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STEUERWALDT, Wilhelm(1815 Quedlinburg - 1871 Quedlinburg) Burg Falkenstein im HarzBleistiftzeichnung, partiell leicht koloriert. Monogrammiert. Beidseitig datiert: 1851, 1852. 24 x 20 cm. Gerahmt & hinter Glas : 46 x 35 cm. Minutiös gemalte Ansicht. Passepartout, verglaster profilierter Waschgoldrahmen. Steuerwaldt, Landschafts- und Architekturmaler, Graphiker. Sohn und Schüler von Wilhelm d.Ä., seit 1830 Schüler von Carl Hasenpflug, 1833-1836 Schüler von Johann Wilhelm Schirmer an der Akademie in Düsseldorf. Werke in zahlreichen deutschen Museen * Partnerauktion Bergmann. Literatur : Thieme-Becker (1907-1950), Paffrath (1997), Boetticher (1891-1898), Günther (2015) Abbildung Titelblatt !. STEUERWALDT, Wilhelm(1815 Quedlinburg - 1871 Quedlinburg) Castle Falkenstein in the HarzPencil drawing, partially slightly colored. Monogrammed. Dated on both sides: 1851, 1852. 24 x 20 cm. Framed & behind glass : 46 x 35 cm. Meticulously painted view. Passepartout, glazed profiled wash gold frame. Steuerwaldt, landscape and architectural painter, graphic artist. Son and student of Wilhelm the Elder, since 1830 student of Carl Hasenpflug, 1833-1836 student of Johann Wilhelm Schirmer at the Academy in Düsseldorf. Works in numerous German museums * Partner auction Bergmann. Literature : Thieme-Becker (1907-1950), Paffrath (1997), Boetticher (1891-1898), Günther (2015) Figure title page ! *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

PROSDOCIMI, Alberto(1852 Venedig - 1925) Piazza Navona RomAquarell. Italien. Links unten signiert. 18,5 x 33,5 cm. Gerahmt & hinter Glas : 36 x 50 cm. Viele Personen im Sonnenschein auf dem Platz nahe der Fontana del Bertini. Italienischer Architektur-, Bildnis- und Miniaturmaler, studierte in Venedig. Literatur : Thieme/Becker. PROSDOCIMI, Alberto(1852 Venice - 1925) Piazza Navona RomeWatercolor. Italy. Signed lower left. 18.5 x 33.5 cm. Framed & behind glass : 36 x 50 cm. Many people in the sunshine in the square near the Fontana del Bertini. Italian architectural, portrait and miniature painter, studied in Venice. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Barocker Fayence-Walzenkrug mit Architektur. Ungemarkt. Süddeutschland, 2. H. 18. Jh. Weiß glasiert, Bemalung in Blau. H 26 cm. Zylinderkrug mit strichverziertem Bandhenkel. Schauseitig eine Architekturdarstellung in Landschaft. Zinndeckel mit Kugeldrücker und eingelassener Reliefplakette, Zinnstandring. Leichte Glasurbereibungen und -bestoßungen, Defekte und Reparaturen am Zinn. Baroque faience roller jug with architecture. Unmarket. South Germany, 2nd half 18th c. White glazed, painting in blue. H 26 cm. Cylindrical jug with line-decorated ribbon handle. On the front an architectural depiction in landscape. Pewter lid with ball pusher and inset relief plaque, pewter stand ring. Slight glaze rubbing and bumping, defects and repairs to the pewter. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

QUIZET, Alphonse Leon(1885 Paris - 1955 ebd.) Pariser StraßenszeneÖl/Leinwand. Rechts unten signiert. 38 x 46 cm. Gerahmt : 47 x 55 cm. Blick die Straße hinunter entlang der Reihenhäuser unter bedecktem Himmel. Landschafts- und Architekturmaler in Paris. Literatur : Thieme/Becker. QUIZET, Alphonse Leon(1885 Paris - 1955 ibid.) Parisian street sceneOil/canvas. Signed lower right. 38 x 46 cm. Framed : 47 x 55 cm. View down the street along the row houses under overcast sky. Landscape and architectural painter in Paris. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

LC3-Sofa, nach Le Corbusier. 1960er/70er Jahre. Entwurf: 1928. Wohl Italien. Unsigniert. LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) Stahl, schwarzes Leder. Ca. 67 x 131 x 70 cm, Sitzhöhe ca. 45 cm. Sofa aus der LC-Reihe in kubischem Design mit Stahlgestell und Lederauflagen - Entwurf von Le Corbusier, Pierre Jeanneret und Charlotte Perriand im Jahr 1928; gehört zu den berühmtesten Modellen der LC-Reihe. Leichte Alters-/Gebrauchsspuren. Schweizerisch-französischer Architekt, Architekturtheoretiker, Maler, Bildhauer und Möbel-Designer; gilt als einer der einflussreichsten Architekten des 20. Jahrhunderts - 17 seiner Bauten gehören seit 2016 zum UNESCO-Welterbe. Shipping not available.LC3 sofa, after Le Corbusier. 1960s/70s. Design: 1928. probably Italy. Unsigned. LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) Steel, black leather. Approx. 67 x 131 x 70 cm, seat height approx. 45 cm. Sofa from the LC series in cubic design with steel frame and leather upholstery - design by Le Corbusier, Pierre Jeanneret and Charlotte Perriand in 1928; belongs to the most famous models of the LC series. Slight signs of age/use. Swiss-French architect, architectural theorist, painter, sculptor and furniture designer; considered one of the most influential architects of the 20th century - 17 of his buildings are UNESCO World Heritage since 2016. Shipping not available.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

