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Palladio (Andrea) I Quattro Libri dell'Architettura, 4 parts in 1, fourth edition, each part with ornate woodcut architectural title, woodcut initials and illustrations throughout, the majority full-page or near full-page, with final blanks at end of Books II & IV, Lord Holland's copy with his ink inscription "Lord Holland Venice 1814" to front free endpaper and Holland House bookplate and shelf-mark, also book-label of Joyce Cary, light water-staining to first and last few leaves, stain to D3, some light marginal soiling but overall a good copy, later vellum-backed boards, red morocco label, with ink inscription "Holland House 1815 E.V.Holland" and sketch to upper cover, rubbed and soiled, light staining to upper cover, [Fowler 215; Millard Italian 67], folio, Venice, Bartolomeo Carampello, 1616.⁂ "Andrea Palladio, author of the most studied of the architectural treatises of the Renaissance, the third great work of the sixteenth century (after Sebastiano Serlio and Giacomo Barozzi da Vignola), was the most distinguished practicing architect of the second half of the sixteenth century. The most effective representative of the new principles of architecture in northern Italy, his architectural practice and his architectural theory are equally balanced in his work, offering a coherent expression in its corpus of ideas and buildings. Superior to Vignola's in richness and importance, Palladio's treatise was the most popular publication by any architect." (Millard).Henry Vassall-Fox, 3rd Baron Holland (1773-1840), Whig politician who served under Lord Grey and Melbourne. He married Elizabeth Vassall in 1797 and it was presumably Elizabeth who inscribed the upper cover. Joyce Cary (1888-1957), Anglo-Irish novelist, author of The Horse's Mouth of 1944 and others.

Panseron (Pierre) Elemens d'Architecture, 3 parts in 1, engraved title, 2 letterpress leaves and one engraved leaf of advertisements, part 1 with 16 engraved plates, parts 2 & 3 engraved throughout, each with title and 27 plates, plates printed on pale blue paper, with contemporary ink manuscript leaf bound in before title of vol.1 with translation of title into Dutch and notes to verso of plates, occasional light soiling, contemporary mottled calf, rubbed, rebacked with gilt spine preserving red morocco label, [cf.Berlin Kat. 2431, first edition 1776], Paris, 1785 § Durand (J.N.L.) Précis des Leçons d'Architecture, vol.1 & 2 only (of 3), half-titles, 64 double-page engraved plates, some light spotting, a few leaves of vol.1 nibbled at lower outer corner, original wrappers, uncut, rubbed, vol.1 spine worn and broken, [cf.Fowler 112 but no mention of this edition], Paris, 1819-17, 4to; sold not subject to return (3)⁂ Panseron was professor of drawing at the École Royale Militaire; Durand was professor of architecture at the École Polytechnique. The second work was first published in 2 volumes in 1802-05 with a third volume added later. "The work is interesting because it shows the French methods of architectural education at the end of the eighteenth century." (Fowler).

Pocock (William Fuller) Architectural Designs for Rustic Cottages, Picturesque Dwellings, Villas, &c., second edition, 33 engraved plates and plans, 23 aquatints printed in sepia, 16pp. publishers' catalogue bound in at end, book-label of Sir Henry Hunloke of Wingerworth, an excellent clean copy in the original boards, uncut, a little rubbed and spotted, rebacked preserving part of old spine, [cf.Berlin Kat. 2318, first edition], J.Taylor, 1823; Modern Finishings for Rooms: A Series of Designs for Vestibules, Halls, Stair Cases, Dressing Rooms, Boudoirs, Libraries and Drawing Rooms, third edition, 86 engraved plates, 8vo bookseller's catalogue bound in at end, some light foxing, John & Myfanwy Piper's copy with their book-label, modern half calf, uncut, red morocco label, [cf. Abbey Life 50 & Berlin Kat. 2319, first edition], M.Taylor, 1837, 4to (2)⁂ Pattern books for exteriors and interiors, the second including doors, windows, staircases, fireplaces, bookcases etc.

Ramelli (Agostino) Le Diverse et Artificiose Machine..., first edition, engraved architectural title with portrait of the author on verso, both by Léonard Gualtier, text in Italian & French, mostly on parallel leaves, all within typographical border, woodcut head- & tail-pieces and initials, 194 fine full-page engraved illustrations numbered I-CXCV (plate CXLVIII/CXLIX numbered as two), 20 double-page, contemporary ink inscription of Jesuit college in Lyons to head of title and traces of another to foot (frayed at edges and neatly repaired), with title written in French in neat ink manuscript facing engraved title, F1 & 2 bound after G signature, tears to upper margin of t3 & 4, along edge of text to H1 & 2 (just inside border) and to Gg5 (all neatly repaired), small abrasion to engraving on O2, washed, modern vellum-backed boards, red morocco label, [Mortimer French 452], folio (c.330 x 210mm.), Paris, for the Author, 1588.⁂ A tour de force of Renaissance book-design and one of the most beautiful of sixteenth century illustrated books. Celebrated both for its text and illustrations this extraordinary work on mechanical engineering was produced so handsomely in order to prevent piracy. The majority of engravings are concerned with raising water but also feature windmills, cranes, military devices, fountains, an ornamental feature with artificial singing birds, and a reading wheel.

Rossi (Domenico de) Studio d'Architettura Civile sopra gli Ornamenti di Porte e, Finestre tratti da alcune Fabbriche insigni di Roma..., vol.1 & 2 only (of 3), first edition, vol.1 with engraved title, architectural dedication and 139 plates, 8 double-page, also 2 leaves of letterpress, vol.2 with engraved title and 61 plates, 3 double-page, titles lightly browned but plates very clean, title and dedication of vol.1 creased with short marginal tear to title, contemporary sprinkled calf, spines gilt in compartments and red morocco labels (not quite uniform), rubbed, spine ends worn, joints of vol.1 split, [Berlin Kat. 2681; Millard Italian 110], folio, Rome, Domenico de Rossi, 1702-11.⁂ Important survey of the architecture of 16th and 17th century Rome including the work of Michelangelo, Borromini, Bernini, Cortona and others. The first volume depicts doorways and windows, the second the interiors of chapels and churches. The third volume (not present here) mainly featured the facades and plans of churches and was published in 1721.

Rossi (Domenico de) Studio d'Architettura Civile sopra di Ornamenti di Porte e Finestre...Hohe-Schul, Burgerlicher Bau-Kunst..., edited by Alessandro Specchi engraved throughout with 2 titles (one calligraphic, one architectural) and 51 plates, 4 folding, titles and captions to plates in Italian & German, a little browned, contemporary Italian printed shelf-label and old ink manuscript note to front pastedown, contemporary calf, rather rubbed and scuffed, [cf.Berlin Kat. 2681 & Millard Italian 110, Italian edition], folio, Augsburg, J.U.Kraus, [c.1725].⁂ German edition of the first part of Rossi's 3 volume work published in Rome in 1702-21, with details of doorways, windows, staircases etc. taken from Roman buildings by Michelangelo, Bernini, Borromini, Fontana etc.

Schübler (Johann Jacob) Perspectiva pes-picturae. Das ist: Kurtze und leichte Verfassung der practicabelsten Regul, zur perspectivischen Zeichnungs-Kunst, 2 vol. in 1, first edition, engraved allegorical frontispieces and 48 plates on 47 sheets by Rentz, Böllmann & von Montalegre (plates 14 & 15 in vol.2 joined and folding), printed in Gothic letter, text in double column, light marginal soiling, stain to upper margin of D1 & plate D of vol.1 (just touching border of plate), contemporary half calf, rubbed, rebacked and recornered, red morocco label, [cf.Berlin Kat. 4728, second edition of 1749 & lacking plate; Not in Millard N.European], folio, Nuremberg, J.C.Weigel, 1719.⁂ Schübler's first major work, a study of geometry and perspective and how it can be applied to architectural drawing. Library Hub records only 3 UK copies (BL, Cambridge, and UCL).

