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LUCIEN GENIN (Rouen, 1984 - Paris 1953)."Place du Tertre, Sacre Coeur".Gouache on paper.Signed in the lower margin.Size: 15,5 x 19,5 cm; 30 x 33,5 cm (frame).Lucien Genin studied at the School of Fine Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later 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.

19th century French 'Stations of the Cross' hand painted plaster cast plaque, no. II 'J�sus est Charg� de sa Croix' (Jesus takes up his cross), with an architectural frame in a scumbled finish with lunettes over a foliate arch H110cm

19th century French 'Stations of the Cross' hand painted plaster cast plaque, no. VII 'Jesus tombe pour la deuxieme fois' (Jesus falls for the second time), with an architectural frame in a scumbled finish with lunettes over a foliate arch H110cm

English church architecture.- Niemann (Edmund John) Coventry Cathedral and adjacent houses, watercolour and gouache with pen and ink, heightened with gum-arabic, 455 x 355 mm (17 7/8 x 14 in), signed lower left, browning, unframed, [mid 19th century]; with a small group of other drawings and watercolours of a range of British architectural interest, including a humble rustic-looking building in King's Road, Chelsea, by William Wells Hardy, signed and dated 1853, a study of a rural church by Myles Birket Foster, bearing studio stamp, Edinburgh Castle, by Richard Cust after Paul Sandby, a ruined castle by Samuel Mackenzie, and a partially ruined fortified gateway, with figures and cattle, by James Baynes, all unframed (6)Provenance:Sale. Bloomsbury Auctions, 15th December 2016

De Marsellis (Marco) Iconologia della Madre di Dio Maria Vergine, engraved additional architectural title, woodcut arms to letterpress title, additional gathering of 4ff. bound between a4 and b1 (browned), not recorded in other copies of this edition, single full-page engraved illustration, ink inscription to rear endpaper, c3 & c4 with closed tears repaired (affecting text), browning to some pages, otherwise some light scattered spotting, cracking to gutter in a few places, first few gatherings and B2-3 working loose, lacking front endpapers, upper hinge broken with back-strip away from text block, contemporary vellum with manuscript ink title to spine, toning and soiling, a few small worm holes to cover and spine, Naples, Onofrio Savio, 1654 § Montargon (Hyacinthe de) Dizionario Apostolico per uso de' Parrochi..., 5 vol., vol. 1 title in red and black, titles with woodcut ornaments, browning and foxing throughout, contemporary vellum, spines gilt, vol. 5 small tears at spine ends, a few small stains, Naples, Gaetano Castellano, 1784 § Franchis (Francesco de) Salvator mysticus sive Hoseas enucleatus opus.., 2 vol., engraved architectural titles, vol. 2 half-title, woodcut head-piece and initials, book-label and manuscript note to title versos, vol. 2 small amount of worming to final ff. (affecting text with minor loss), occasional light spotting, some ff. with light marginal damp-staining, later vellum-backed boards, rubbed, Salerno, F. Savio et al., 1647; and 13 others similar, v.s. (16)⁂ I. An uncommon work dedicated to the iconology of the Virgin of Montevergine, known as the 'Black Madonna', and often as 'Mamma Schiavona' [Mamma Slave]. Held originally by legend to have been painted by Saint Luke, the icon dwelled in Constantinople before being gifted in the 1300s to the Sanctuary at Monte Vergine near Naples, by Catherine II of Valois, the recognised Latin Empress of Constantinople. Rare in commerce.

Bible, Latin. Biblia ad vetustissima exemplaria nunc recens castigata, woodcut architectural title, woodcut illustrations and decorative initials, lacking S8, X4-5 and all after 4A8 (3 leaves of index and final blank), title chipped at fore-edge and laid down, missing X4-5 supplied in later manuscript, 3D8 with loss to lower corner, affecting a couple of letters, tear to foot of 3G1, affecting a few words but with no loss, some light foxing and occasional soiling, water-staining towards end, 4A8 repaired at fore-edge with loss to a few letters, hinges cracked, contemporary vellum, manuscript title to spine, rubbed and soiled, restoration to spine and joints, endpapers renewed, [Edit 16 CNCE 5801], 4to, Venice, [Hieronymus Polus], 1587.

