We found 35023 price guide item(s) matching your search

A late 19th century German walnut cased bracket clock with brass dial and silvered chapter ring, twin train eight day movement striking on coiled gong 38 cm w x 20 cm d x 60 cm h to/w a a slate architectural cased clock (2)

A large folio containing various loose works such as bookplates, prints - Aberdeen Architectural Association Sketch Book Vol 1, Charles Turner ARA (1774-1857) after Benjamin Marshall (1768-1835) Mr John Jackson print, portrait of Luisa Fernanda Duquesa de Montpensier, sculpte par Marie d'orléans, portrait of S.A.R.M. Le Comte de Paris, Breaking up for the vacation published August 11th 1840, various other portraits and artwork prints etc. (alot)

Swedish School circa 1930, Architectural Study, possibly the Royal Palace, Stockholm, signed "Folke B" and further inscribed "Till Ragnar Estberg" (To Ragnar Estberg), etching framed (11cmx11cm) Note : Ragnar Estberg was prominent Swedish Architect of the late 19thc and early 20thc. His most famous work was the Stockholm City Hall.

A French black marble mantel clock of architectural form with malachite inlays and incised gilded decoration, 8-day bell striking movement with the added feature of a visible escapement against a white enamel two-piece dial, Roman numerals, matched French moon hands, visible movement behind glazed rear door, with two keys and pendulum.

ASSORTED EUROPEAN, AFRICAN & INDIAN TREEN including Bosnian double recorder, French carved roundel depicting a Norman lady, carved medieval style head, two Indian peacock architectural fittings, two African acacia wood combs, oversized Mossi whistle, Indian or Persian back scratcher and souvenir South African wood spearProvenance: the Karl Johansen (1937-2021) Collection, by family descent

Model No 2957, part of the RDICC series. Foo dogs or lion dogs are Chinese guardian lions traditional seen as Chinese architectural ornament as the protectors. The lions are normally seen as pair; male and female. In this case the red and black high glazed porcelain figure depicts a male foo dog, indicated by the toy ball under his paw. Royal Doulton backstamp. Artist: William K. HarperIssued: 1982Dimensions: 3.75"L x 2.5"W x 4.75"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

Heaney (Seamus) Eleven Poems, first edition, first issue on wove and watermarked paper, original wrappers with purple nine-pointed star to upper cover, light foxing, ink ownership inscription of literary critic and architectural historian Andor Gomme to upper cover, [Brandes & Durkan A1a], 8vo, Belfast, Festival Publications, [1965].*** The scarce first issue of the poet's first separately printed collection.

[Chaucer (Geoffrey)] Amorum Troili et Creseidae libri duo priores Anglico Latini [translated by Sir Francis Kinaston], first edition, English and Latin text (English printed in black letter, the Latin in italic), woodcut architectural title within border [McKerrow & Ferguson 276], wide margins, margins shaved at head and tail, slightly browned, bookplate of Percy Lancelot Babington on front pastedown, nineteenth-century morocco-backed boards, joints rubbed, gilt spine, [Madan I, p. 183; STC 5097], small 4to, Oxford, J. Lichfield, 1635. *** Percy Lancelot Babington (1877-1950), Cambridge literature lecturer; published a bibliography of Victorian poet, critic, and historian John Addington Symonds.

An architectural slate mantle clock with red marble decor, 256mm tall

Lenzkirch walnut-cased two-train mantel or bracket clock, early 20th century, stamped 822612, with architectural case, 40.5cm high, sold with pendulum

William Callcott Knell (British, 1830-1880).  'Morning Scarborough Looking from the Sea', oil on canvas, depicting the town’s castle and buildings against a dramatic sky, with boats in the foreground and dynamic waves, signed and dated 1869 to lower left, inscribed to verso with title, artist and date, 75 x 126 cm, mounted in a ornate gilt frame.  William Calcott Knell is renowned for his maritime scenes and coastal landscapes. This particular work captures the picturesque coastal town of Scarborough, located on the North Sea coast of North Yorkshire, England. The painting is celebrated for its detailed and evocative portrayal of the town as seen from the sea, offering a unique perspective that highlights both the natural beauty of the coastline and the architectural charm of Scarborough.