HAGER, M. DorfstraßeÖl/Leinwand/Karton. Rechts unten signiert. 40 x 50 cm. Gerahmt : 50 x 60 cm. Kutsche mit Pferd auf der Straße vor dem Haus. Wenn Marie Hager, dann: Impressionistische Landschafts- und Architekturmalerin in Berlin, Dargun und Burg Stargard (1872 Penzlin - 1947 Burg Stargard), Schülerin von Bracht, Kolbe und Licht. Literatur : Vollmer. HAGER, M. Village StreetOil / canvas / cardboard. Signed lower right. 40 x 50 cm. Framed : 50 x 60 cm. Carriage with horse on the street in front of the house. If Marie Hager, then: Impressionist landscape and architectural painter in Berlin, Dargun and Burg Stargard (1872 Penzlin - 1947 Burg Stargard), student of Bracht, Kolbe and Licht. Literature : Vollmer. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

STIEGEL, Eduard(1818 Kassel - 1879 ebd.) Kirchgang am SonntagÖl/Leinwand. Rechts unten teils unterm Rahmen signiert. 68 x 96 cm. Gerahmt : 92 x 119 cm. Die Personen auf einem Waldweg in Richtung der Kirche unten im Dorf im idyllischen Sonnenlicht. Leinwand doubliert. Landschafts-, Architektur-, Genre- und Bildnismaler, Lehrer an der Akademie Kassel. Literatur : Thieme/Becker. STIEGEL, Eduard(1818 Kassel - 1879 ibid.) Churchgoing on SundayOil/canvas. Signed lower right partly under the frame. 68 x 96 cm. Framed : 92 x 119 cm. The people on a forest path towards the church down in the village in the idyllic sunlight. canvas doubled. Landscape, architectural, genre and portrait painter, teacher at the Academy Kassel. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

LC3-Sessel, nach Le Corbusier. 1960er/70er Jahre. Entwurf: 1928. Wohl Italien. Unsigniert. LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) Stahl, schwarzes Leder. Ca. 67 x 75 x 70 cm, Sitzhöhe ca. 46 cm. Sessel aus der LC-Reihe in kubischem Design mit Stahlgestell und Lederauflagen - Entwurf von Le Corbusier, Pierre Jeanneret und Charlotte Perriand im Jahr 1928; gehört zu den berühmtesten Modellen der LC-Reihe. Leichte Alters-/Gebrauchsspuren. Schweizerisch-französischer Architekt, Architekturtheoretiker, Maler, Bildhauer und Möbel-Designer; gilt als einer der einflussreichsten Architekten des 20. Jahrhunderts - 17 seiner Bauten gehören seit 2016 zum UNESCO-Welterbe. Shipping not available.LC3 armchair, after Le Corbusier. 1960s/70s. Design: 1928. probably Italy. Unsigned. LE CORBUSIER, (1887 La Chaux-de-Fonds - 1965 Roquebrune-Cap-Martin) Steel, black leather. Approx. 67 x 75 x 70 cm, seat height approx. 46 cm. Armchair from the LC series in cubic design with steel frame and leather upholstery - design by Le Corbusier, Pierre Jeanneret and Charlotte Perriand in 1928; belongs to the most famous models of the LC series. Slight signs of age/use. Swiss-French architect, architectural theorist, painter, sculptor and furniture designer; considered one of the most influential architects of the 20th century - 17 of his buildings are UNESCO World Heritage since 2016. Shipping not available.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

STEGMANN, Franz(1831 Gandersheim - 1892 Düsseldorf) EisvergnügenÖl/Leinwand/Holz. Rechts unten signiert. Datiert: (18)75. 22,5 x 34 cm. Gerahmt : 38 x 50 cm. Eisläufer auf dem See nahe der Stadt in der Abendsonne. Im Himmel retuschiert. Architekturmaler, Schüler der Akademien Brüssel bei Wauters, München und Düsseldorf. Literatur : Thieme/Becker. STEGMANN, Franz(1831 Gandersheim - 1892 Dusseldorf) Ice pleasureOil/canvas/wood. Signed lower right. Dated: (18)75. 22.5 x 34 cm. Framed : 38 x 50 cm. Ice skater on the lake near the city in the evening sun. Retouched in the sky. Architectural painter, student of the academies of Brussels with Wauters, Munich and Düsseldorf. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Großer barocker Fayence-Enghalskrug mit Architektur in Landschaft. Hanau. Pinselmarke "B". Um 1700. Weiß glasiert, Bemalung in Kobaltblau. H 35 cm. Kugelbauchkrug mit Rundfuß und spiralverziertem Bandhenkel. Wandung mit Architekturdarstellung, großen Bäumen und stilisierten Pflanzen. Zinndeckel mit Muscheldrücker und Leinenfleck, Zinnstandring. Leichte Glasurbereibungen und -bestoßungen, Defekte und Reparaturen am Zinn, leicht glasurrissig am Stand. Large baroque faience narrow neck jug with architecture in landscape. Hanau. brush mark "B". Around 1700. White glazed, painting in cobalt blue. H 35 cm. Sphere bellied jug with round base and spiral decorated ribbon handle. Wall with architectural depiction, large trees and stylized plants. Pewter lid with shell pusher and linen stain, pewter stand ring. Slight glaze rubbing and bumping, defects and repairs on the pewter, slightly glaze cracked on the stand. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Keith Milow, 1945, abstract black and white architectural form, oil on board, signed K. Milow verso. H.93 W.93cm. (largest)