 *** Please note, the description for this lot has changed.Armenian language.- [Work on the diffusion of knowledge for children], engraved frontispiece, additional architectural title, title vignette and 4 folding plates, some foxing, contemporary half morocco, extremities lightly rubbed, 1818; and 3 19th century works in Russian on monuments, 4to (4)

A SET OF THREE 'OPUS ANGLICANUM' ORPHREY PANELS 15TH / 16TH CENTURY of lancet form, worked with silk and gilt thread in a variety of stitches including split, satin and silk twist, with applique and couched work on a gilt diapered ground with a king wearing an ermine lined gown and holding an orb and sceptre before a flowery mound, a saint holding a staff and a nobleman, each above a panel with castellations (3) 29.5 x 18cm (max) Catalogue Note For a very similar single panel with a man standing on a similar architectural background and worked in a similar manner, dated 1400-1500s, see Victoria and Albert Museum, accession number T.81-1946, item 0364623. Also, see the Victoria and Albert Museum, accession number 241-1908, item 0354257 for a 16th century chasuble applied with similar orphrey panels. Orphrey panels such as these were traditionally applied to ecclesiastical vestments, such as chasubles or copes, or to altar frontal cloths. They were made using silk and precious metal threads often commissioned by the patron of the churches in which they would be seen and are usually either English or Italian. The term 'Opus Anglicanum' was first adopted in the 13th century to classify works of this nature and the quality produced in the medieval and early late medieval period.

A MAHOGANY CASED HAC MANTLE CLOCK, having an architectural case and barley twist pillars, the brass break arch dial plate having gilded floral spandrel male mask decoration, matted inner dial, silvered convex chapter ring, marked J.B. Yarlsey, 72 Ludgate, London, the ting tang movement striking on coiled gongs, H 54 cm

A Victorian black slate mantel clock, of architectural form

A Victorian black slate mantel clock, of architectural form

A VICTORIAN ARCHITECTURAL GILT METAL MOUNTED SLATE MANTLE CLOCK the 8-day French movement striking on a coiled gong, dial signed 'SLY & CO BARNSTAPLE', Arabic numerals to chapter ring, 37cm wide 15cm deep 40cm high Condition Report : no major damage or losses, with key and pendulum, movement untested Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

A collection of six prints; including, After Sir Joshua Reynolds, portrait of Charles James Fox (1749-1806), overpainted print, 21.5 x 17.5cm; Portrait miniature of Lord Nelson, coloured engraving, 14 x 11cm; three architectural engravings and one humorous hunting print. (6)

The General Staff Building standing in the Palace Square, St Petersburgoil on canvas40 x 50cmtogether with two studies of architectural features

A French ormolu bracket clock, circa 1860, of architectural Baroque design, acanthus scroll and shell pediment with finials, 14cm dial with inset enamel Roman numerals, flanked by columns and scroll side handles, on a breakfront plinth raised on fretwork acanthus scroll feet, the movement striking on a bell, 60cm high

A late 19th Century Vienna clock, of architectural form incorporating a cupola, columns and plinth, painted cartouches of Venus and infant cupids, raised gilt borders and detailing, gilt metal mounts, circular movement with Roman numerals, blue beehive mark, 30cm high

L&A Blain of Liverpool; a 19th-century gothic mahogany high-back reclining chair, the shaped back pierced with gothic tracery over a planted-on upholstered seat supported by massive architectural front legs united by a frieze of pierced and carved crockets, stamped twice to the end of the front legs below the seat.Please follow the link for further notes on T&A Blain of Liverpool. Credit BIFMOThe reclining function is no longer operative and has been fixed in the upright position

An Aesthetic Movement period 8-day mantle clock, with an ebonized architectural case with engraved and gilt decoration with a blue and gilt porcelain dial above arcading fitted with porcelain painted with medieval figures tending fruit trees. The French movement chiming the hours and the half-hour as a passing strike on a coil gong. On simple turned feet. 30 cm wide x 45 cm highBoth going and chiming trains wind freely, the clock chimes the hours and half hour, the hours are put of sync with the indicated hour.The movement runs but soon stops.The dial has inevitable small chips around the winding holes.The case has the left-hand side, waist moulding missing. Some rubbing to the decoration in places.