* JOHN PIPER (BRITISH 1903 - 1992), MORETON CORBETT limited edition silkscreen print on paper, signed and numbered 42/70mounted, framed and under glassimage size 46cm x 99cm, overall size 57cm x 110cmProvenance: certificate of authenticity is included in this lot.Note: English painter, printmaker, draughtsman, designer, and writer. He reluctantly became an articled clerk in his father's legal firm, but took up the study of art after his father's death in 1926, first at the Richmond School of Art and then at the Royal College of Art. From 1928 to 1933 he wrote as an art critic for the Listener and the Nation and was among the first to recognize such contemporaries as William Coldstream, Ivon Hitchens, Victor Pasmore, and Ceri Richards. By the mid-1930s he was one of the leading British abstract artists, but by the end of the decade he had become disillusioned with non-representational art and reverted to naturalism. He concentrated on landscape and architectural views in an emotionally charged style that continued the English Romantic tradition (see Neo-Romanticism). Some of his finest works were done as an Official War Artist when he made pictures of bomb-damaged buildings. A similar stormy atmosphere pervades his famous views of country houses of the same period. Piper's work diversified in the 1950s and he became recognized as one of the most versatile British artists of his generation. He did much work as a designer of stage decor and of stained glass (notably at Coventry Cathedral) and was a prolific printmaker. In addition he made book illustrations and designed pottery and textiles. As a writer he is probably best known for his book British Romantic Artists (1942). He also compiled architectural guidebooks to several English counties, usually in collaboration with the poet John Betjeman. Two hundred and seven of his works are held in UK public collections.

3 cards of 100 buttons in various sizes, materials, and themes. Themes includes an opalescent floral, an architectural and landscape, and an animal motif. The smallest button measures: 0.5" dia. The largest button measures: 1.5" dia. A card is approximately: 11"L x 9.25"W. Dimensions: See DescriptionCondition: Age related wear. As is.

36 Small-Med-Large Architectural picture buttons. Here is a card of nice assorted buildings and scenes including assorted metal, black glass, and clear and colored carmel glass. A nice selection. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and above

49 Medium and large size mostly Victorian buttons. This group includes several sets, pictorials, glass or paste in metal and more. The card includes many metal but also includes a set of carmel glass architectural scenes, several horn medium size buttons and more. Look closely as there are some niece examples on here. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and above

Irish Building Ventures of the Earl Bishop of Derry. By Peter Rankin. 1972. Ulster Architectural Heritage Society.

William Wegman (American, b. 1943). Group of two archival pigment prints on paper, both from 20X200 Editions. Signed and editioned 3/20 along the 20X200 tag. Including:"About Four Thirty" depicting the artist's signature subject, the Weimaraner dog standing on a yellow chair against a rich green background, 1997."The Architects" depicting a composite composition of four figures overlooking four distinct architectural buildings, 2003.(About Four Thirty) height: 24 in x width: 20 in. (The Architects) height: 20 in x width: 24 in.Condition: The colors are bold and bright. There are no visible tears, creases, or losses. The work is not framed.