LOUIS DE CAULLERY (Caullery, circa 1580 - Antwerp, 1621)."At the Gates of the Church.Oil on canvas. Re-tinted.It presents slight restorations.Measurements: 45 x 62 cm; 56 x 73 cm (frame).Louis de Caullery was a painter with a special mastery for the representation of crowds gathered in front of official events, congregations of all kinds, court festivities and popular meetings. This is splendidly demonstrated in this painting of a Flemish subject, in which the arrival of the kings has brought the whole city together in front of the church. Lively groups of people are seen with gestures and gestures, rich attire and humble clothes, as all social classes attend the event. We see a horse drinking from a stone fountain, royal banners announcing their arrival, courtiers at the gates of the Baroque church, boats docking in the harbour with the flag of the Netherlands unfurled.Louis de Caullery was a French painter who began his artistic training in Caullery in 1594 as an apprentice to Joos de Momper in the guild of Saint Luke, where he was enrolled as a master in 1602/1603. Despite his training alongside Momper, Caulery's work is closer to Mannerist sophistication than to Baroque naturalism. He was clearly influenced by some of the engravings of Hans Vredeman de Vries in particular, from whom he borrowed the whimsical architectural backgrounds. His work also displays similar characteristics to the painting of the artist Frans Francken II, which can be seen especially in the anatomical treatment of the figures, although in Caullery they are always represented as a volumetric aesthetic, both in the courtly and allegorical scenes, which form the most interesting part of his output. Caullery favoured genre painting and painted a wide variety of scenes: carnivals on ice, fireworks, bullfights, open-air collections, allegories of the five senses and encounters painted in the spirit of the Fontainebleau school. The height of his figures, their exquisite postures, soft faces and bare foreheads characterise his style. His colours are very sophisticated. Influenced by the Italian masters, his palette proved to be an innovation in Flanders: half-tones, yellow ochre, Veronese green and burgundy red. His depiction of buildings shows that he is concerned with great precision, while he is very skilful at presenting perspective.

Flemish school, 19th century. CCopy of part of the triptych of by Jan Floreins (1479), by HANS MEMLING (Seligenstadt, c.1423/1443- Bruges, 1494)."Saint Baptist and The Veronica.Diptych. Pair of oil paintings on panel.Frames from the 17th century.Measurements: 40 x 20 cm (each panel); 53.5 x 33.5 cm (frames).This pair of panels is a copy of the paintings that Hans Memling painted on the back of the Triptych by Jan Floreins (conserved in the hospital of St. John in Bruges (Belgium), which are shown with the triptych closed. The Nativity, the Adoration and the Presentation to the Temple preside on the obverse, while the two saints under beautiful Gothic arches dominate the reverse: John the Baptist on the left panel and Saint Veronica on the right. The pair of panels shown here are faithful to the original in every detail: the Baptist points to the Lamb at his feet; Veronica holds a cloth with the Holy Face. The lake landscape, composed in a wide panoramic view, depicts the theme of Christ's baptism in the Jordan. It is a representation that continues from one panel to the next, in the same way that the Agnus Dei on the left panel is symbolically linked to the Passion of Christ, which is foreshadowed by the image printed on the saint's cloth. Stylistically, the painter of this pair of copies remains faithful to Memling's soft, delicate style, the stylisation of his figures and his magnificent colouring, with a prevalence of emerald and glaucous tones. The detailed, almost miniaturist attention to detail in the vegetation and in the rendering of the bodies and drapery harmonises with an atmospheric creation based on shades of blue that are subtly densified in the distance. The figures in the background (Christ being baptised, John and the archangel) blend naturally into their surroundings. A trompe l'oeil architectural frame, with small statuettes (representing Adam and Eve) that seem to come to life on either side of the pointed arches, frames both scenes. All this is present in the original panels. The painter has succeeded in recreating the harmonious purification of forms and emotions that defined Memling's painting. The Flemish painter had been inspired by Rogier van der Weyden's Triptych of Saint Columba, but Memling softened his master's inheritance. This pair of panels must also have been based on the small diptych of Saint John the Baptist and Veronica painted by Memling around 1483. The two panels are now in separate collections (the Baptist in the Alte Pinakothek in Munich, the Veronica in the National Gallery of Art, Washington). On that occasion Memling located the saints in a rocky setting, but their attitudes and gestures were very similar to those of the triptych. This is a worthy tribute to the legacy of Flemish painting, from the early heirs of Van Eyck and his unusual sense of light and colour to the dreamlike landscapes of the 17th century.