A Victorian architectural mantel clock, with an arched cornice over a frieze of roundels, above a pair of Corinthian fluted columns, the silvered chapter ring with Roman numerals. H.40 W.29 D.19.5cm

Henry Moore O.M., C.H., F.B.A. (British 1898-1986) "Four Reclining Figures with Architectural Background" 1976, signed and numbered 32/50 in pencil in the margin, with gallery label - 'Wagner Art Gallery, Hong Kong' on verso, lithograph in seven colours.image size 21.5cm x 35cm (8.5in x 13.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The original metal frame has some minor scuffs and scratches commensurate with age.

Unbekannt, 20. Jh.Geometrische Komposition mit halbrundem Abschluss. Aquarell und Gouache auf Papier, 20. Jh. Unsigniert. Rückseitig Architekturstudien. Hinter Glas gerahmt. 15 x 9 cm (Bl), 27 x 21 cm (Ra). Unknown artist. Geometric composition with semilune top. Watercolours on paper, 20th century. Unsigned. Backside with architectural studies. Framed behind glass.

Heckroth, Hein (1901 Gießen - 1970 Alkmaar)Bühnenraum-Skizze. Tuschezeichnung, 1931. In Blei unten rechts signiert, datiert und bezeichnet "Düf Skizze" (Düsseldorf, Skizze). Im Passepartout hinter Glas gerahmt. 18 x 26 cm (BA), 37 x 50 cm (Ra). Passepartout deutlich stockfleckig, Blatt lichtgebräunt. Leicht perspektivisch angelegte Bühnengestaltung mit diversen sich auftürmenden Architekturen und einer Staffagefigur. Sketch of a theater stage. Ink drawing, 1931. Signed and dated in pencil bottom right, also located Dusseldorf. Framed behind glass. Passepartout with strong foxing, sketch tanned by the sunlight. Design for an architectural stage concept.

PHOTOGRAPHY: INDIA: a pair of large format hand-tinted albumen print photographs of Indian architecture, each approx 54 x 43cm: together with an interesting 19th century perspective architectural drawing, approx 43 x 58cm, laid onto board. (3)