Estate / Collection: Property from the Estate of Elaine and James D. WolfensohnCircle of David Roentgen, possibly by Johannes Kroll, Mainz, circa 1795With brass banding and ormolu applied to ebony and part-ebonized backing, the three-quarter galleried superstructure with inset white marble top centerd by a pointed arch with a foliate-cast mount, the corners mounted with urns above a berried laurel leaf-mounted frieze centered and flanked by lozenge mounts over a pair of flame-grained mahogany tambour doors opening to shelves above small drawers, the central Apollo mask-mounted herm panel hinged and opening to four drawers, flanked by ormolu caryatid herms, the projecting lower section above a frieze drawer with an ebony-backed ormolu panel and centering a keyhole flanked by opposing sphinxes, scrolling foliage, flowers and displayed eagles, further flanked by ormolu lion's head ring handles and reeded lozenge backplates and opening to a baize-lined writing surface frieze with side drawers with concealed spring-loaded action and opening at the front to drawers, the right drawer with inkwell recesses; on faceted octagonal legs headed by arched milleraies panels and long leaf-cast capitals and joined by a galleried concave undertier and ending in leaf-cast toupie feet, the back of the lower section with two catches for wall securement; the front of the underside with inked inscription No=86. ; the back of the upper section with a penciled inscription Salle 56.Height 52 3/4 in (133.9 cm), width 35 1/2 in (90.1 cm), depth 23 in (58.4 cm)Pelham Galleries, London.Grosvenor House Arts & Antiques Fair, London, 1986.Comparative literature,A related cupboard by Johannes Krol is illustrated in Kreissel/Himmelheber, Die kunst des deutschen Möbels, Klassismus, Historismus, Jugendstil, München Verlag, C.H. Beck, Munchen, 1970, ill.160.David Roentgen (1743-1807) was the most sought-after cabinet maker in Europe, where he worked for royal and aristocratic patrons including Louis XVI and Marie Antoinette. His reputation was based on the highest degree of craftsmanship and quality of materials as well as for ingenious and intricately made pieces with multiple functions. He went to St. Petersburg in 1784 where he was presented to Catherine the Great, who bought his whole shipment of furniture, including the Apollo Desk (State Hermitage, St. Petersburg) that he had specially designed for her. This was described by the Empress in a letter to the former diplomat and Roentgen client Baron von Grimm: 'his furniture is very finely and precisely made, especially those pieces with mechanical devices'. She was so pleased with the desk, she paid the asking price, gave Roentgen a gold box and an additional bonus of 5,000 rubles. His furniture of this period was characterized by restrained architectural forms and the use of mahogany offset by dazzling ormolu mounts.However it is possible that this Bonheur du Jour was made by Roentgen's contemporary Johannes Kroll (d. 1795). Kroll, who originated from Riga, worked in Roentgen's Neuwied workshop in 1779, but by 1781 had already worked on a commission for the elector of Mainz, for whom he supplied a 'Treasure of mahogany with Neuwied musical clock and richly decorated with gilt-bronze'.As this piece is not signed, an attribution is not possible. However, the exceptional design, materials and execution speak to a maker of the highest caliber.In overall good restored condition, staining, scratches and scuffs to marble, chips to edge, sunfading overall, especially to left side, left side of upper section case with small age crack at bottom center, rubbing to gilding of mounts and probably re-gilt, minor replacements to veneers, age cracks to veneer of projecting lower section with some inpainting, age cracks to undertier and now with four reinforcements below.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Late 18th CenturyLooking slightly down to her right, wearing swirling classical robes, on square shaped fixed plinth.Height 51inches (129.5 cm)Clifton Little Venice, Garden Statuary, Architectural and Decorative Furnishings, Christie's London, June 9, 1994, lot 93. A Vestal goddess of the hearth, modeled by the sculptor John Bacon R.A. (D.1799) who was granted a Royal Appointment to the King George III in 1769, is first noted in the 1770's when it was exhibited by Eleanor Coade at the Society of Artists Exhition and continued to be manufactured at the Lambeth Works untill the 1820s. The model was attributed to Bacon in the catalogue of Coade's Gallery, 1799 (see A. Kelly, Mrs Coade stone. worcs. 1990, p.130 fig. 4). The Vestal featured in a wall-niche at Beaumont Lodge, Windsor in the early 1790s, and was also supplied to Earl Fitzwilliam at Wentworth House, Yorkshire, in 1814.Much mystery surrounds the life of Eleanor Coade and her decision to venture into the business of artificial stone manufacturing. Her famous Coade Factory was based in Lambeth, London, which is now part of the area occupied by the Southbank Centre. Throughout its history spanning from 1769-1840, the factory produced a vast array of products such as architectural and garden ornaments, decorative details, statues and monuments. ‘Coade stone’ as it is known was of exceptional quality, and was the only kind of artificial stone at the time to be resilient to frost and other forms of harsh outdoor exposure. The high standards of design and quality upheld by Coade were noticed by London’s most highly regarded architects including Robert Adam, James Wyatt, John Nash and Sir John Soane, each of whom commissioned works.Coade’s most prestigious work was at Buckingham Palace which was rebuilt by Nash in 1825.The artificial stone produced by the Coade Factory was unique in that it was a ceramic material containing a large proportion of ground pre-fired stoneware with a glass stabilizer added to it, which was rolled into sheets and pressed into reusable molds. Because most works were cast in sections before firing, they could easily be altered to suit the client’s individual wishes.The base with damage and cracks and chips to rim, overall with minor scratches and dents commensurate with age, further on with dust allover which could benefit from cleaning.

Mid-18th centuryEach padded molded back above a padded serpentine seat on molded cabriole legs; each back rail stamped BAUVE.Height 35 1/2 inches (90.1 cm), width 22 inches (55.8 cm), depth of seat 17 inches (43.1 cm) Matthieu de Bauve, maître in 1754.Mathieu de Bauve, cabinetmaker and a particularly innovative and creative crafstman completed his apprenticeship with Nicolas-Quinibert Folio, attained his master status and moved to rue de Cléry to set up his workshop under the name « Saint-Esprit ». His models were novel, with highly architectural forms, traditional elements and beauty of design.Please note that Doyle does not guarantee the condition of upholstery. Upholstery torn and soiled. Formerly gilded or painted, overall good condition commensurate with age and use, loose joints, old marks and scratches, scuffs to legs and feet; one chair with printed label and inked number 130.

Circa 1740-45, the outside decoration of later dateGilt and decorated in colors with two quatrelobe cartouches at each side incorporating elaborate Kaufahrtei scenes in Purpurmalerei depicting European and Turkish merchants near quaysides and cartouches incorporating elegant figures in architectural landscapes reserved on pink trellis and white ground surrounded by foliate scrolls, the shortened neck applied with metal mount. Crossed swords mark in underglaze blue and gilder's mark F.Height 5 1/8 inches (13 cm)Neck cut down.