Robert Herdman-Smith ARWA (1879-1945), by and after, ‘In Dovedale’, signed and titled in pencil to margin, Aquatint engraving, 26cm x 33cm; other engravings, and giclee prints, ‘Chester’, Architectural studies, etc, (9).

Architectural salvage - an early 20th century two tap full pedestal basin sink by ‘Shanks’, 87cm tall x 63cm wide; another similar sink, Bristol Superior; four heavy-duty metal wall brackets, (6).

A Gothic Revival design architectural floor standing aviary or birdhouse, pierced, carved and applied throughout with tracery, 171cm high, 69cm square

A post-Regency flame mahogany bracket clock, 20cm circular painted dial inscribed Hy Banister Late Grant, 75 Fleet St, London, Roman numerals, twin winding holes, eight-day twin fusee movement striking on a bell, the architectural case with sarcophagus cresting above a dentil cornice, concave frieze, skirted base, bun feet, 42cm high, c.1830

A Victorian gilt metal mounted oak bracket clock, 15cm arched brass dial with silvered chapter ring inscribed with Roman and subsidiary Arabic numerals, Slow/Fast regulating dial to arch, twin-winding holes, eight-day movement striking on two gongs, the architectural case with arched cresting flanked by finials, skirted base, lion paw feet, 44cm high, c.1880

An 18th century Spanish chestnut architectural carving, formerly a country house staircase newel post, carved in the Late Baroque/Rococo taste with a portrait mask, C-scrolls and acanthus, 153cm high

An oak blanket chest, hinged rectangular top above an architectural front with nulled frieze, stile feet, 63cm high, 117cm wide, 50cm deep

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

Architectural Salvage - a set of four French Gothic Revival eccclesiastical polychrome decorated corbels, 46cm high, 46.5cm wide, 50.5cm deep

A French Palais Royal gilt brass scent bottle, the pierced mounts engraved with scrolling foliage and set with architectural topographical vignettes, ball feet, 11cm high, c.1875

A 17th century style oak child’s wainscot side chair, the back carved with a frieze of lunettes above an architectural arch, turned legs, rectangular stretchers, 61.5cm high, 38cm wide, the seat 30cm deep

Late 19th/early 20th century black slate architectural mantle clock with brass pillars and Roman chapter ring. 32cm high approx. (B.P. 21% + VAT)

Late 19th/early 20th century black slate architectural mantle clock with Arabic chapter ring. 39cm high approx. (B.P. 21% + VAT)

A Pair of Modern Architectural Needles, 40cm high

Herbert Cescinsky and Ernest R Gribble, Early English Furniture and Woodwork, in two vols, London 1922, cloth; John Preston Neale and John le Keux, Views of the Most Interesting Collegiate and Parochial Churches in Great Britain, in two vols, London 1824, calf; J D Hardings, drawing book, being an album of lithographs, original tooled cloth, other works of architectural interest. Qty: 10

Large Victorian slate mantel clock, architectural form, large white enamel circular dial, French cylinder movement, as found.

19th Century variegated marble clock garniture, the clock of architectural form, ivorine dial with Arabic numerals, French movement, gilt ormolu mounts, height 35cm, width 38cm, the garniture urn form mounted with lion mask handles, 28cm high.

Reproduction mahogany hall stand in the Victorian style, architectural pediment, bevelled mirror above a shelf, drawer and cupboard under flanked by stick stands, width 101, height 224cm.

Inlaid mahogany longcase clock, the hood with architectural pediment, turned Corinthian columns, trunk with long door and ogee bracket feet, twelve inch arched painted with with hunting scene to the lunette and floral spandrels, signed Shepperley & Pearce, Nottingha, eight day movement striking on a bell, height 219cm, with pendulum and weights.Condition report:Thr hood has a short crack to the rightside, and a split to the bottom right rim of the hood. The main body of the clock is a little rubbed and scrached on the edges. The front door is warped and does not sit flat when closed. The base has a long crack just above where the inlay design is. The sides are a bit scrached in places. The face enamel is crazed all over and has some small chips to the edges and corners. It is sold as untested. The finial to the top of the hood is missing. Comes with pendulim and weights.

Of architectural interest,a large library of elevation studies, plan drawings and designs spanning three folders, predominantly pertaining to the works of George A Rose and George Collens, 103 x 73cm (qty.)George Alfred Rose was born in Cottenham Park, Wimbledon, Surrey [now London], on 23 January 1894. It is not known where or with whom he trained as an architect. He qualified immediately after World War One and, in the early 1920s, collaborated with the architect Archibald Victor Farrier (1897-1987) in the design of flats for Hampstead Garden Suburb. In 1934, Rose also submitted an unsuccessful entry in a competition to design the De La Warr Pavilion in Bexhill-on-Sea, East Sussex, which was ultimately won by the modernist architects Serge Chermayeff and Erich Mendelsohn.Rose was elected an Associate of the Royal Institute of British Architects (ARIBA) in 1919. He was also elected a Fellow of the Royal Institute of British Architects (FRIBA) in 1931. He retired from practice in 1964.A 'Design for a Post-war House' by Rose was exhibited at the Royal Academy in London in 1943.Condition ReportWith stains and marks throughout. W

