ephemera connected to Newbold Vernon families, including an early-mid 20th century White Ensign, the flag 62cm x 134cm, in a later manila envelope inscribed: J.F. Gilliver, RAF VR, 40 & 104 Squadron’s, 236 Wing RAF, Central Mediterranean, two World War One period photographs, etc.

17th & 18th Century Literature. Seven volumes, comprising Cotton (Charles, Esquire), The Wonders of the Peake (sic, i.e. Peak District Derbyshire), second edition, London:  Printed by J. Wallis, for Joanna Brome, 1683, repaired title and dedication leaves, each affected by ink blemish, though not affecting legibility of text, contemporary blind-ruled calf, rebacked in gilt-lettered brown morocco, refreshed endpapers, 8vo, Mottoes of The Spectators, Tatlers, and Guardians. Translated into English, London: Printed for Richard Wellington; et al., 1735, contemporary panelled calf, split and chipped, 12mo, [&] Vaughan (Henry), Silex scintillans/Sacred Poems and Private Ejaculations, first Pickering edition, London: Pickering, 1847, architectural title-page, contemporary Renaissance Revival brown morocco over bevelled boards by Macmillan of Cambridge, signed, blocked and tooled in blind, gilt-lettered recto and verso, all edges gilt, marbled endpapers, 8vo, Butler's Hudibras, 1750, contemporary calf, 12mo in 6s, etc, (7). Provenance: 1st: Thomas Pudsey/His Book/1714; ink manuscript ownership inscription. 2nd: Sir Charles Buck, 4th Baronet (1722-1782), of Hamby Grange Lincolnshire, book label to pastedown.

A 19th century flame mahogany library bookcase side cabinet, outswept cornice above three waterfall shelves, the projecting bow-centre base with a cupboard flanked by architectural pilasters, 182cm high, 103cm wide, 55cm deep, c.1840

A 19th century French black marble calendar mantel clock, 12cm enamel dial with Roman and subsidiary Arabic numerals, Brocot escapement, the almanac register with subsidiary chapters for days , months and bissextile common year [leap year], eight-day movement, plain architectural case, 46.5cm high, c.1880

A 19th century French black slate drum head mantel timepiece, 9cm circular clock dial inscribed with Roman numerals, eight day movement, 30cm wide, c.1880; others, black and breccia marble, architectural cases (3)

A 19th century gilt metal mounted oak bracket clock, 16cm square brass dial with silvered chapter ring inscribed Camerer Kuss & Co, 56 New Oxford St [London], Roman and subsidiary Arabic numerals, eight day movement striking on a gong, architectural case with incise carving in the Aesthetic taste, 38.5cm high, c.1880

A French Empire gilt bronze mounted green breccia marble mantel clock garniture, 8cm gilt dial inscribed with Roman numerals, twin-winding holes, eight-day movement, the architectural case crested by a half-fluted oval urn, plinth base, 47cm high, flanked by a pair of saucer shaped urns, each plinth applied with a ribbon-tied laurel wreath, 28cm high, mid-19th century

A French gilt metal mounted breche violette portico clock garniture, 9cm circular dial inscribed with Arabic numerals, the architectural case crested by an urn, 42cm high, flanked by two-light candelabra, early 20th century

A Gothic Revival mahogany wall clock, 34cm circular dial inscribed Whitehurst, Derby, Roman numerals, single winding hole, the architectural lancet shaped case applied with tracery, 105cm high, 58cm wide, 21.5cm deep

An 18th century Austrian mahogany bracket clock, by Johannes Seytz, Stadtamhof, 24cm enamel dial with Roman and Arabic numerals and calendar chapter, the movement with ting-tang chime, the architectural case with pierced galleries, 68cm high, c.1780

Architectural Salvage - a large ecclesiastical plaster figure, Saint Helena; a polychrome decorated plaster statuary corbel, 209cm high overall

An 18th century Norwegian silver spoon, chamfered stem, the rounded terminal engraved with an architectural view, maker's mark HB, 17cm long

A late 17th/early 18th century Continental oak mule chest, hinged top enclosing a till, the front carved and applied with architectural pilasters and an artistic trophy above a pair of short drawers, stile feet, 87cm high, 150.5cm wide, 66cm deep

A Victorian slate architectural mantel clock with eight day movement striking on a bell, the case mounted with a pair of bronze busts of Byron and Scott, height 36.5cm, width 40cm.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.

An early 20th century chinoiserie mantel clock of architectural form and having an 8-day movement, 23cm h x 14cm wLocation:

The G.C.I.E. set of insignia attributed to Charles, Lord Hardinge of Penshurst, sometime Viceroy of India and Grand Master of the Order The Most Eminent Order of the Indian Empire, G.C.I.E., Knight Grand Commander’s set of insignia, comprising sash Badge, 87mm including crown suspension x 60mm, gold and enamel; breast Star, 91mm, silver, silver-gilt, gold and enamel, with gold retaining pin, complete with full sash riband, some very minor enamel damage to badge, otherwise extremely fine and rare (2) £6,000-£8,000 --- Provenance: Richard Magor Collection, Dix Noonan Webb, July 2003 (when sold alongside the recipient’s other honours and awards) Lord Hardinge was created G.C.I.E. and Grand Master of the Order upon his appointment as Viceroy of India in 1910. The Right Honourable Sir Charles Hardinge, 1st Baron Hardinge of Penshurst, K.G., G.C.B., G.C.S.I., G.C.M.G., G.C.I.E., G.C.V.O., I.S.O., Privy Counsellor, (1858-1944), was the younger son of the 2nd Viscount Hardinge, and was educated at Harrow and Trinity College, Cambridge. He entered the Foreign Office in 1880 and rose rapidly to become British Ambassador at St Petersburg, 1904-06, and, as Permanent Under-Secretary of State for Foreign Affairs, head of the Foreign Office. One of the most brilliant diplomatists of his time and close friend and trusted adviser of Edward VII, he was raised to the peerage as 1st Baron Hardinge of Penshurst in 1910, when, forsaking the courts and chanceries of Europe which he knew so well, he fulfilled his lifetime’s ambition to follow in the steps of his grandfather, the Peninsular veteran who was Governor-General of India at the time of the First Sikh War, by becoming Viceroy of India. Hardinge arrived in India in November 1910, ‘full of enthusiasm for his great undertaking; a supremely self-confident figure, tall, spare, upright, with a high forehead and trim moustache, looking younger than his fifty-two years’, at his side a Vicereine who was to acquire a reputation for being every bit as clever as her husband. Hardinge’s first challenge was to reunite Bengal following partition in 1905 which had been the cause of terrorism and assassination attempts during his predecessor’s time. The unification of Bengal to form a Presidency under a Calcutta-based Governor sent out from home gave rise to the momentous decision to move the Imperial capital from Calcutta to Delhi. The move which was to become the principal legacy of Hardinge’s reign was announced by the King-Emperor, George V, at the Delhi Durbar in December 1911 – this third and last of the great Delhi gatherings being by far the most spectacular costing £660,000 against Curzon’s 1903 expenditure of £180,000. In March 1912 the Hardinges vacated Government House in Calcutta to make way for the new Governor of Bengal, and took up residence in Delhi, occupying a large bungalow which was to serve as the winter residence of the Viceroys for the next seventeen years until Edwin Lutyens’ grand design for the Viceroy’s House, New Delhi, was finally completed. Hardinge had strong views on style yet insisted on a woefully inadequate construction budget and a demand for speed that was far from conducive to producing timeless architecture in the grand manner. Indeed Hardinge’s role as patron to Lutyens has been described as ‘one of the classic conflicts of architectural history, comparable with that of Michelangelo and Pope Julius II’. Hardinge’s persistent urging was important however in ensuring that tangible progress was made before outbreak of war, which otherwise would probably have caused plans for the new Imperial capital and a world-class palace to be dropped. In December 1912 Lord and Lady Hardinge made their official entry into Delhi riding in the silver State howdah at the head of a long elephant procession of chiefs and high officials. As they passed through the crowded streets of the old city Hardinge remarked to his wife that something terrible was going to happen. A few moments later his premonition became reality when an anarchist threw a nail bomb at them from an upper storey window causing an explosion which could be heard up to six miles away. Initially it seemed that no harm had been done, but as Hardinge retrieved his topi which was passed up on the end of a lance, Lady Hardinge glanced round to see that the attendant who held the umbrella was dead, ‘his shattered body entangled in the ropes of the howdah’. She then noticed a rent in the back of her husband’s tunic and blood flowing freely from it. In the next instant Hardinge fell forward unconscious. With the help of aides, Lady Hardinge managed to get her husband down from the elephant, which was too terrified to kneel, by means of a hastily assembled pile of packing cases. As Hardinge lay on the pavement with a burst ear-drum among his injuries, he briefly came to and ordered the procession to proceed as though nothing had happened with his Finance Member standing in for him. A car whisked the Viceroy away to Viceregal Lodge, but the servants had all gone to watch the procession and it was left to Hardinge’s twelve year old daughter, Diamond, to make up a bed. A succession of operations to remove nails, screws, and gramophone needles with which the bomb was packed ensued. More serious than his physical injuries however was the psychological one which appeared to make him evermore conciliatory in his dealings with Indians. Furthermore he was observed to have lost much of his self-confidence. He was personally dismayed that terrorism was still a factor in Indian life and was accused of playing to the ‘Indian gallery’. In 1913 he annoyed subordinates and local officials in the United Provinces, by going over their heads and making an unprecedented appearance in Cawnpore to settle a dispute over a mosque which had caused serious riots and was inflaming Muslim opinion across India. He addressed the entire Muslim population of the city and having reproached them severely for their disobedience, proceeded to win the crowd by ordering the release of more than a hundred rioters from prison. Needless to say his dealings with Lutyens became yet more fractious. In 1914 he was hit by a series of personal tragedies. In the spring Lady Hardinge died unexpectedly after an operation carried out in England – a blow by all accounts far greater than the bomb. Later in the year his elder son (Lieut., D.S.O., 15th Hussars) was mortally wounded in France. Then the Viceroy lost three of his A.D.C.s to the war, all three being killed within a few days of each other. Diamond, on whom he became evermore reliant, died aged twenty-six in 1927. With the outbreak of war there was much to distract him from grief. He at once sent large numbers of Indian troops to Europe to help slow down the first German advance on Paris, and reduced the British garrison in India to what was regarded by some as a dangerously low-level yet kept order satisfactorily. He was also responsible for organizing the transport, supplies and medical services for the Mesopotamian campaign under Sir Beauchamp Duff whose appointment as C-in-C he had strongly supported in 1914. Whilst he relied too heavily on Duff (who eventually committed suicide) and can thus be blamed in some part for the Mesopotamian nightmare, he did go to Basra in person as soon as he realized how bad things were to try and improve the conditions of the troops. A post-war commission of inquiry absolved him of all blame. Owing to the war his Viceroyalty was extended for six months beyond the usual term. He returned home and became head of the Foreign Office once more before attaining the absolute pinnacle of the Dipolmatic Service, the Paris Embassy, 1920-22. In 1931...

Five architectural prints of churches.

Lincoln Cathedral maps and plans, to include the Lincoln Cathedral plan, various other Lincolnshire related architectural drawings, Lincoln Cathedral Gothic end drawings, east end and others, and an England and Wales Scarborough Maps wall hanging map. (4 scrolls)