Roman Britain:- A collection of c50 associated titles relating to the study of the architectural and social history of the Roman occupation of Britain. c. AD43-AD410

St John Hope (W.H.) 'Windsor Castle An Architectural History'. Country Life, London 1913. 2 vols plus folio of maps/plans etc., Fo. red cloth (faded) (3)

Gustav Doré (Illus). Fifteen full page plates and approximately 200pp of vignettes, disbound from London: A Pilgrimage by Gustave Doré and Blanchard Jerrold, 1872. Plus approximately 100 plates of architectural and archaeological maps and plans, engravings of artefacts and inscriptions etc., disbound, from William Camden, Britannia, 2nd ed. 1806, and approximately 100 pp of plates from National History and Views of London with its Environs (1832)

Achille Brocot - a mid to late 19th century French two train mantel clock striking on a steel bell. The silvered dial  with Roman numerals, winding holes at 4 and 8 and central brass disc. The brass case of architectural from with finials to each corner supported on  turned brass columns, and a central finial on a stepped top. The front panel decorated in gilt brass depicting cranes among bamboo, the side panels having humming birds among exotic flowers. The hinged brass door to the back opening to reveal a brass movement marked AB (with a star between) for Achille Brocot and the registration number 5125. Pendulum and winding key.

A William IV mahogany pier or side table, pointed arched back centred by a draught-turned roundel, moulded top above a pair of architectural frieze drawers, turned legs, 108cm high, 112cm wide, 44cm deep, c.1835

Architectural salvage and Garden - a pair of large circular metal hanging baskets, 70cm diameter x approx. 24cm deep, (2).

An early 20th Century stained wood bracket clock of architectural form, having silvered dial and two train movement, 48cm H

A Victorian slate and marble mantel clock of architectural form, with two train movement, 31cm H

Bible [English]. [The Holy Bible, containing the Old Testament and the New..., London: Companie of Stationers, 1650], general title lacking, with New Testament title with architectural woodcut border bound-in at front of volume, New Testament title and borders throughout red-ruled, colophon dated 1650, small ink stain to A2 and ink stain to first leaf of Genesis (A3), all edges gilt, 19th-century gilt decorated morocco with fore-edge flap and defective clasp, tear at head of fore-edge flap, extremities rubbed and worn, 12mo (14.3 x 7.8 cm)QTY: (1)NOTE:Similar to Herbert 625 (Darlow and Moule 487) except the colophon in this example is dated 1650 rather than 1651. The text ends on Qq12b. With no Apocrypha.

New Testament [English]. The Text of the New Testament of Jesus Christ, Translated out of the vulgar Latine by the Papists of the Traiterous Seminarie at Rhemes.... Whereunto is added the Translation out of the Original Greeke, commonly used in the Church of England... The Whole Worke, perused and enlarged in divers places by the Authors owne hand before his death..., by W. Fulke D. in Divinitie, Imprinted at London by Robert Barker, 1601, decorative architectural woodcut border to title (neatly strengthened to gutter margin, ownership inscription to verso of leaf 'Peter Birkbeck his booke Castleford, Novemb. 15 1666'), few decorative woodcut initials, neatly repaired closed tear to lower blank margin of final leaf, light dust-soiling mostly to title, slight damp-stains mostly to lower margins of leaves at front of volume, light toning, modern blind and gilt panelled calf, gilt decorative motif to centre of boards, morocco title label to spine, folio (30.5 x 20.5 cm)QTY: (1)NOTE:Darlow & Moule 202; Herbert 265.The second edition of Fulke's work, first published in 1589. The arrangement of the matter is exactly the same as in the first edition. The title-border: at the top is a lamb bound on an alter, with the legend Possidete animas vestras, and the initials NH and CT; at the bottom is a cup, where springs a vine, which twines round the columns on either side; this design is dated 1574.

Bible [Latin]. Biblia cu[m] co[n]cordantiis veteris & noui testame[n]ti, [Lyon: J. Sacon for A. Koberger, 17 December 1516], title printed in red and black with large woodcut of Christ within elaborate architectural border, black letter text in double-column, full-page woodcut of the 6 days of creation before folio I, 2 large woodcuts and smaller woodcuts illustrating scenes and prophets, 3 leaves of Canons printed in red and black, lacking R6 blank at end of Book of the Apocalypse, 'Sanctus Ioannes Baptista' in ink at foot of title, and 'Celestmoru de Macconssiaco(?). 855.' early ink inscription at end, title and following leaf with small area of biopredation to right side blank margin, occasional light water stains and spotting, modern calf, folio 34.7 x 24.5 cmQTY: (1)NOTE:Adams B993.