TÊTE DE DIVINITÉ FÉMININE EN GRÈSChampa (Vietnam), style de Mi-Son A 1, Xe siècleA SANDSTONE HEAD OF A FEMALE DIETYChampa (Vietnam), Mi-Son A 1 style, 10th centuryCarved with a high tiara with two rows of large lotus petals, the tips turned towards the top and ends with a large lotus bud opening at the top. The facial features are are worn but still discernible with high arching brows, prominent triangular nose and broad fleshy lips, stand. 30cm (11 3/4in) high. (2).Footnotes:Provenance:Georges Halphen CollectionChristie's Paris, 'Collection de Mr Georges Halphen', 20 November 2003, lot 426Jean-Pierre Rousset, Paris (1936-2021), acquired at the above saleThe Champa was a confederation of Hindu states located along the coast of the central and Southern region of modern day Vietnam between the 2nd-17th century and flourished alongside the Khmer empire during the 9th-13th century. Sandstone architectural elements, like this head, were common features of Hindu temples as with an example held in the Metropolitan Museum of Art, New York (2014.520), that still has a long tang projecting from the back of the head and another deity formerly in the Halphen collection, illustrated by Beurdeley & Cie, Images Divines, Paris 1976, no.14.占婆（越南） 美山A1風格 十世紀 砂岩女神首來源：Georges Halphen 舊藏巴黎佳士得，Georges Halphen珍藏，2003年11月20日，編號426巴黎Jean-Pierre Rousset（1936-2021）舊藏，得自上述拍賣For further information on this lot please visit Bonhams.com

A rare 18-19th century Mughal Indian gilded copper architectural finial, mounted on wooden base, H.58cm (including base)

Large Victorian black slate and marble mounted mantel clock set in a pillared architectural type case

Late 19th/early 20th Century mantel clock in architectural wooden case with applied metal mounts

ARCHITECTURAL GARDEN MIRROR, Regency style gated design, metal frame 180cm x 75cm.

A group of 6 Lego-type construction kits. Comprising animal and architectural themes. All appear used but complete.

EMPIRE KAMINUHR, Frankreich, 1. Hälfte 19. Jh., nussholzfurniertes Holzgehäuse in architektonischem Aufbau mit Alabastersäulen, bekrönt und verziert mit Messingapplikationen, Werk mit Fadenaufhängung und Schlag zur vollen und halben Stunde auf Tonfeder HxBxT: 46/26/12,5 cm. Alters- und Gebrauchsspuren, im Kurztest funktionstüchtig.| EMPIRE MANTEL CLOCK, France, first half of the 19th century, walnut-veneered wooden case in an architectural structure with alabaster columns, crowned and decorated with brass applications, movement with thread suspension and striking on the hour and half-hour on a gong HxWxD: 46/26/12.5 cm. Signs of age and wear, functional in a short test.

NEOGOTISCH KAMINUHR, Ende. 19. /Anf 20. Jh., Bronze vergoldet, Architektonischer Aufbau eines Gotischen Kathedralturmes mit einer angelegten Umrandung von Zinnen und Spitzbögen, Werk mit Federaufhängung. HxBxT: 37/19/13 cm. Leichte Alters- und Gebrauchsspuren.| NEOGOTIC CLOCK, end of the 19th / beginning 20. century, gilded bronze, architectural structure of a Gothic cathedral tower with a border of battlements and pointed arches, work with spring suspension. HxWxD: 37/19/13 cm. Slight signs of age and wear,

MINIATURUHR, ZAPPLER, Ende 19. Jh., Bronze vergoldet, gegossene, architektonische Front mit Zierelementen. H Uhr: 11, 5cm. Alters- und Gebrauchsspuren, im Kurztest funktionstüchtig, Sockel sowie Kuststoffsturz erg.| MINIATURE CLOCK, ZAPPLER, Late 19th century, gilded bronze, cast, architectural front with decorative elements. H clock: 11.5cm. Age and signs of wear, movement starts up in a short test, base and plastic lintel erg.

Collection of architectural plans and drawings related to The Grand Hotel, Scarborough, predominantly by Spiers and Pond Surveyors, London, dating from the 1920s to 1950s, to include Third Floor Plan New Bathrooms and Basins in Bedrooms on Landside 1929, Fourth Floor Plan by Alderson & Allen Chartered Architects 1952, 1940s amendments etc

A late 18th / 19th Century engraving of Morden Colledge (College), Blackheath, South-East London, architectural scene, details verso, framed and glazed, 20cm x 32cm image size

Cabinet; Germany, 1820.Mahogany wood with rosewood decoration and mahogany and brass columns.It retains keys and has removable shelves.It has scratches, slight restorations on the right door and the loss of four drawers.Measurements: 192 x 162 x 53,5 cm.Cabinet made of mahogany wood, with an architectural structure of two bodies, topped by a cornice or coping with finials at the corners. It is worth noting that the corners are decorated with a classically inspired column-like decoration with grooves. Inside, there are several compartmentalised spaces, designed to house the drawers that are no longer preserved. The drawer space is accessed through two hinged doors that lead to the interior space. This is characterised by two hinged doors, in each of the bodies that make up the wardrobe.