Serlio (Sebastiano) Regole Generali di Architettura, second edition, title with woodcut architectural border, woodcut initials and numerous illustrations, many full-page, woodcut printer's device in large cartouche to verso of final leaf, some light marginal soiling and staining, P1 torn just touching edge of image, slight worming to upper outer corner, a few small stains and tiny holes to leaves of Q & R gatherings (neatly repaired), modern calf, red roan label, [EDIT 16 CNCE 28611; Fowler 314], folio (c.350 x 240mm.), Venice, Francesco Marcolini, 1540.⁂ Book IV of this important Renaissance work on the five orders of architecture, one of eight books on architecture and perspective of which only five were published in the author's lifetime, the first being this in 1537. The present work is a reset and corrected edition of the1537 edition with illustrations taken from the original blocks. Serlio's monumental work represents the first treatise on architecture in which the illustrations assumed primary importance, leading to its becoming one of the most important architectural books to disseminate knowledge of antique heritage and invention throughout Europe during the Italian Renaissance.

Serlio (Sebastiano) Libro Primo d'Architettura, second Italian edition, title with woodcut architectural border, contemporary ink inscription at foot and small wormhole to lower margin, browned, ink stain to D1v & D2r, a few other ink smudges and marginal soiling, Gio.Battista & Marchio Sessa, [1560]; Il Secondo Libro di Perspettiva, first Italian edition, large woodcut printer's device to verso of final leaf (partly coloured red), Cornelio de Nicolini da Sabbio for Marchio Sessa, [1551]; Il Terzo Libro..., third edition, woodcut pictorial title with title in red & black, large woodcut printer's device to verso of final leaf, Pietro de Nicolini da Sabbio for Marchio Sessa, 1551, together 3 works in 1 vol., woodcut initials and numerous illustrations and diagrams, some full-page, occasional light marginal soiling and a few small stains to Books II & III but generally clean and bright, modern etched octagonal bookplate of Ralph Kirkpatrick, eighteenth century vellum, spine titled in gilt, slightly rubbed and soiled, [Fowler 306, 304 & 311; cf. Millard Italian 125], folio (c.355 x 240mm.), Venice⁂ A good set of early printings of Books I-III of Serlio's great work and including a particularly good copy of Book III. Books I & II cover geometry, perspective and stage design, Book III depicts the surviving buildings of ancient Rome and used most of the original blocks. It is curious to find mixed printings of Books I & 2 as they were issued together in both the 1551 and 1560 editions but they were obviously bound together some time ago.Ralph Kirkpatrick (1911-84), American harpsichordist and musicologist.

Serlio (Sebastiano) Extraordinario Libro di Architettura, woodcut device to title and woodcut initials, 50 engraved plates, with late 16th/early 17th century ink manuscript note to foot of title (and alteration to date) and to all plates, also ink ornamental sketch to verso of final plate and list of Spanish names to rear free endpaper, damp-staining to title, text and first & last few plates, mostly to upper outer corner, some soiling, light marginal water-staining towards end, modern limp vellum, [EDIT 16 CNCE 36440; Not in Berlin Kat., Fowler or Millard Italian], folio (c.355 x 240mm.), Venice, Giouambattista, Marchio Sessa, 1566.⁂ Very rare edition of what came to be known as Serlio's Sixth Book, not cited by Fowler in his list of printings and with only 4 copies located by Magali Vène in her Bibliographia Serliana, Paris, 2007 (3 in Paris and one in Madrid). We can trace no copy at auction."This book on gates and doors was published in 1551 in Lyon with a dedication to Henry II, probably with the hope of Serlio that he could interest the new king in becoming his patron. It provides models that combine a manneristic expression and a coarsening of Michelangelo's designs by introducing Northern strap work and the influence of the Fontainebleau school. The designs had a great influence in northern Europe, especially France, and were a source of many later books on the application of the ornament of the orders to doors and gates. The Extraordinario Libro, which was never intended to be a part of the architectural treatise, replaced Serlio's unpublished Book 6 (on habitations) in standard editions of his work, beginning with 1563. Only after 1600 was the Extraordinario Libro titled as the sixth book." (Millard French 153).

Sirigatti (Lorenzo) La Pratica di Prospettiva, 2 parts in1, first edition, fine engraved architectural title, 65 engraved full-page illustrations or plates including architectural title to second part, woodcut initials, large woodcut printer's device to colophon at end of first part, title slightly shaved at head (as often) and very slightly worn, washed, very light browning to a few plates, eighteenth century half vellum over speckled boards, a little rubbed, rebacked, [Adams S1224; Berlin Kat. 4700; Fowler 336, lacking a leaf and a plate; cf.Millard Italian 129, second edition of 1625], folio (c.420 X 270mm.), Venice, Girolamo Franceschi Sanese, 1596.⁂ Scarce elegant sixteenth century treatise on perspective with plates of orders, arches, Bramante's tempietto, and some complex polyhedra.

Soane (Sir John, 1753-1837), Attributed to. Study of an architectural detail from a door in the Temple of the Sun, Campus Agrippae, Rome, pen and brown ink with brown wash over traces of pencil, inscribed 'Frieze of a Door in a Temple of ye Sun', on 18th century cream laid paper with Pro Patria watermark with lion shown within two concentric circles, with text 'libertate pro patria eiusque', surmounted by a crown, sheet 130 x 310 mm (5 1/8 x 12 1/4 in), inset at edges onto window mount, some handling creases, browning and surface dirt, unframed, [c.1779-1782]; together with an elevation study of a unidentified public building, by an artist working in the circle of Sir John Soane and his Office, pencil, brush and ink, on laid paper with partial text-based watermark '[?]LL', pencil and ink studies for architectural decoration verso, sheet 115 x 410 mm (4 1/2 x 16 1/8 in), minor exposure lines and light browning, unframed, [probably late 18th century] (2)⁂ This architectural detail appears to relate to the group of drawings that Soane and Henry Holland produced during their tour of Italy in 1779-1782. However, the present sheet seems more worked up and finished than the examples found in the sketchbooks held in the Soane Museum [see for instance 'Miscellaneous Sketches', 1780-2 (SM volume 40), and 'Miscellaneous Sketches 1777', largely by Henry Holland (SM volume 38)].

Veith (J., publisher) Album Englischer Landhäuser, Villen, Cottagen &c., 12 parts in 1 vol., only edition, 144 lithographed plates and plans, several tinted, 12 chromolithographed, some foxing, contemporary green blind-stamped morocco with gilt arms of Graf Henckel von Donnersmarck to upper cover, rubbed, Carlsruhe, [c.1840] § Cordier (M.) Recueil de Cottages, Lodges, Hermitages et Maisons de Campagnes, engraved throughout with vignette-title and 38 plates, title with contemporary ink signature of Cyrille Godin at head and light marginal soiling, otherwise very clean, original printed wrappers reproducing title on upper cover, Godin signature at head and tear to lower edge, rather soiled and faded, spine worn, Paris, Salmon, [c.1830], oblong 4to & 4to (2) ⁂ The plates in the second are re-engraved from those in Lugar's Architectural sketches for Cottages but without any acknowledgement to Lugar.