Book of Common Prayer. The Book of Common Prayer and Administration of the Sacraments, and other Rites & Ceremonies of the Church, according to the use of the Church of England, Together with the Psalter or Psalms of David, Pointed as they are to be Sung or Said in Churches: and the Form & Manner of Making, Ordaining & Consecrating of Bishops, Priests, and Deacons, London: printed by His Ma:ties Printers, 1669, engraved title within architectural border by P. Williamson, with manuscript signature to upper margin C. Coliner and two other scribbled out signatures, separate letterpress title to Psalter with imprint 'In the Savoy, printed by the Assigns of John Bill and Christopher Barker, Printers to the Kings most Excellent Majesty. Anno Dom. 1669', woodcut decoration to initials, head and tailpieces, black letter text, red-ruled titles and borders throughout volume, occasional early annotations and markings, general title and following five leaves with short worm trail to fore-margin, some light scattered spotting, armorial bookplate of George Becher Blomfield (1801-1885) to upper pastedown, endpapers with cloth hinges, gilt gauffered edges, 19th-century gilt panelled and elaborately decorated morocco, fading to spine and boards, joints rubbed, folio (34.3 x 22 cm), with loosely inserted folded folio sheet with 19th-century manuscript genealogical entries relating to the Feilden family QTY: (1)NOTE:Griffiths 1669.1 (page 118); Wing B3635.The second folio edition after the restoration and 1662 prayer book.Provenance: George Becher Blomfield (1801-1885). George Blomfield was born in Bury St. Edmunds, Suffolk, the youngest son of Charles Blomfield, schoolmaster, and Hester Pawsey.George was educated at Bury and later studied at Cambridge obtaining his B.A. in 1824 and was ordained deacon for the diocese of Chester. His older brother Charles was also appointed Bishop of Chester in the same year. In 1827 he married Frances Maria Massie, by whom he had seven children. She died in 1837 and in 1847 he married Mary Anson, daughter of the Dean of Chester. She died in 1852 and in 1854 he married Elizabeth Feilden of Mollington Hall, near Chester. After his ordination, Blomfield was appointed curate and then rector to a number of parishes in the diocese. From 1827 he was a canon of Chester Cathedral, a position he held until his death in 1885. He was also rector of Stevenage, Hertfordshire from 1834 until 1874. Blomfield published several sermons including three series adapted to country congregations. He collected early printed books and fine bindings, primarily bibles and theology-related. After the death of his widow, Elizabeth, in 1897, Mollington Hall and its library reverted to members of the Feilden family, where on the instructions of Guy Feilden, Blomfield’s collection was sold at auction by Sotheby’s in 1906.

[Hall, or Halle, Edward]. The Union of the two noble and illustre famelies of Lancastre & Yorke, beyng long in continuall discension for the croune of this noble realme ... beginnyng at the tyme of kyng Henry the fowerth, the author of this devision, and so successively proceeding to the reigne of the high and prudent Prince Kyng Henry the eyght, the undubitate flower and very heire of both the saied linages Whereunto is added to every Kyng a severall table, Londini in officina Richardi Graftoni, 1548, black letter, title within an architectural woodcut border, the upper compartment showing the king sitting in parliament, lacking signature B (folios 9-14), tables present for Henry IV, V, VI, Edward V, Richard III, and Henry VII (lacking four leaves of table to Edward IV, signature L), also lacking lacking integral blanks Rr8, KK6, and kkk8, and XXX1-2, 5-6, final leaf of the main text (XXX6) supplied in old manuscript in brown ink, lacking the 12 leaves of tables to Henry VIII (YYY-ZZZ6), woodcut initials, occasional neat repairs to blank margins, occasional minor marginal stains or marks (generally in clean condition with good margins), early (later 16th or early 17th century) full calf with remains of clasps, modern calf gilt reback, thick folio (leaf size 263 x 180 mm)QTY: (1)NOTE:STC 12722.First edition, with the titlepage reading "illustre". Described by STC as 'an exceptionally difficult work to grasp because of perplexities in the order of its printing'. Halle's "Chronicle" is a mirror of Tudor life. It is the best contemporary chronicle of the reign of Henry VIII, and a panegyric of the House of Tudor, and especially of Henry. Grafton, Holinshed, and Stow borrowed extensively from it, while Shakespeare, in his earlier historical plays, followed Halle closely. In 1555, with Mary Tudor on the throne, Grafton was stripped of his title "printer to the king", and Halle's work was prohibited by proclamation.

Speed (John). The History of Great Britaine Under the Conquests of ye Romans, Saxons, Danes and Normans. Their Originals, Manners, Warres, Coines & Seales: with ye Successions, Lives, Acts & Issues of the English Monarchs from Julius Caesar, to our most gracious Soveraigne King James, 1st edition, London: John Sudbury & Georg Humble, 1611, engraved architectural title with 'Sizergh' written to top margin in old ink, with 18th-century manuscript note to verso of title regarding the volume, woodcut illustrations of seals and coins etc., woodcut head and tailpieces, errata leaf at rear, margins to initial leaves lightly frayed, some toning and scattered spotting, endpapers renewed, 18th-century monogram bookplate to upper pastedown, contemporary calf with gilt arabesque to centre of boards, neatly rebacked, with portions of original spine compartments relaid, corners refurbished, lacks ties, folio (47.3 x 28.7 cm) QTY: (1)NOTE:STC 23045. The pagination is continued from The Theatre of the Empire of Great Britaine (STC23041).