Bureau à batain; Napoleon III period, second half of the 19th century.Porcelain plate on paper and gilt bronze appliques.Keys are preserved.It shows chips, wear and tear and one leg is dislocated.Measurements: 140 x 73.5 x 33 cm.Wooden piece of furniture, combined with a porcelain plate and gilded bronze appliqués. The piece of furniture stands on four chamfered legs and an entablature decorated with masks inspired by Greco-Roman designs and filleted with mixtilinear shapes. This piece of furniture faithfully follows the models of the marquetry of the period, with light, synthesised motifs of dense design, derived from the designs made for Louis XIV. The presence of bronze applications is also typical of Boulle's creations for the French court, and even the architectural details of the structure seem to derive directly from baroque models.

19th century table clock.Bronze, ebonised wood and porcelain dial.Measurements: 66 x 34 cm.Table clock made for the Turkish market, with ebonised wood structure, applied bronze decorations and porcelain dial, with Turkish numerals for hours and minutes in black and openwork hands. The design is historicist in style, inspired by pieces from the Baroque period, hence the combination of an architectural structure of mixtilinear forms and emphatic volumes with the application of bronze. Also typical of the decorative arts of the Baroque period was a taste for contrasting qualities, colours and textures, hence the use of contrasting materials such as ebony, bronze, tortoiseshell and ivory. The clock stands on a stepped base, supported on cut-out legs (the bronze front legs) and decorated with classical relief mouldings in bronze and, on the front, with a chiselled, openwork and cut-out plaque with a composition of sinuous stems, leaves and bunches of grapes. The body of the clock rises above this base, open at the bottom to form a curved-sided recess, flanked by openwork bronze plaques similar to the base. The dial is set in a frame formed by sunbursts, directly inspired by French models from the time of Louis XIV, the Sun King. On both sides of the case are vertical bodies that stand out in plan and are decorated with openwork plaques, mouldings with reliefs, pinjantes, classical vase-shaped finials and openwork side rosettes as handles, all in bronze with Baroque vegetal motifs. Finally, the piece is crowned by a cup-shaped body also decorated with bronze appliqués, which stand out against the black background of the ebonised wood, and culminates in a large classical vase with relief decorations.

Clock, Louis XV style; France, second third of the 18th century.Boulle marquetry, brass applications.Needs to be reworked.It has important faults.It still has a key.No box.Measurements: 93 x 47 x 20 cm.The watch has a gilt dial, with Roman numerals enamelled in cobalt blue on a white dial. The design follows the models created by André Charles Boulle (1642-1732) during the reign of Louis XIV. It is decorated with the artist's own marquetry, in ebony and metal, and important motifs in relief and rounded bulge, including figurative elements, which in the case of Boulle's furniture were carved pieces in wood, here already applied bronzes more typical of the style of the period. The decoration is completely Baroque, in the style of the French decorative arts of the last period of Louis XIV's reign. This is because this period was key in the development of the decorative arts in the period of Louis XVI, as designers and artists turned their gaze to the Regency style, the transition from Baroque (classical) to Rococo (anti-classical), in search of formulas for the transition from the Rococo style to the new Neoclassical. Thus, we see a great importance of classicist figuration, with allegorical figures adorning the front and the finial, as well as fantastic figuration derived from baroque chinoiserie, an architectural structure that is also baroque, chromatic contrast typical of Boulle and a profusion of motifs such as turnstones, leaves, masks and classical vases that seem to have been taken directly from the ornamental background of French classicist baroque. Even the basic material, ebony wood, can be related to that period, as it was the most popular wood in Baroque furniture. However, the profusion of gilding speaks of a different period, somewhere between the neoclassical and the Empire.

Hooker (Richard) Of the Lawes of Ecclesiastical Politie, engraved architectural title by William Hole, woodcut head-pieces and initials, title to Book V with woodcut border, with the final blank (creased), old ink signature of Anthony Champion to head of title and inscription "May. 26. 1739 Pr. 0-4-0 W.Sheppard" to front free endpaper, title lightly soiled, small spot/hole to Oo5 with loss of a couple of letters, contemporary calf with central lozenge in gilt to both covers, a little worn and stained, rebacked, red morocco label, corners repaired, upper cover detached, [STC 13714], folio, by Will. Stansby, [1611].

Huber (Joseph Daniel von) Scenographic oder geometrisch Perspect. Abbildung der Kayl. Konigl. Haupt. u. Residenz Stadt Wienn in Osterreich..., monumental 24-part bird's-eye perspective plan of Vienna, the upper right sheet with large title cartouche, and the map itself covering the fortifications of the city and part of the suburbs up to the Linienwall, with numerous accurate architectural and topographical details including gardens, engraving on 24 sheets, excellent richly inked impressions with depth and clarity with little to no wear visible in the plates, on thick cream laid paper with 'Wangen' watermarks and countermarks, each sheet approx. 935 x 730 mm (36 3/4 x 28 3/4 in), some expert repairs to marginal tears, only to a handful of plates, the upper left sheet sheet with some faint stains and old repairs to perforation within the blank part of the sheet, scattered minor surface dirt, presented in modern cloth drop-back box, Vienna, 1778.⁂ An 18th century cartographic masterpiece, and one of the most important representations of Vienna. Major Joseph Daniel Huber, a military cartographer based in Vienna, started working on his Vogelschauplan of the city in 1769 after being commissioned to undertake the project by Empress Maria Theresa of Austria. By the end of May 1773 Huber had completed the manuscript plan in pen and wash on 42 sheets (now held in the Albertina), however the printed plan was not ready until 1778. The Baroque city is shown with an exceptional level of detail and accuracy, with the heights of the buildings plotted upwards true to scale on an undistorted plan.