Vignola (Giacomo Barozzi da) Regola delli Cinque Ordini d'Architettura, early issue, engraved throughout with architectural title incorporating portrait of Vignola facing right, privilege, dedication and 34 plates (numbered IIII-XXXII and 5 unnumbered of doorways and a mantel), title lightly soiled with a couple of small stains, a few spots and marginal soiling, staining to last few plates with fore-edge reinforced, plate XXVII slightly torn mostly along platemark (repaired), small adhesions to plate XXXII and first unnumbered plate where once stuck to previous plate, one or two other old repairs to inner margins, engraved bookplate of Arthur William Fitzroy Somerset of Castle Goring Sussex dated 1920, early eighteenth century mottled calf, gilt, rubbed, rebacked preserving old gilt spine and red morocco label, [Fowler 351; cf.Berlin Kat. 2578 & Millard Italian 144, both with 32 engraved leaves], folio (c.405 x 260mm.), [Rome], [late 1560s/early 1570s].⁂ An early issue of this influential treatise on the orders in which Vignola made the first serious attempt to form a mathematical basis for each order. Alongside Serlio and Palladio, Vignola was the third great architectural theorist of the Renaissance. His treatise was first published in 1562 or 1563 with 32 engraved leaves; this copy conforms to that of Fowler 351 (also with the five additional unnumbered plates at end).

Vignola (Giacomo Barozzi da) Regola delli Cinque Ordini d'Architettura, 2 parts in 1, engraved throughout, Part I with architectural title incorporating portrait, dedication and 36 plates only numbered III-XXXVIII (lacking privilege), title defective at foot with loss to title and imprint (laid down), old ink signature "Danielis Novak " to verso and with small ink stamp to front free endpaper, plate XVIII defective at upper outer corner with some loss to image (repaired), Part II 'Nuova et ultima aggiunta delle Porte d'Architettura di Michal Angelo Buonaroti' with frontispiece (?plate XXXIX, defective at foot with loss to caption), architectural title incorporating portrait by Montano and 8 plates numbered XXXX-XXXXV and 2 unnumbered of capitals, [Berlin Kat. 2582; cf.Fowler 355], [Rome, Gio. Battista da Rossi], [c.1610] bound with Labacco (Antonio) Libro...appartenente a l'Architettura nel qual si figurano alcune notabili antiquita di Roma, engraved architectural title and 27 plates on 22 leaves only (lacking plate 17), several double-page and one folding numbered as 3, with letterpress leaf 32 description of ports, title browned & stained and torn (laid down), folding plate defective at upper edge with some loss (repaired), [cf.Fowler 167, conforms to this but for lack of any imprint to title and letterpress leaf with 75 lines rather than 70)], [?Rome, Carlo Losi], [?1773] and Montano (Giovanbatista) Tabernacoli Diversi..., engraved throughout with architectural title, portrait, preface (with portrait), dedication and 23 plates only (of 24, lacking plate 17), [Berlin Kat. 3711], Rome, 1628, together 3 works in 1 vol., some spotting and staining, later marbled boards, rubbed, repairs to spine, folio; sold not subject to return

Vignola (Giacomo Barozzi da) Regola deli Cinque Ordini d'Architettura, engraved throughout with architectural title, 2 leaves of Preface, 42 plates numbered IV-XXXXVI and 2 unnumbered plates, light water-staining to upper edge of title and preface leaves, old ink inscription "J.Wolston London 1786" to front free endpaper and with technical note to pastedown, modern bookplate of P. & L. Waterhouse, contemporary sprinkled calf, rubbed, rebacked, red morocco label, corners repaired, 8vo, Rome, Gio. Batta. Rossi, [?c.1650].⁂ The unnumbered plates are titled 'Altare di San Pietro... del Cavalier Bernini' and 'Palazzo della Vigna di Papa Giulio III alla Porta del Popolo', as in the Macclesfield copy.

Vignola (Giacomo Barozzi da) Reigle des Cinq Ordres d'Architecture, engraved throughout with architectural title incorporating portrait and 42 plates, several with extensive contemporary ink annotations in German (in two different hands) to verso of plate concerning facing plate, title lightly soiled and creased, some light marginal water-staining or soiling, modern calf-backed marbled boards, vellum tips, brown morocco label, [Fowler 372], folio, Amsterdam, Justus Danckers, et se vend a Paris chez F.Jollain, [c.1700].

Vitruvius Pollio (Marcus) Architecture ou Art de Bien Bastir, translated by Jean Martin, second edition in French, title within fine woodcut architectural border, numerous woodcut illustrations, mostly by Jean Goujon, some full-page, one folding out, 2 others folding at edge, woodcut initials and head-pieces, large printer's woodcut device to verso of final leaf, title and final leaf repaired at inner margin, some light foxing, contemporary limp vellum, soiled and stained, lacking ties, yapp edges repaired, [Berlin Kat. 1808; Fowler 411; Millard French 166 & 167; Mortimer French 551; Not in Adams], folio (c.350 x 230mm.), Paris, Marnef & Cavellat, 1572.⁂ A good copy of this reprint of the Paris 1547 edition with illustrations from the original blocks, mostly by Jean Goujon and the remainder taken from the Venice 1511 and Como 1521 editions.

Wilme (Benjamin P.) A Hand-Book for Mapping, Engineering and Architectural Drawing..., first edition, folding frontispiece, additional zincograph title, 42 lithographed or engraved plates and maps, 16 folding, several hand-coloured or partly so, one with tracing paper overlay, illustrations, some light foxing, one or two small tears to folds, modern half calf over marbled boards, spine gilt with red roan label, for the Author, 1846; and 2 others by the same, 4to (3)

Wood (Robert) The Ruins of Palmyra, otherwise Tedmor, in the Desart, engraved panorama extending over 3 plates and 56 engraved plates & plans, 3 full-page engraved illustrations of inscriptions, 1753; The Ruins of Balbec, otherwise Heliopolis in Coelosyria, 47 engraved plates & plans, 11 double-page and folding, engraved inscription to text, 1757, together 2 vol. in 1, first editions, most plates by Fourdinier or Thomas Major after G.B.Borra, some light foxing or browning, particularly to central fold of second work, light water-staining to lower margin of a few plates, most notably plate XII of Balbec (also with short tear to margin), handsome modern half vellum, spine titled in gilt and with elaborate gilt tooling, slightly rubbed at lower edges, [Berlin Kat. 1884 & 1887; Blackmer 1834 (French edition) & 1835; Fowler 443 & 444; Harris 939 & 936; Millard British 92 & 93], folio⁂ Handsomely-bound pair of works, the result of the author's travels in the Levant in 1750-51 accompanied by the draughtsman Giovanni Battista Borra. The "Ruins of Palmrya...was by all accounts a triumph such as no English architectural book had ever before achieved. Here was the first of a new breed of archaeological works presenting the results of on-the-spot investigations of ancient monuments, with ostensibly accurate measured drawings of the ruins, precise descriptions of the state in which they were discovered, and exact copies of what inscriptions there were". (Harris).

Wotton (Sir Henry) The Elements of Architecture, first edition, with initial blank, woodcut head-piece and initials, B4 a cancel, contemporary ink calculation to margin of one leaf (slightly shaved), title lightly soiled, spotting towards end, initial blank, title and first leaf of Preface frayed at fore-edge (repaired), Q1 torn and repaired, modern calf ruled in blind, [Fowler 445; Harris 948; Millard British 95; STC26011], small 4to, John Bill, 1624.⁂ The first work on architectural theory to be published in English, written by the retired ambassador to Venice in the hope of being awarded the provostship of Eton College. Wotton knew that the appointment would be decided by George Villiers, Duke of Buckingham, a patron of architecture and the arts, and wrote his pamphlet to improve his chances of selection over several rivals including Francis Bacon, presenting special copies to the King, the Prince of Wales and other notable figures. The scheme achieved its aim and he was selected, and despite the haste in which it was produced the work displays learning and connoisseurship. Wotton "was the foremost exponent of Renaissance architectural theory in England and the expositor...of the unpublished ideas of Inigo Jones". (Harris).