'THE ROTHSCHILD MILANESE ARMOURER'S CABINET' A RARE NORTH ITALIAN DAMASCENED STEEL AND GILT BRONZE ARMOURER'S TABLE CABINET IN THE MANNER OF THE WORKSHOP OF GIOVANNI BATTISTA PANZERI, MILAN, THE PLAQUES LATE 16TH / EARLY 17TH CENTURY, THE CABINET 19TH CENTURY fitted with eleven drawers around a central cupboard hinged door, decorated in relief with scenes from Roman history before cityscapes, with swags of fruit and leaves, soldiers, satyr masks, war trophies and term figures, the cupboard with the story of Gaius Mucius Scaevola, revealing a gilt lined vacant interior, the cabinet with a pierced scrolling leaf silver gilt border and green damask velvet panels, on sphinx supports, on an associated and later French 'Japonisme' stand (2) cabinet: 42.5cm high, 59.8cm wide, 35.5cm deep the stand: 80.8cm high, 65.7cm wide, 42.5cm deep Provenance Alfred de Rothschild (1842-1918) the Red Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian cabinet with architectural front, overlaid with steel plaques chiselled with classical warriors and partly damascened with gold, Milanese, 16th Century, on stand, £300.0.0.' Catalogue Note In Milan during the second half of the 16th century skilled craftsmen who produced damascened armour and weapons for noble patrons began to expand their production into furniture. Creating mainly cabinets with drawers, some of architectural form but also tables, mirrors, picture frames and tabernacles tailored to the tastes of wealthy patrons desiring one-of-a-kind masterworks epitomizing luxury. These objects made by the Milanese armourers were decorated with steel or iron plaquettes, embossed and damascened with gold and silver, depicting subjects inspired by Roman history or mythology. Sometimes they were embellished with small sculptures. One of the prominent makers to capitalise on this luxury market was Giovanni Battista Panzeri, called Zarabaglia, who also specialised in devotional objects. His masterpiece is arguably the reliquary tabernacle in the form of a church, made for Spain's El Escorial, kept in its Monastery of San Lorenzo. For comparisons to our present cabinet, see the Victoria & Albert Museum for a cabinet with very similar panels and subject matter gifted by Dr. Hildburgh, accession no. M.22:1-1952, dated to 1550-1600. In the Waddesdon Bequest at the British Museum there is an architectural cabinet formerly belonging to Alfred's cousin Baron Ferdinand de Rothschild, reg. no. WB.16. See also three cabinets in the Museo Poldi Pezzoli and a wiring cabinet in the Philadelphia Museum of Art, accession no. 1930-1-187. Literature For a discussion of these cabinets, see Silvio Leydi, Mobili Milanesi in acciaio e metalli preziosi nell'eta del Manierismo, in Fatto in Italia. Dal Medioevo al Made in Italy, ed. by Alessandra Guerrini, with Barbara Brondi and Marco Raino. Catalogue of the exhibition at Reggia di Venaria, 19th March - 10th July 2016. The Iconography The central panel depicts Gaius Mucius Scaevola in front of the Etruscan king, Lars Porsena. Scaevola, a young Roman, formed a plan to save Rome from the intruder Etruscan army by assassinating their king but he mistakenly killed the king's secretary. When Scaevola was captured, he bravely declared "I am Gaius Mucius, a citizen of Rome. I came here as an enemy to kill my enemy, and I am as ready to die as I am to kill. We Romans act bravely and, when adversity strikes, we suffer bravely." Scaevola then thrust his right hand in a fire to prove he meant his words. Lars Porsena was so impressed by his actions that he allowed Scaevola to leave and soon after sought to make a treaty with Rome. Some panels surrounding this legendary scene are also connected to the siege of Rome, depicting Roman heroes standing up to the Etruscan king: bottom left showing Horatius Cocles who, first accompanied by two fellow soldiers, but eventually singlehandedly held off the advancing army at the foot of the bridge over the Tiber. The panel above shows a female figure, standing in front of the king on horseback. The female is probably Cloelia who escaped from the Etruscan camp and led away a group of Roman virgins. Cloelia later voluntarily returned to Lars Porsena who then praised her for her heroism and allowed her to walk away again with half of the Roman hostages. And the bottom right panel depicts the ultimate sacrifice of a Roman hero with the story of Marcus Curtius: when a bottomless chasm mysteriously opened on the Forum, the augur declared it will not close until the most precious possession of Rome was sacrificed. Curtius responded that the the soldiers' courage and arms were what made Rome exceptional, before, on horseback and fully armed, he threw himself into the pit which then promptly disappeared. These panels are consistent with the Renaissance period which saw a shift towards more historic and Biblical themes. A return was made to classical Greek and Roman ethos of society and this also appeared on furniture. Many pieces showcased intricate artwork depicting historic scenes. Similar trends can be observed on parade armour created in the 16th and 17th century for the high nobility.

HOPE (W. H. ST JOHN) WINDSOR CASTLE, AN ARCHITECTURAL HISTORY two volumes only, lacking number III of plans, limited edition 53 of 1050, published at the Offices of Country Life, 1913, quarter vellum bound over blue boards with blue end papers, with 'Ex Libris L. de Rothschild' paper label inside front cover (2) Provenance Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House

ALBERT BECUS "Continental river landscape with bridge and buildings", pen and watercolour, signed lower right, 26 cm x 36 cm, together with another by the same hand "Harbour scene", signed lower right, AFTER JULIA MATCHAM "The Cob, Lyme Regis", screen print artist's proof, signed and titled in pencil to margin, image size 38 cm x 38 cm, C M FADDEN "Ballerina amongst flowers", an abstract study, watercolour, signed and dated 2009 lower left, two architectural print studies and a gilt framed mirror

A circa 1900 oak cased mantel clock of architectural form, the eight day German movement by Winterhalder & Hofmeier with square brass dial and silvered chapter ring with Roman numerals 41 cm high x 31 cm wide

A collection of artists' and photographic items, to include books on 'Advanced Airbrushing Techniques', Magic Markers Super 63 Airbrush and other cased Magic Markers Super 63 Airbrushes by De Vilviss, various nozzle sets, set squares, mathematical and architectural items and miscellanea, also a boxed Sprayit Diaphragm Sprayer Model 662 (2).

A quantity of vintage tools, to include a wooden plane, various wooden mallets, chisels, a boxed Record plane, vintage wooden plane, a boxed Stanley plane and a group of vintage wooden architectural T-squares (2).