A late 19thC oak and walnut cased mantel clock, the circular white enamel dial bearing Roman numerals, eight day movement, the case of architectural form with turned finials and brassed spandrels, on a stepped base with compressed turned bun feet, lacking key and pendulum, 45.5cm high.

A late 19thC oak cased mantel clock, the circular cream enamel dial bearing Roman numerals, movement by The Ansonia Clock Company, New York, eight day movement with coil strike, the case of architectural form, with key, 40cm high.

Construction, carpentry & architectural interest. A collection of late 19th & early 20th century works. The lot to include The Style of English Architecture, The Practical Home Handyman, Laxton & Lockwood's Builder's Price Book for 1907, 1926 & 1929, Parker's Concise Glossary of Architecture, Cabinet Making Theory & Practice by A. L. Keeble, Architectural Building Construction by Jaggard & Drury, 1898 Elementary Architecture by Martin A. Buckmaster, 1893 Advanced Building Construction for Students, 1912 English Medieval Architecture by Cyril E. Power, How to Look at Old Churches by H. Spencer Stowell, and others. Generally smart, some shelf wear, bumping and rubbing, prior ownership stamps and inscriptions, bindings occ. tender. A good collection. 8vo.

A box of Der Anker Steinbaukasten (Anchor Block) architectural building blocks, housed in the original box. 

THOMAS BIRCHThe heads of illustrious persons of Great Britain... London, John and Paul Knapton, 1743 and 1751. First edition, two volumes in one, large paper issue. Contemporary diced russia decorated in gilt, red leather spine label, edges stained red. 20 3/4 x 14 1/4 inches; [8], 160, [4], 56 pp., with two title pages each with an engraved vignette designed and engraved by Gravelot, and with 108 engraved plates by Jacobus Houbraken and George Vertue. Wear to binding, with some cracking and staining to the leather, bumping to the corners and edges, losses at spine ends, the front joint is cracked and the rear joint is starting but the cords are intact, text leaves with some spotting and light toning, a few instances of offsetting from plates, the plates with occasional spotting, though generally clean and bright; together with, ALEXANDER WILBOURNE WEDDELLL. A Memorial Volume of Virginia Historical Portraiture 1585-1830. Richmond: The William Byrd Press, 1930. Copy # 305 of 1000. Red leather, gilt. Black and white illustrations, folding map. Wear to extremities, sunning to spine, unopened, the lot sold as is. The Heads of Illustrious Persons... features 108 finely engraved portraits of important British figures, including royalty, aristocracy, political figures, authors, scientists, and more. Each portrait is accompanied by a short text and includes an ornate architectural border, often with allegorical objects or symbols that reference the sitter's career or attributes.

The shaped mirror plate within an architectural and mirrored border surmounted by a pierced pagoda crest with quatrefoil trellises and a seated Chinese figure flanked by steps, over a balustrated apron with steps over rockwork, foliage, icicles and three scrolling prism-hung candlearms.Height 55 1 /2 inches (140.9 cm), width 29 inches (73.6 cm)

ARR Nigel Temple (1926-2003)Penny Red Isigned and dated upper left 27.7.94mixed media with collage18cm x 14cm Nigel Temple (1926-2003) was a highly accomplished artist, lecturer and writer who lived in Gloucestershire. He was a polymath whose interests spanned contemporary art, bookbinding, typography and architecture. The unique collection presented here, comprising his remaining studio works, conveys the full range of his intellectual and artistic interests. Temple exhibited internationally and counted important twentieth-century innovators such as Graham Sutherland amongst his friends and colleagues. While parallels may be drawn between his work and that of famous modernists such as Sutherland and John Piper, Temple nevertheless established a sophisticated and evocative style that was entirely his own. He was also a well-regarded architectural historian, writing numerous books on the architecture of John Nash and the vernacular buildings of his hometown of Farnham.While he worked across a range of different media, Temple largely specialised in an idiosyncratic form of collage that combined his twin passions of bookbinding and architecture. Temple generally used found materials, particularly discarded book bindings, to create artworks that are, at first glance, abstract and mysterious. Yet they gradually draw the viewer in with their witty titles and the evocatively distressed texture of their source materials. They often suggest personal memories and specific architectural sites, and are imbued with an uncanny sense of place. Chorley’s are delighted to bring Nigel Temple’s studio works to auction. Framed and glazed. The artwork is in very good condition, with minimal wear. Any visible distress to the artwork is a result of the original making process and the found materials involved.