Zonca (Vittorio) Novo Teatro di Machine et Edificii per varie et sicure operationi, second edition, title with woodcut architectural border, 42 full-page engraved illustrations, old ink inscription to title and with a couple of contemporary ink marginalia, some light spotting and water-staining at end, Bibliotheca Mechanica book-label, modern morocco-backed paste-paper boards, spine faded, slip-case, [Berlin Kat. 1775], folio, Padua, Francesco Bertelli, 1621.⁂ Interesting work with fine plates of machines such as cranes, mills, and hydraulic devices but also for paper-making, printing and spinning. It contains the first illustration of a gig-mill for raising nap on cloth.

Bosse (Abraham) Traité des Manieres de Dessiner les Ordres de l'Architecture Antique..., engraved throughout, lacking frontispiece but with title, dedication to Colbert and 44 plates including text, stain to lower margin of plate VII and small ink stain to plate XVI, light marginal soiling to a few plates, 1664; Des Ordres de Colonnes en l'Architecture..., engraved throughout with architectural title and 20 plates including text, 1664; Representations Geometrales de plusieurs parties e Bastiments faites par les Reigles de l'Architecture Antique, engraved throughout with title, 2 leaves of text and 10 plates, lacking folding plate of Corinthian orders but with additional plate of doorway bound in at end, 1659, together 3 works in 1 vol., contemporary ink inscription to foot of first title, some leaves reinforced at edges, modern half calf, spine gilt with red morocco label, [Berlin Kat. 2378, 2379 & 3858; Fowler 57, 60 & 63], folio, Paris

Brees (Samuel Charles) Railway Practice: A Collection of Working Plans and Practical Details of Construction in the Public Works of the most Celebrated Engineers, First Series, folding tinted lithographed frontispiece after Brees, list of subscribers, 77 double-page lithographed plates, some also folding, short tear to lower edge of frontispiece, foxing, water-staining to corner of a few plates, bookplate of Thomas Aiskew Larcom, contemporary cloth, rubbed and marked, rebacked and recornered in morocco, spine faded, 1837; Appendix to Railway Practice, containing a copious Abstract of the whole of the Evidence given upon the London and Birmingham, and Great Western Railway Bills..., 6 engraved plates, 3 double-page or folding, 4pp. publisher's catalogue bound in at end, contemporary ink inscription "Wm.Kitching, Darlington 1839" to head of title, modern signature and bookplate of P.H.Edwards, original cloth, rubbed, spine faded, short tear to upper joint, 1839, first editions, 4to (2)⁂ One of the foremost sources of contemporary information on civil engineering issues relating to early railways and rolling stock, by one of the engineers on the London to Birmingham line under Stephenson. The first of four series (but complete in itself) this mainly covers the construction of the London & Birmingham Railway, with the Appendix on the Railway Bill relating to the line. The final 12 plates in the First Series, of designs by Brees of bridges, arches, tunnels etc. incorporating many different architectural styles (egyptian, gothic, classical etc.), were dropped from later editions.

Brees (Samuel Charles) The Portfolio of Rural Architecture, a Series of Drawings in the Italian Style, for Villas, etc..., first edition, 16pp. text (stitched), 15 hand-coloured lithographed plates loose as issued, final plate slightly torn and creased at one corner, ex-Donaueschingen library copy with old ink oval stamp to title and another to front pastedown, original roan-backed embossed cloth folder with ties, upper cover titled in gilt, rubbed, spine a little worn and torn, [Not in Abbey], folio, 1841.⁂ According to Hugh Pagan, "the rarest British colour plate architectural pattern book of the first half of the nineteenth century". Catalogue 36, item 16, 2000. Six designs are featured: the first five each with two plates, one depicting a view and another with elevations and plans; the final design for "a fashionable villa reisdence" has 5 plates of two views, plans, and two of elevations. Library Hub records 3 UK copies (BL, University of Wales and V & A) although the last has a slightly different title and is dated 1843. WorldCat lists 3 more of the 1843 edition. Brees is more well-known as an engineer and author of Railway Practice of 1837-40 (see previous lot).

Brettingham (Matthew) The Plans, Elevations and Sections, of Holkham in Norfolk, the seat of the Earl of Leicester, to which are added, the Ceilings and Chimney-pieces..., second edition, 66 engraved plates & plans on 65 sheets, 7 folding and/or double-page, without the 4 additional plates sometimes found at end (as in the Millard copy), old ink signature of John P.Boileau to head of title and another later pencil inscription "James Fletcher Watson 18 April 1957", a few plates lightly browned or with marginal soiling but generally clean, some lightly water-stained at upper edge, contemporary half calf, uncut, rubbed, spine worn at foot, [Berlin Kat. 2336; Harris 48; Millard British 8], folio, T.Spilsbury for B.White and S.Leacroft, 1773.⁂ Greatly enlarged second edition of this architectural record of Holkham Hall, Norfolk, the seat of Thomas Coke, 1st Earl of Leicester, built by Brettingham to designs by William Kent under Lord Burlington's supervision. It was first published in 1761 in a similar format to Isaac Ware's work on Houghton Hall (see lot 285), but omitted to mention Kent as the architect. After Brettingham's death in 1769 his son Matthew issued this second edition in which he admits that Holkham was designed by William Kent, and not his father as had been claimed in the first edition. It includes many more plates, mostly of ceilings and chimney-pieces.Sir John Peter Boileau, Bt., FRS, DL, JP (1794-1869), of Norfolk, archaeologist.James Fletcher-Watson (1913-2004), watercolourist and architect.

Adam (Robert, 1728-1792), Attributed to. Three sheets of vaulted interiors, architectural facades and capriccio, pen and brown & grey inks over pencil, with grey wash, on laid paper without visible watermarks, sheets between 210 x 190 mm (8 1/4 x 7 1/2 in) and 200 x 250 mm (7 7/8 x 9 7/8 in), affixed at corners onto mount support, some damp-stains and browning, minor handling creases, unframed, [c.1754-1757] (3)⁂ Traditionally thought to be by an Italian artist active in the early 18th century working in the circle of Ferdinando Galli-Bibiena (1657-1743). However, the distinctly British penmanship and character suggests an attribution to the Adam brothers, and the drawings closely relate to work by Robert Adam found in the travel albums from his Grand Tour of 1754 to 1757. [For close comparative studies held in the Soane Museum, see "http://collections.soane.org/OBJECT1093", "http://collections.soane.org/OBJECT758", and "http://collections.soane.org/OBJECT776"].

Busby (Charles Augustine) A Collection of Designs for Modern Embellishments suitable to Parlours, Dining & Drawing Rooks, Folding Doors, Chimney Pieces, Varandas, Frizes, &c., engraved throughout with hand-coloured engraved aquatint pictorial title and 24 plates, many with aquatint, 14 hand-coloured, some light marginal soiling, plates 21 & 22 slightly smaller and mounted on stubs (plate 22 a little soiled), original green moiré cloth with paper label to upper cover, rubbed, rebacked, [Abbey Life 9; Berlin Kat. 4000], oblong 4to, Edward Lumley, [water-marked 1833].⁂ Attractive architectural pattern-book by the chief designer of Regency Brighton. Busby arrived in Brighton in 1822 and remained there until his death in 1834. In partnership with Amon Wilds he was responsible for the design and layout of the Kemp Town and Brunswick estates. As in the Abbey copy the title bears the imprint of Edw. Lumley but the plates that of J.Taylor who first issued the work.