Laing (David) Hints for Dwellings: consisting of Original Designs for Cottages, Farm-houses, Villas..., 34 aquatint plates & plans printed in bistre, tissue guards, some marginal foxing, modern half green morocco, uncut, [cf. Abbey Life 27, 1804 edition], 1801 bound with Plaw (John) Sketches for Country Houses, Villas, and Rural Dwellings..., 42 aquatint plates & plans printed in sepia, tissue guards [Abbey Life 49], J.Taylor, 1800; Ferme Ornée; or, Rural Improvements, 38 aquatint plates printed in sepia, foxed, mostly to tissue guards or margins, [Berlin Kat. 2305; cf.Abbey Life 48, earlier editions], I. & J.Taylor, 1796, together 3 works in 1 vol., 3pp. publishers' catalogue bound in at end, ex-library copy with ink number to verso of first title showing through and label to pastedown but no stamps, contemporary half calf, rubbed, spine ends and corners worn, joints split, 4to (2) ⁂ Laing was articled to Sir John Soane in 1790 and showed promise with his seemingly picturesque designs for villas. His career came to an abrupt end with his disastrous Custom House which had to be pulled down in 1825 due to subsidence caused by the decay of the beech-piling in the foundations.Plaw had introduced a new style of architectural book with his Rural Architecture... of 1794, with aquatint designs set in a picturesque landscape. "Plaw set the model for villa and cottage pattern books that became a feature of architectural publishing in England for the next fifty years." (Millard British 57).

Langley (Batty) The Builder's Director, or Bench-Mate: being a Pocket-Treasury...of Architecture, 184 engraved plates on 92 sheets (printed on both sides), modern bookplate of P. & L.Waterhouse, I. & J.Taylor, [c.1792] § Langley (Batty & Thomas)The Builder's Jewel: or, the Youth's Instructor, and Workman's Remembrancer, tenth edition, engraved frontispiece and 99 plates, contemporary ink inscription "Thos. Morton's Book 1789" to head of title, plates 30 & 66 lacking lower portion where poorly trimmed, old pencil or ink sketches to verso of a few plates and endpapers, rather soiled, for C. & R.Ware, 1763 § Neve (Richard) The City and Country Purchaser's and Builder's Dictionary..., third edition, engraved frontispiece of Chiswick House, for B.Sprint, 1736 § Salmon (William) The London and Country Builder's Vade Mecum: Or, The Complete and Universal Estimator, fifth edition, engraved frontispiece, a little soiled and damp-stained, contemporary ink inscription to front free endpaper, modern calf, S. Crowder and B. Collins, 1773 § Building Act (The)...shewing the proper thickness of party-walls, external-walls, and chimnies, 3 engraved plates, 16pp. publisher's catalogue at end, spotted, modern calf-backed boards, Cambridge, J.Archdeacon for Taylor's Architectural Library, 1791, the first three all contemporary calf or sheep, rubbed, rebacked, [Harris 430, 436, 597, 792 & 92]; and 4 others, similar, including a defective first edition of The Builder's Price-Book of 1776, 8vo (9)

Le Muet (Pierre) Maniere de Bien Bastir pour Toutes Sortes de Personnes, 2 parts in 1, part I second edition, part II first edition, part I with letterpress title with woodcut Royal arms, additional engraved architectural title, woodcut head-piece and initials, 53 engraved illustrations, one double-page, the rest full-page, part II lacking letterpress title but with all 31 engraved plates, 22 double-page or folding, engravings on pp.75, 77 & 79 pasted over with other designs, contemporary ink signature "P.Tyrhitt" to head of first title, contemporary sprinkled calf, rubbed, corners bumped, rebacked preserving old gilt spine, [Berlin Kat. 2369 & 2463; Fowler 177, lacking one engraving; Millard French 94], folio, Paris, Francois Langlois, 1647.⁂ Influential pattern book of town houses.

Loudon (John Claudius) The Architectural Magazine, and Journal of Improvement in Architecture, Building and Furnishing..., 5 vol., wood-engraved title-vignettes and illustrations, titles lightly browned, very occasional spotting, R1-3 in vol.2 with upper outer corner torn away causing slight loss to verso of R1, otherwise a very good set, modern half calf, spines faded, 8vo, 1834-38. ⁂ Short-lived but influential magazine, the first regular architectural periodical in England, which appeared the same year as the Institute of British Architects (later R.I.B.A.) was founded.