ARR Nigel Temple (1926-2003)Mirror Image Vsigned and dated 22.2.97 lower rightinscribed to reverse of framemixed media with collage32.5cm x 23cm Nigel Temple (1926-2003) was a highly accomplished artist, lecturer and writer who lived in Gloucestershire. He was a polymath whose interests spanned contemporary art, bookbinding, typography and architecture. The unique collection presented here, comprising his remaining studio works, conveys the full range of his intellectual and artistic interests. Temple exhibited internationally and counted important twentieth-century innovators such as Graham Sutherland amongst his friends and colleagues. While parallels may be drawn between his work and that of famous modernists such as Sutherland and John Piper, Temple nevertheless established a sophisticated and evocative style that was entirely his own. He was also a well-regarded architectural historian, writing numerous books on the architecture of John Nash and the vernacular buildings of his hometown of Farnham.While he worked across a range of different media, Temple largely specialised in an idiosyncratic form of collage that combined his twin passions of bookbinding and architecture. Temple generally used found materials, particularly discarded book bindings, to create artworks that are, at first glance, abstract and mysterious. Yet they gradually draw the viewer in with their witty titles and the evocatively distressed texture of their source materials. They often suggest personal memories and specific architectural sites, and are imbued with an uncanny sense of place. Chorley’s are delighted to bring Nigel Temple’s studio works to auction. Framed and glazed. Very good condition overall, with minimal visible wear.

ARR Nigel Temple (1926-2003)Toulon: Grave Accent 27.11.42signed and dated lower left 21.12.2000inscribed to reverse of framemixed media with collage17cm x 17cm Nigel Temple (1926-2003) was a highly accomplished artist, lecturer and writer who lived in Gloucestershire. He was a polymath whose interests spanned contemporary art, bookbinding, typography and architecture. The unique collection presented here, comprising his remaining studio works, conveys the full range of his intellectual and artistic interests. Temple exhibited internationally and counted important twentieth-century innovators such as Graham Sutherland amongst his friends and colleagues. While parallels may be drawn between his work and that of famous modernists such as Sutherland and John Piper, Temple nevertheless established a sophisticated and evocative style that was entirely his own. He was also a well-regarded architectural historian, writing numerous books on the architecture of John Nash and the vernacular buildings of his hometown of Farnham.While he worked across a range of different media, Temple largely specialised in an idiosyncratic form of collage that combined his twin passions of bookbinding and architecture. Temple generally used found materials, particularly discarded book bindings, to create artworks that are, at first glance, abstract and mysterious. Yet they gradually draw the viewer in with their witty titles and the evocatively distressed texture of their source materials. They often suggest personal memories and specific architectural sites, and are imbued with an uncanny sense of place. Chorley’s are delighted to bring Nigel Temple’s studio works to auction. Framed and glazed. Some wear to the frame. The artwork itself is generally in very good condition; any wear dates to the original making process and the found materials involved.

ARR Nigel Temple (1926-2003)Crash Landing 1944inscribed with signature and dated lower right 22.9.2002further inscribed to the reversemixed media with collage117cm x 196.5cm Nigel Temple (1926-2003) was a highly accomplished artist, lecturer and writer who lived in Gloucestershire. He was a polymath whose interests spanned contemporary art, bookbinding, typography and architecture. The unique collection presented here, comprising his remaining studio works, conveys the full range of his intellectual and artistic interests. Temple exhibited internationally and counted important twentieth-century innovators such as Graham Sutherland amongst his friends and colleagues. While parallels may be drawn between his work and that of famous modernists such as Sutherland and John Piper, Temple nevertheless established a sophisticated and evocative style that was entirely his own. He was also a well-regarded architectural historian, writing numerous books on the architecture of John Nash and the vernacular buildings of his hometown of Farnham.While he worked across a range of different media, Temple largely specialised in an idiosyncratic form of collage that combined his twin passions of bookbinding and architecture. Temple generally used found materials, particularly discarded book bindings, to create artworks that are, at first glance, abstract and mysterious. Yet they gradually draw the viewer in with their witty titles and the evocatively distressed texture of their source materials. They often suggest personal memories and specific architectural sites, and are imbued with an uncanny sense of place. Chorley’s are delighted to bring Nigel Temple’s studio works to auction. The artwork is framed but not glazed. There is some fraying to the collage materials, but this is mainly a reflection of the artist's creative process, where he generally used found materials. There is some scuffing to the artwork support.

A Regency mahogany compactum or wardrobe, with a triple architectural pediment with anthemion details above a central section of seven graduated drawers with turned and part ebonised handles, flanked by two wardrobe sections with arched panel doors and turned pilasters enclosing a hinged lidded section and shelves to the left and a cupboard to the right, on a plinth base with turned feet, 234cm wide, 63cm deep, 217cm high Christie's Auction 7386, 26 Jan 2007, lot 1217Bears Label for: Powell & Powell Ltd., Bath, C562 A. C. Collier Esq., Paddington Depositories In six sections comprising cornice, base, two cupboard sections and two drawer sections.

An album of photographs, late 19th Century, to include photographs from the British Raj period in India depicting various racing horses, a photograph of the 7th Hussars, Llwyn y Brain steeplechase 1894, Architectural photographs to include Fountains Abbey, Windsor Castle, Durham Cathedral and Clifton Suspension bridge etc.All three from the same source. Old family collection.