Adam (Robert) Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia, first edition, printed on thick paper, engraved frontispiece and 60 plates on 54 leaves by Francesco Bartolozzi, [Francesco, Antonio & Giuseppe] Zucchi, Francis Patton, Paolo Santini and others, 14 double-page and/or folding, list of subscribers, title lightly soiled and with faint trace of stamp removed from verso at foot, occasional spotting or faint browning to plates, one or two shaved at edges, modern half red morocco over marbled boards, spine ruled and titled in gilt, very slightly rubbed at edges, [Berlin Kat 1893; Fowler 2; Millard British 1; Harris 4], folio, for the Author, 1764.⁂ Superb architectural record of Diocletian's palace at Split, inspired by the success of Wood's Ruins of Palmyra which had established Wood's reputation and which Adam hoped to emulate. The plates were mostly drawn by Charles-Louis Clérisseau who acted as Adam's tutor and guide to Roman architecture.

Cataneo (Pietro) I Quattro primi libri di architettura, first edition, Roman type, woodcut printer's device to title and verso of final leaf, woodcut historiated initials, numerous woodcut illustrations and diagrams, some full-page, some light foxing, mostly to title and first few leaves, trace of library stamp to title, a good copy with wide margins, later half vellum over marbled boards, a little rubbed, rebacked in vellum preserving green roan label, new endpapers, [Adams C1024; Ahmanson-Murphy 463; Berlin Kat. 2576; EDIT 16 CNCE 10234; Fowler 82], folio (c.350 x 240mm.), [Venice], [Son of Aldus], 1554. ⁂ Important architectural treatise with particular focus on the planning of fortified towns.

De l'Orme (Philibert) Le Premier Tome de l'Architecture, first edition, second issue, Roman type, title with woodcut architectural border, woodcut head-pieces and ornamental initials, 205 woodcut illustrations and diagrams, many full-page, 7 folding or double-page, with blank leaf e6 at end of Table of contents, privilege leaf at end, title lightly soiled and frayed at edges, staining to first few leaves (mostly marginal and to preliminaries), small ink stain to G1 and lower edge of H gathering, some light marginal soiling but generally a good clean copy, later morocco-backed boards, rubbed, rebacked preserving old spine, new morocco label, [Millard French 105; cf.Berlin Kat. 2362 & Fowler 99, first issue of 1567, same collation], folio (c.385 X 250mm.), Paris, Federic Morel, 1568.⁂ The only part published of a projected encyclopaedia of architecture by "the most important architectural theorist of northern Europe in the sixteenth century". (Millard). "Of the three leading early French architectural writers, De Lorme is the most interesting and original, but is less distinguished as an artist than Jean Bullant...and is less versatile as a draughtsman than Du Cerceau...[He] has been called the first modern architect because of his original contributions to construction and his skill as an organizer". (Fowler).

[Dezallier d'Argenville (Antoine)] La Theorie et la Pratique du Jardinage..., first edition, 32 folding engraved plates by Mariette, slight worming at beginning, mostly marginal but affecting a few plates, contemporary sprinkled calf, spine gilt, rubbed, joints split, new red morocco label, [Fowler 170; Henrey 950; Hunt 471; cf.Berlin Kat. 2463, later edition], 4to, Paris, Jean Mariette, 1709.⁂ Important and influential work on French formal garden design, inspired by the work of Le Nôtre, and treating the subject from an architectural perspective.

Dupin (Charles) Voyages dans la Grand-Bretagne. Force Militaire [Navale; Commerciale] Parts I-III bound in 1 vol., plates only, without text vol., second edition, 36 engraved plates, foxed, titles browned, ex-library copy with label to front pastedown but no stamps, contemporary half roan, Paris, [c.1825] § Cottingham (Lewis Nockalls) The Smith and Founder's Director containing a Series of Designs and Patterns for Ornamental Iron and Brasswork, second edition, lithographed pictorial title and 83 plates (plate LIX not issued), title slightly smaller and tipped to first plate at inner margin (creased), some light staining, mostly to lower margin but affecting first and last few plates, original decorative printed boards, rubbed and stained, lower cover lacking upper outer corner causing fraying to last few leaves, rebacked in cloth, [c.1824]; and 6 others, folio & 4to (8)⁂ The final part of the first item depicts bridges, docks and lighthouses, including Vauxhall and Southwark bridges in London, Kelso suspension bridge, the docks of London and the port of Dundee. The second work is an influential pattern book first issued in 1823 as The Ornamental Metal Worker's Directory, with designs for gates, balcony railings, fanlights, lamps, brackets, candelabras etc. The author was an architect who lived in Waterloo Bridge Road with his collection of medieval woodwork and Gothic carvings; this later became the core of the Royal Architectural Museum in Tufton Street (the predecessor of the Victoria & Albert Museum).

Francine (Alexander) A New Book of Architecture...set forth by Robert Pricke, first English edition, engraved architectural frontispiece incorporating portrait of the author (date 1674 at foot) and 38 engraved plates only (of 39, lacking plate IV), title and list of plates mounted on stub, title with slip pasted over 1669 imprint, frontispiece frayed at edges with slight loss to imprint (repaired), some light soiling and water-staining, mostly marginal, a few other leaves frayed and repaired at edges, contemporary manuscript note to front free endpaper noting imperfect collation, modern half calf, [Harris 229; Wing F2056; cf.Fowler 126, first edition, Paris, 1631], folio, for Robert Pricke, 1669 [but with slip dated 1679].⁂ Rare work by the Ingénieur Ordinaire du Roi in charge of the fountains at Fontainebleau. "His gates and arches reveal an imaginative artist who knew how to combine the traditions of French and Tuscan mannerism....His interest was focused on designs of portals in the style rustique which is familiar from Italian sixteenth-century gardens". (Harris).ESTC cites only 3 UK copies (BL, Cambridge, and Chatsworth).

Fréart (Roland, Sieur de de Chambray) Parallèle de l'Architecture Antique et de la ..., first edition, fine engraved additional pictorial title incorporating dedication to and an oval portrait of François Sublet de Noyers (the author's cousin and impetus for the book) by Tournier, letterpress title with large engraved vignette, 40 full-page engraved illustrations by Charles Errard, engraved head- & tail-pieces and initials, some light soiling (mostly to engraved title), James Gibbs's copy with his bookplate (engraved portrait of Gibbs by Baron used as title-page vignette to second edition of 'Rules for Drawing'), modern bookplate of P. & L.Waterhouse, contemporary calf, rubbed, rebacked, corners repaired, [Berlin Kat. 2374; Fowler 127; Millard French 76], folio, Paris, Edmé Martin, 1650.⁂ First edition of this important comparative study of the orders but for an amateur readership. "It is the first architectural treatise of the seventeenth century to propose a fresh look at earlier architectural treatises...Fréart's interest in abstract principles, universal laws, and their connection with beauty and geometry suggests neoclassical developments in the eighteenth century, as does his insistence on a set of underlying principles applicable to all the arts." (Millard).

Galli da Bibiena (Ferdinando) L'Architettura Civile preparata sú la Geometria, e ridotta alle Prospettive..., 5 parts bound in 2 vol., first edition, full-page engraved portrait and 72 plates, woodcut ornaments and initials, errata leaf bound after portrait, contemporary ink inscription "Ippolito Matteini pittore e Teodoro suo figlio pittore" to head of title, some soiling and staining, plates trimmed close at left-hand edge (a few frayed with slight loss) and mounted on stubs and/or reinforced, later half sheep, rubbed, [Berlin Kat. 2628; Fowler 134, variant title mentioning Bologna; Millard Italian 45], folio, Parma, Paolo Monti, 1711.⁂ "The five parts of this work treat of geometry, civil architecture in general, perspective, painting, theatrical scenes and the mechanics of lifting and moving objects. As an author Ferdinand is perhaps the most important of the five members of the great Italian architectural family of Galli da Bibiena, known for their theater designs and decorations in the full baroque style". (Fowler).