Lugar (Robert) Villa Architecture: A Collection of Views, with Plans..., first edition, presentation copy inscribed "John Piper from Anthony West 1939" in pencil on front free endpaper, half-title, 41 fine engraved plates and plans only (of 42, lacking plate 39 of Markgate Cell nr. St.Albans), 26 hand-coloured aquatints, staining to plates 12-14 (particularly 14) and mark to plate 17, otherwise very clean, last few leaves and plates loose, contemporary half green straight-grain morocco, uncut, rubbed, [Abbey Life 33], folio (c.440 x 280mm.), 1828.⁂ A good tall copy of this most handsome of all architectural pattern books.Anthony West (1914-87), writer and literary critic, son of H.G.Wells and Rebecca West, author of John Piper, 1979.

Marinoni (Giovanni Jacopo de) De re ichnographica, first edition, presentation copy from the author to Antonio de Ulloa with ink inscription to front free endpaper, engraved allegorical frontispiece, title in red & black with engraved vignette of plan of Vienna, 3 double-page engraved maps and 2 double-page plates, numerous engraved illustrations and diagrams, 43 full-page, many others in margins, errata leaf (misbound at beginning of final gathering), 2N gathering also misbound, worming at beginning and end, mostly marginal but affecting frontispiece (laid down), first few leaves also with portion cut away from lower inner margin (to corner of image of frontispiece), old repairs to other worming, nineteenth century mottled sheep-backed marbled boards, rubbed, new red morocco label, [Berlin Kat. 1736; Tomash & Williams M38], 4to, Vienna, Leopold Johann Kaliwoda, 1751.⁂ Interesting association copy of a work on architectural surveying by the Imperial Mathematician and Director of the Academy for Geometry and Military Science in Vienna. Antonio de Ulloa (1716-95), Spanish naval officer, explorer, scientist and administrator.

Marot (Jean) Recueil des Plans Profils et Elevations de plusieurs Palais Chateaux Eglises Sepultres Grotes et Hotels, bâtis dans Paris..., second edition, engraved throughout with title and 122 engraved plates on 115 sheets but not numbered, light staining to title, a few plates creased at upper outer corner, bookplates of Hopetoun House and the architectural historian John Harris, contemporary mottled calf, rubbed, rebacked with gilt spine, [cf.Fowler 193 & Millard French 118 notes], 4to, Paris, Mariette, [?c.1738].⁂ Hopetoun House, nr. Edinburgh, seat of the Marquess of Linlithgow, designed by Sir William Bruce and greatly extended by William Adam from 1721-48 with interiors by his sons John and Robert Adam.

Mauclerc (Julien) Traité de l'Architecture suivant Vitruve..., engraved title vignette and 49 fine engraved plates (numbered 2-50) by René Boyvin and Pierre Daret, one folding and incorporating portrait of the author within architectural border, the rest of orders, woodcut head-pieces and initials, lacking dedication to Monsieur Malo but with all 7 leaves of text, light soiling, a little water- & damp-stained causing loss to caption at foot of portrait, otherwise marginal (repaired), 2 tiny holes to G leaf affecting a couple of letters, contemporary limp vellum, a little rubbed and soiled, [Berlin Kat. 2361, calling for only 48 plates; Fowler 194, lacking 6 of 7ff. text and part of dedication; Not in Millard French], folio, Paris, Pierre Daret, 1648.⁂ Rare architectural work of the late Renaissance by the humanist and architect Julien Mauclerc, previously issued with a different title and slightly different contents in 1601.Library Hub records only one UK copy (King's College, Cambridge, lacking final 4 plates); WorldCat adds 2 further copies in France.

Morris (Robert) Architecture Improved, in a Collection of Modern, Elegant and Useful Designs, second edition, title in red & black, 50 engraved plates, contemporary ink inscriptions "? Lovinge 1762 £0:5:0" and "Robt. Kennedy" to head of title, worming to lower outer corner not affecting text or plates, John Harris's copy with his bookplate, contemporary mottled calf, rubbed, old paper labels to spine, [Harris 565; cf. Berlin Kat.2284, later edition], 8vo, Robert Sayer, 1755.⁂ Rare work of Palladian designs for garden buildings & summerhouses and some chimneypieces in the style of Inigo Jones and William Kent, first published in 1751 under the title The Architectural Remembrancer. ESTC lists only one UK copy of this edition (Hertford College Oxford) plus one in the Netherlands and 3 in America; Harris cites two copies (New York Public Library and Soane Museum).

Nicholson (Peter) The New and Improved Practical Builder, 2 vol., first edition, engraved frontispiece, additional woodcut architectural title, 183 engraved plates as called for, 2 folding, contemporary ink signature of Samuel Hocking to head of title, light water-staining, mostly marginal, modern roan-backed boards, uncut, Thomas Kelly, 1823; Practical Masonry, Bricklaying, and Plastering, 58 engraved plates, 4 folding, marginal foxing, contemporary mottled calf, gilt, spine gilt, rubbed, 1838 § [Elsam (Richard)] The Practical Builder's Perpetual Price-Book, engraved frontispiece and 7 plates, light foxing, old marbled boards, rubbed, rebacked and recornered in calf, [1825]; and 3 others on building, 4to & 8vo (7)