A George III mahogany floor standing corner cupboard, the architectural pediment above an astragal glazed door enclosing a white painted interior with serpentine shelves, on a cabinet base with a similar interior and shelves, 82cm wide, 40cm deep, 219cm high

ARR Nigel Temple (1926-2003)Toulon: 27.11.42. Dsigned and dated lower right 10.12.01inscribed to reverse of framemixed media with collage18.2cm x 25cm Nigel Temple (1926-2003) was a highly accomplished artist, lecturer and writer who lived in Gloucestershire. He was a polymath whose interests spanned contemporary art, bookbinding, typography and architecture. The unique collection presented here, comprising his remaining studio works, conveys the full range of his intellectual and artistic interests. Temple exhibited internationally and counted important twentieth-century innovators such as Graham Sutherland amongst his friends and colleagues. While parallels may be drawn between his work and that of famous modernists such as Sutherland and John Piper, Temple nevertheless established a sophisticated and evocative style that was entirely his own. He was also a well-regarded architectural historian, writing numerous books on the architecture of John Nash and the vernacular buildings of his hometown of Farnham.While he worked across a range of different media, Temple largely specialised in an idiosyncratic form of collage that combined his twin passions of bookbinding and architecture. Temple generally used found materials, particularly discarded book bindings, to create artworks that are, at first glance, abstract and mysterious. Yet they gradually draw the viewer in with their witty titles and the evocatively distressed texture of their source materials. They often suggest personal memories and specific architectural sites, and are imbued with an uncanny sense of place. Chorley’s are delighted to bring Nigel Temple’s studio works to auction. Framed and glazed. Very good condition overall, with minimal visible wear. The artwork bears areas of distress that date to the original composition.

ARR Nigel Temple (1926-2003)Royal Ascentsigned and dated lower right 30.9.2001mixed media with collage30cm x 25cm Nigel Temple (1926-2003) was a highly accomplished artist, lecturer and writer who lived in Gloucestershire. He was a polymath whose interests spanned contemporary art, bookbinding, typography and architecture. The unique collection presented here, comprising his remaining studio works, conveys the full range of his intellectual and artistic interests. Temple exhibited internationally and counted important twentieth-century innovators such as Graham Sutherland amongst his friends and colleagues. While parallels may be drawn between his work and that of famous modernists such as Sutherland and John Piper, Temple nevertheless established a sophisticated and evocative style that was entirely his own. He was also a well-regarded architectural historian, writing numerous books on the architecture of John Nash and the vernacular buildings of his hometown of Farnham.While he worked across a range of different media, Temple largely specialised in an idiosyncratic form of collage that combined his twin passions of bookbinding and architecture. Temple generally used found materials, particularly discarded book bindings, to create artworks that are, at first glance, abstract and mysterious. Yet they gradually draw the viewer in with their witty titles and the evocatively distressed texture of their source materials. They often suggest personal memories and specific architectural sites, and are imbued with an uncanny sense of place. Chorley’s are delighted to bring Nigel Temple’s studio works to auction. Framed and glazed. Generally very good condition overall, with minimal visible issues. Any distress to the artwork is a reflection of the making process, where damaged found materials were used.

An early 20th century green striped onyx architectural mantel clock, Arabic numerals, twin winding holes, free standing gilt pilasters, stepped plinth base, 28cm high

A late 18th/early 19th century architectural fragment/pillar, carved with Gujarat temple figure, 35cm high

Architectural Salvage - an arched pitch pine door, bold ironwork hinges, 195cm x 83cm

Architectural Salvage - an early carved softwood Corinthian column order capital fragment in the manner of a portico, Athens, picked out in gilt, 31cm x 28cm x 13cm

A late Victorian ebonised bracket clock, the 6½” engraved brass chapter ring with roman numerals & subsidiary seconds, an embossed brass classical figure scene below, the 8-day movement striking on a coiled gong, the architectural case with brass line-inky & corner pilasters with Corinthian capitals, 37cm wide x 47.5cm high x 17cm deep.

Edwardian mahogany mantle clock in an inlaid architectural case.

A Victorian black slate and marble mantel clock in architectural case with presentation plaque dated 1895, 28cm high

A pair of 19th century Victorian cast and wrought iron architectural wall / table bases brackets / columns. Yellow painted pierced scroll, work with central column with brackets either side.75cm x 55cm approx.

A pair of early 20th century Art Deco cast iron architectural panels along with a larger matching panel each having a neoclassical style central scrolling foliate design surrounded by geometric borders. H.100 W.25cm (pair) H.105 W.65cm (single)

After GIOVANNI BATTISTA PIRANESI (1720 - 1778); a set of six architectural studies of urns, largest 51 x 35cm, framed and glazed.