Gibbs (James) Rules for Drawing the several Parts of Architecture, 64 engraved plates, W. Bowyer for the Author, 1732; Bibliotheca Radcliviana: or, a short Description of the Radcliffe Library at Oxford, engraved portrait of Gibbs by Baron after Hogarth (bound as frontispiece to previous work), engraved portrait of Radcliffe by Fourdrinier after Kneller and 21 plates, for the Author, 1747, together 2 works in 1 vol., first editions, extra-illustrated copy with another smaller engraved portrait of Gibbs by Baron (?Gibbs's bookplate, issued as title-page vignette to second edition of the first work) mounted on front pastedown, also bookplate of the Radcliffe library, with an additional version of the Hogarth portrait (with architectural background and octagonal frame, lightly soiled & browned) loosely inserted, and engraved plan of the library and plan of a banquet in the library on June 14 1814 both tipped into second work, washed, modern half vellum, tan morocco label, [Berlin Kat. 2334 & Fowler 139, second work only; Harris 259 & 256; Millard British 23 & 24], folio

A Louis XV gold, silver and mother of pearl snuff boxwith the discharge mark of Julien Berthe, Paris 1750-56 The cover set with a mother of pearl panel with floral decoration heightened in gold piqué posé, silver-gilt sides with architectural scrolls, similar mother of pearl base, length 5.5cm, together with a late 18th / early 19th century mother of pearl and gold cage work snuff box, possibly Dutch, rectangular, the mother of pearl cover with chased gold edge-mounts, with gilt copper hinge and interior, the sides and base with similar decoration, length 6.3cm. (2)For further information on this lot please visit Bonhams.com

A highly unusual Louis XV vari-coloured gold, silver, steel, lacquer and tortoiseshell snuff boxLaurent Viardot, Paris 1762 Rectangular, the cover with an architectural capriccio depicting a curved staircase leading to a colonnaded terrace beside a ruined arch all amongst trees in unusual piqué posé and wirework of vari-coloured gold, silver and steel and lacquer, the sides with similar capriccio's of a ruined arch by a bridge with lacquer water running through, a fortified draw bridge, a rustic shelter and a well with reeded scroll and shell borders, the vari-coloured gold pierced scrolling and garland-hung thumbpiece on an entwined ribbon-chased hinge-mount opening to reveal the gold lining engraved with a Prince of Wales and Royal Garter, with later fitted case, length 8cm.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A Victorian decorated pine gothic revival side table, the moulded top over a pair of frieze drawers on pierced fretted scroll trestle supports united by an architectural stretcher. 39' wide

A 9 carat rose-gold penknife presented to Viscount Milton,Brookes and Crookes, Sheffield 1927 Of traditional form, the main body in rose-gold, to one side the inscription 'Viscount Milton' and to the other 'Opening of Canteen, S.Y.C. Works. 31. Dec. 1931', a suspension ring to one end, two stainless steel pull-out blades and a small pair of scissors, in original leather case, length closed 8cm.Footnotes:Viscount Milton was the title held by the eldest son of the Earl Fitzwilliam, who resided at the Grade I listed Wentworth Woodhouse, near Rotherham in Yorkshire; one of the largest private residences in Europe. With 365 rooms and the longest front of any house in Britain, this architectural gem was home to the prime minister, Charles Watson Wentworth, second Marquess of Rockingham (1730-82), whose estates passed in 1782 to his nephew, William Wentworth Fitzwilliam, Earl Fitzwilliam (1748-1833), a leading Whig politician. Subsequent Earls included William 'Billy' Charles de Meuron Wentworth-Fitzwilliam, 7th Earl Fitzwilliam, KCVO, CBE, DSO (1872–1943), styled Viscount Milton from 1877 to 1902, a British Army officer, nobleman, politician, and aristocrat. The family operated coal mines, along with interests in glass, pottery, tar, chemicals and cars. On-going real estate investment developed the estate into one of England's most significant landholdings. Earl Fitzwilliam, known as 'Billy', ruled with a gentle touch, ensuring the Fitzwilliam collieries were the safest, and that his workers received help during economic blights, including the 1926 General Strike, when he taught miners on pit ponies how to play polo on his front lawn, and fed them during their eight months without pay. His heir, William Henry Lawrence Peter Wentworth-Fitzwilliam, became the 8th Earl Fitzwilliam, DSO (31 December 1910 – 13 May 1948), styled Viscount Milton before 1943. Known as 'Peter', he was the fifth child and only son of the 7th Earl Fitzwilliam. This gold penknife was presented to Viscount Milton (Peter) on his 21st birthday, 31st December 1931, by his father's tenants and employees. Earl Fitzwilliam had organised a large celebration for his son's coming of age, with 'a big programme of ceremonies and festivities and exchange of gifts. The Earl is marking the event by presenting a new canteen to his employees of the South Yorkshire Chemical Works, a new cricket and football ground complete with pavilion to his employees at New Stubbin Colliery, and a reconstruction of the Elsecar Market Hall which becomes a village hall and social centre for the people of that district. The tenants and workpeople for their part are to offer gifts to the young heir and for this occasion, we shall see some faint revival of these old-time baronial festivities ...' (reported in the South Yorkshire Times and Mexborough & Swinton Times, Friday 04 December 1931 and Sheffield Daily Telegraph, Thursday 31 December 1931). On the morning of his 21st, Viscount Milton was given a tour of the district. He opened several sites by cutting the ribbons with a gold penknife, which explains the inscription on the lot on offer. Guests at the party in the evening included more than 5000 workmen, many of whom were coalminers employed by Lord Fitzwilliam. Milton married, on 19 April 1933, Olive Dorothea 'Obby' Plunket (died 1975). They had one daughter, Lady Anne Juliet Dorothea Maud Wentworth-Fitzwilliam, born on 24 January 1935. In 1943 he inherited the Earldom and a great fortune in land, houses, and art, from his father. During the Second World War, Lord Milton (as he then was) served with distinction in the Commandos and later with the Special Operations Executive, gaining a Distinguished Service Order.In Lord Fitzwilliam's later years his marriage was in disarray, and at the time of his death he was seeking a divorce, intending to marry his clandestine lover. From 1946 he had been romantically linked with the widowed Kathleen 'Kick' Kennedy (1920-1948), the sister of the future U.S. President John F. Kennedy. In 1944, Kathleen Kennedy, known to friends and family as 'Kick', had married William 'Billy' Cavendish, Marquess of Hartington and the future Duke of Devonshire. She became the Marchioness of Hartington and her older brother, Joe Kennedy Jr, was the only Kennedy in attendance at the wedding (the Kennedy clan did not approve). Four weeks after the wedding ceremony, 'Billy' Cavendish was sent to the Belgian front. In August of the same year, Joe Kennedy Jr was killed when his plane exploded while he was over France on a secret bombing mission. Less than a month later – four months after Billy and Kick wed – Billy was shot through the heart by a German sniper.After mourning Joe in the United States, Kick returned to England as Lady Hartington. She soon found love again with Peter, now Earl Fitzwilliam (the former Viscount Milton until the death of his father in 1943), however their liaison scandalised London society – she was a titled Catholic war widow having an affair with a Protestant married man. The Kennedy family, as devout Catholics, warned Kick that if she went on to marry Lord Fitzwilliam, she would be disinherited and banished from the Kennedy clan. No one knows what the couple were planning when they took off for France on 13th May 1948 from Croydon airport, as storms caused the plane to crash in the mountains, killing all passengers and crew. The Kennedy family kept the death quiet, due to the scandalous circumstances surrounding Kick's death and because of JFK's burgeoning political career. To prevent a public scandal, the nature of their relationship was not made clear in the newspaper accounts at the time. Peter was 37 years old and 'Kick' just 28 years old when they died.Kick's father Joe was the only Kennedy at the funeral. This 'Viscount Milton' gold penknife therefore has a fascinating back story - it is not 'just' a gold penknife, but is imbibed with living history, owned by a man who was born into great wealth and status, who lived fast, was brave in battle, but died in scandal, and forever linked to the ill-fated Kennedy's.LiteratureCathleen Bailey, 'Black Diamonds: The Rise and Fall of an English Dynasty', Penguin Books, 2011Tierney McAfee, 'How Kathleen 'Kick' Kennedy's Scandalous Marriage Was 'Political Poison' to JFK's Path to the White House', People Magazine, published April 15, 2016For further information on this lot please visit Bonhams.com

A Louis XVI vari-coloured gold snuff boxJean-Baptiste Carnay, Paris 1785 The hinged cover with a central chased architectural capriccio surmounted by doves and a quiver of arrows, on a stellar and pellet ground within a stylised foliate and flowerhead border, the sides with similar panels, length 6.5cm, weight 88gms.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A 19th century French silver and niello snuff boxLouis (Louis-Alexandre) Bruneau, Minerva head post 1838 second standard mark,The front depicting a monumental Cathedral, set within an architectural arch surround flanked by standing angles, sides and base covered with a geometric design, gilded interior, length 8.9cm, weight 3.6oz.For further information on this lot please visit Bonhams.com

A Louis XVI vari-coloured gold snuff boxJean-Edme Julliot, Paris 1773 Elongated oval form, the cover centred with a vari-coloured gold panel of musical trophies and a pair of doves flanked by wavy engine-turning within a raised lemon gold border of stiff leaves, the underside of the interior engraved with a coat of arms, the sides with panels of similar wavy engine-turning separated by chased baskets of fruit on architectural plinths between stiff leaf bands, length 9cm, weight 135.8gms.Footnotes:The Arms are those of Croft, Baronets of Croft Castle, Co. Hereford.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

1930's Grandmother clock 1930's mahogany grandmother longcase clock, eight-day movement striking on a single bell. Square brass dial, silvered face, chapter ring bearing Roman numerals, The hood and case of plain architectural form on bracket feet. Accompanied by two weights and a pendulum.145cm highReplacement seatboard, case from a later date. Please see images.

A late Victorian black slate and brass mounted mantel clock of architectural design with Japy Freres eight day gong striking movement - presentation plaque to front

A large collection of assorted dolls house furniture, accessories, architectural features, crafting materials etc

JAN WENCZKA (Polish, b. 1946) - a framed mixed media architectural study on canvas, signed lower right (59.5cm x 84.5cm)

Albert Wainwright (1898-1943) - Merrydown, a study depicting an interior scene, to the reverse an unfinished architectural sketch pen, ink and watercolour, unsigned, 16cm x 12cm, together with a further still life study of a fruit bowl and jug on a table, unframed, unsigned, 22cm x 17cm. (2)

A chamber stickPortuguese silverPlain base and engraved tab with pierced and engraved floral and architectural decorationBoar hallmark 833/1000 (1887-1938) and same date maker's markDiam.: 20 cm136 g

An unusual suspension salverPortuguese silverOctagonal shaped of profuse repousse decoration with fleurons' and ropes framed by architectural geometric elements in the manner of Renaissance box ceilingsBoar hallmark 833/1000 (1887-1938) and Manuel Almeida Júnior date maker's markMarked "Nascimento & Pinto"46,5x46,5 cm2416 g This piece reproduces the roof of Solar dos Pachecos - Padilhas in LamegoLiterature: Pedro Fazenda, A ourivesaria portuguesa contemporânea e os metais e as pedras preciosas, 1927

A 19th century tri-metal Egyptian relief design mantle clock of architectural form. Brass movement stamped A star. H.42 W.25 D.14cm

SANTIAGO RUSIÑOL (Barcelona, 1861 - Aranjuez, Madrid, 1931)."La Font del Gat.Oil on canvas.With information labels on the back from the Sala Parés (Barcelona).Signed in the lower right corner.Measurements: 97 x 130 cm; 127,5 x 161,5 cm (frame).The Font del Gat is a fountain in Barcelona included in the Inventory of the Architectural Heritage of Catalonia. Font del Gat translates as the cat's fountain in English. It is located in the Jardins de Laribal, on Montjuïc. A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges, the germ of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol then travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, life and death, art and reality, solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts.

LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Moulin de la Galette.Watercolour and charcoal on paper.Signed in the lower right corner.In good state of conservation.Size: 23 x 28 cm; 40 x 45 cm (frame).Lucien Genin studied at the School of Fine Arts in Rouen, where his teachers were Alphonse and Albert Guilloux. Later he enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.

Walter Whall Battiss (South African, 1906-1982)Lines in the desert, circa 1966 signed 'W BATTISS' (lower right)oil on canvas50.1 x 60cm (19 3/4 x 23 5/8in).(framed)Footnotes:ProvenanceA private collection.Titled Lines in the Desert, the present work depicts an aerial view of an arid landscape. The rectangular compositional elements of the work suggest architectural structures viewed from above. In turn, Battiss's signature employment of sgraffito – where an upper layer of medium is scratched away to reveal another applied beneath – echoes the contour lines used to indicate the gradient of landscapes in cartography. The decisive incisions within the paint suggest the topological features of a desert including sand dunes and wadis (the term used to describe a valley or stream bed in northern Africa that remains dry outside of the rainy season). The present work relates to a small number of works created in 1966 which illustrate a bird's-eye perspective of environments encountered by Walter Battiss during his extensive travels, including a pen and ink drawing, Composition (Giza Pyramids). During the sixties, the South African artist ventured afield to Europe, Egypt, Tanzania, Greece, the Middle East, and the Seychelles. As evidenced in the subject of the present work, his trip to Egypt in 1963 had a marked impact on his artistic development in the following years which is particularly evident in his experimentation with different perspectival views. As suggested by the date of the comparable pen and ink drawing, Battiss's aerial works, including Lines in the Desert, were likely produced in 1966.The 1960s marked a key moment of synthesisation in Battiss's practice as diverse Western and South African influences were brought into confluence with the artist's idiosyncratic style. From the late 1930s, Battiss worked to simplify and abstract his aesthetic. While exhibiting his work in Europe, he visited Paris and had a formative encounter with Picasso whose work contributed to his interest in the burgeoning modernist aesthetic prevalent in the city. Yet, crucially, Battiss understood modernist visual strategies – including abstraction, the elimination of background and foreground, and the move away from illusionistic representation – through the lens of the aesthetic register of the indigenous South African rock art which loomed large in the artist's artistic imagination throughout his life. As Andries Walter Oliphant describes, 'with the dual materials, technologies and aesthetic ideas of modern European art ranging from impressionism, Fauvism, Cubism, Dadaism, Surrealism and the various forms of abstraction on the one hand, and the complex visual grammar of rock art on the other, Battiss relaunched himself as a non-conformist for whom art was a site of creative freedom and aesthetic exploration' (Oliphant, 2005: p. 22). The interplay between abstract and representational elements found in Lines in the Desert exemplify how Battiss's daring approach to his painting helped forge the pathway for a new, distinctly modern South African art in the 1960s.BibliographyAndries Walter Oliphant, 'Modernity and aspects of Africa in the art of Walter Battiss', in Walter Battiss: gentle anarchist: A retrospective exhibition of the works of Walter Whall Battiss (1906-1982), exh. cat., Standard Bank Gallery, Johannesburg, 20 October – 3 December 2005, pp. 19-23.We are grateful to Warren Siebrits for his research assistance in the compilation of the above footnote.For further information on this lot please visit Bonhams.com

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Fulani Girl inscribed 'ENWO 9OU.2 NWU(6)' (lower reverse)ebonysculpture: 91 x 10 x 10.5cm (35 13/16 x 3 15/16 x 4 1/8in)including base: 120 x 15.4 x 23cm (47 1/4 x 6 1/16 x 9 1/16in).Footnotes:ProvenanceAcquired directly from the artist, circa 1980s;Thence by direct descent to the current owner;A private collection.ExhibitedLagos, Residence of the British High Commissioner and Lady Ewans, 3 Queen's Drive, Professor Ben Enwonwu: Salon Exhibition of paintings and sculptures from the 1985 London Exhibition of the Royal Society of British Artists, October 1987, no. 107.The elegantly arched body of the semi-abstracted figure of Fulani Girl echoes Enwonwu's sustained treatment of the female form in his sculptural practice. The stylisation of the figure is reminiscent of one his best-known sculptures, Anyanwu (1954) which depicts the rising up of the Igbo earth goddess Anu. Originally commissioned to adorn the façade of the new National Museum in Lagos in 1954, another version of the piece is permanently installed at the headquarters of the United Nations in New York. Reflecting on the motivations behind Anyanwu in 1957, Enwonwu explained, '[m]y aim was to symbolise our rising nation', asserting the political nature of his artistic practice. However, although driven by socio-political motivations, the artist also has a deep understanding and appreciation for the formal elements of artistic production. He goes on to explain of Anyanwu that '[t]his sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting – these qualities are characteristic of the sculpture of my ancestors'. The interplay between the flat planes of the figure's face in the present work and the curved form of her body similarly evidences the rhythmical quality of Enwonwu's sculptural practice as the fluid lines of the sculpture seem to transfigure when viewed from different angles.The Fulani, or Fula, people are one of the largest ethnic groups in West Africa. Enwonwu created several works featuring Fulani subjects in the 1950s which were exhibited in both his 1950 tour of the United States and his 1950 and 1952 London exhibitions. The present work was exhibited at the residence of the British High Commissioner and Lady Ewans in Lagos in October 1987, demonstrating the enduring influence of the Fulani people on his artmaking practices.For further information on this lot please visit Bonhams.com

Italian School (20th century): Venetian Canals and Architectural Scenes, set five oils on board unsigned max 27cm x 35cm (5)

λ DAVID BOMBERG (BRITISH 1890-1957)ROCK FAÇADE, NORTH-EAST WALL, PETRAOil on canvas Signed and dated 24 (lower right)58.5 x 77cm (23 x 30¼ in.)Provenance:James Estens, Private Collection, by 1929, purchased direct from the artist for £100 On loan to National Gallery, Millbank from November 1929 until at least 1932John Flanagan Esq, Private Collection by 1958Arthur A. Stambois, Private Collection, possibly purchased from the Arts Council Exhibition in 1958Stanley Mann, Private Collection, purchased from the above in 1961 By descent to his wife, Eithne Maureen Mann (nee Milne), Private Collection (1937-2018)By descent to the present ownerExhibited:London, Leicester Galleries, Paintings of Palestine and Petra by David Bomberg, February 1928, Exhibition no. 451, cat no. 41 Birmingham, The Ruskin Gallery, An Exhibition of Paintings and Drawings of Palestine and Petra by David Bomberg, February 1929, no. 20Newcastle-Upon-Tyne, Exhibition Park, The Palace of Arts, North-East Coast Exhibition, 14 May-26 October 1929The Arts Council, David Bomberg 1890-1957, An Exhibition of Paintings and Drawings, Newcastle, Laing Art Gallery, 17 May - 7 June 1958; Swansea, Glynn Vivian Art Gallery 21 June - 5 July 1958; Middlesbrough, Art Gallery 12 July - 5 August 1958; London, Arts Council Gallery 13 September - 4 October 1958; Bradford, Cartwright Memorial Hall, 11 October - 1 November 1958, no. 16, lent by John Flanagan Esq. (illus. pl. 4)Literature:The Studio, Vol. 104, 1932, J. Newmark, The Artist on Tour, The Rose-Red City of Petra, Painted by David Bomberg, July to December, p. 103-108, p. 108 (illus.) Richard Cork, David Bomberg, (New Haven & London: Yale University Press), 1987, illus. p. 161, no. 200 Petra was uphill work, entailing much inconvenience, expense and the maximum of annoyance - there was scenery of an extraordinary nature to compensate us for the setbacks. Scorpions, snakes, and lizards, have found a happy home in Petra, and the blue lizard who basks in the sun on the rocks of Petra.- David Bomberg, recollections on Petra In 1923, Bomberg left London for Jerusalem. Organised by the artist Muirhead Bone and funded by the Palestine Foundation Fund, his brief was to record reconstruction projects in Palestine. Working en plein air he responded to the intensity of the heat and sun he encountered in Jerusalem by creating incredibly precise realistic works infused with a brilliance of light. It was here that he met the British Military Governor of Jerusalem, Sir Ronald Storrs. Storrs became an enthusiastic patron of Bomberg and it was he who funded and organised Bomberg's two expeditions to Petra in 1924. Accompanied by a military escort to protect him against thieves, Bomberg and his wife Alice embarked on this challenging expedition which took several weeks to reach the `Rose City'.  Working as always, en plein air, Bomberg initially struggled with the sheer scale and monumentality of this city, hewn from rock, feeling "like a tiny ant, labouring along the white riverbed, with all the egotism knocked out me". (Exhibition catalogue, David Bomberg: Spirit in the Mass, Abbot Hall Gallery, July - October 2006, p.82). However, returning for a second visit he overcame this initial hesitancy and went on to create paintings such as The Rock Façade, North-East Wall, Petra. The present work is one of his masterpieces from this extraordinary expedition and so it is unsurprising that Charles Aitkens, director of the National Gallery, Millbank, accepted the work on loan from the collector James Estens in 1929. In fact Bomberg himself wrote to Aitkens on 23rd October 1929 from Toledo referring to this painting; "By this time I think the painting is at the Tate. I know you have a personal liking for the painting after all. It was a stupendous task to set to Petra, from the start, under the [?] and wildest conditions imaginable to do a hugely finished work. In this respect the picture is unique - it has never been attempted before and it is not likely to be tried again by any other artist" In the present work Bomberg has managed to masterfully combine the sweeping monumentality of the landscape with the considered detail of the architectural construction. He ineffably transports the onlooker to this magical corner of Jordan through the freshness and immediacy of the paint surface. We involuntarily squint, shielding our eyes from the morning light, taking in the huge, sheer rock face in front of us and out of this red façade the holly temples and dwellings emerge. As they were carved out of the rock, so Bomberg carves them from his canvas through each painstaking brush stroke. All the more extraordinary when one is reminded that this work was not painted in the comfort of his studio, worked up from preliminary studies, but executed in the dusty, rocky, ancient and majestic landscape of Jordan.Condition Report: The canvas has not been relined. Light surface dirt throughout. There is a small area of craquelure lower centre. Scattered craquelure to the centre portion of the sky. Inspection under UV reveals no evidence of restoration or repair. Overall in good original condition. Condition Report Disclaimer

A large Carter Stabler & Adams Poole Pottery Angel architectural faience panel designed by Harold and Phoebe Stabler, circular, modelled in relief with an angel offering up flowers, glazed in colours impressed CSA mark to the rim edge, 68cm. diam. Provenance Cottee's Wareham, lot 423 The Redstone Collection. Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 39 for a pair of facing roundel flanking central Christ figure exhibited at the British Empire Exhibition, Wembley 1924 exhibition, and then installed at the Mortuary Chapel, Mary Abbots, Kensington Infirmary. When this site was re-developed these panels were returned to Poole Pottery and erected at the factory in 1989. Lalique & Design 1860-1945, Bonham's London, lot 160 for another pair of roundel acquired from John Adam's family, the family house at Broadstone in 1956.

Sir Edward Maufe RA FRIBA (1882-1974) Guildford Cathedral, 502, 503, 504 three blueprint architectural plans on paper, signed in the print with architects office, 63 x 49cm. (3)