ADRIAN HILL (active 1923); pen and ink sketch, 'Notre Dame Paris', signed, titled and dated 1923 lower right, approx 17.3 x 24cm, mounted and a sepia coloured pen and ink architectural sketch, indistinctly signed lower right, approx 28.3 x 40cm (image has slipped in mount), framed and glazed (2). CONDITION REPORT: The second drawing has slipped in the mount.

An extensive selection of monochrome and coloured glass photographic slides, including international architectural and landscape views, agricultural scenes, figures in traditional national dress etc.; also various more recent projector slides and a boxed Pathescope Ace Projector (2 boxes) Condition Report:Available upon request

A Victorian slate and marble mantel clock, with Roman numeric enamel dial, eight day movement, the case of typical architectural form, with gilt lion mask applied decoration, with key, 26cm high, 36cm wide, 15cm deep.

A Victorian black slate and marble mantel clock, J.W Benson, 33 and 34 Ludgate Hill, London, with white enamel dial bearing Roman numerals, thirty hour movement, the case of typical architectural form, lacking key and pendulum, 17cm high.

A reproduction brass skeleton clock in Gothic architectural design, striking on a bell, under glass dome, height 44cm

Day or Night, Coastal Delight Artist:Daniel RalphDaniel has been a full time Community Pharmacist for 7 years. His hobbies include interior design and gardening, making both architectural and sketch style drawings when coming up with ideas and mapping them out. However he hasn't picked up a paint brush since his GCSE art (except for decorating a wall). Sponsor:AdnamsAt Adnams in Southwold we love what we do, and we've done it for a while now - 150 years to be exact. We are distinctive brewers, distillers, wine merchants, retailers, publicans and hoteliers. We craft quality , well-loved premium beers and spirits, and work with some wonderful producers to bring you the best wines in the world. Our stores, hotels, pubs and inns reflect our individuality and the personality of our incredible teams creating memorable moments and giving our customers experiences that delight.https://adnams.co.uk/ Measurements (approx.)Length 165cmHeight   75cmWidth    40cm 

Five boxes of miscellaneous books, mainly being religious and related to include Jenkyns, Rev. Henry: The Remains Of Thomas Cranmer, vols I-IV, Oxford 1833, King Hunter, William: History Of The Priory Of Coldingham, Hope, W.H. St. John: The Architectural History Of The Cathederal Church And Monastery Of St Andrew At Rochester, Millers, George: A Description Of The Cathederal Church Of Ely and Farrar, Dean: The Life Of Christ etc. (5)

Two boxes of miscellaneous books, mainly being historical and architectural examples to include six volumes from the English Life Series, Medieval England x2, Stuart England, Georgian England, Elizabethan England, Victorian England, Cassady, Richard F.: The Norman Achievement, Rowse, A.L.: Windsor Castle In The History Of The Nation, Peel, J.H.B.: An Englishman's Home and Geoffrey Boumphrey: Your House And Mine etc. (2)

A SET OF SIX ANTWERP TAPESTRY OVERDOOR PANELS SECOND HALF 17TH CENTURY Each woven in wools and silks, depicting architectural scenes and palaces surmounted by a blue cabochon within a scrolled cartouche and flanked by fruited and floral garlands, with brown outer slip, lacking to bottom edge of two slight size variance but each approximately 102cm by 213cm Provenance: Christie's, 'Furniture, Sculpture & Carpets', 10th November 2005, Lot 7   Condition Report: All have been undergone professional conservation, cleaning and spot restoration within the last 30 years. Modern backing- beneath which some patch repairs are visible- later border edge sections and probably all slightly trimmed in size. Evidence of spot repairs and surface tightening - some of which has failed slightly as surface have crumpled slightly. and indications of old spot stains.   Please refer to additional images for visual references to condition which forms part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.   Condition Report Disclaimer

Y A SOUTH ITALIAN VERRE EGLOMISE, TORTOISHELL, ROSEWOOD, EBONISED AND EBONY CABINET NAPLES, LATE 17TH CENTURY, CIRCLE OF LUCA GIORDAN, POSSIBLY BY DOMENICO COSCIA Of breakfront outline, the panels painted with mythological scenes, the central architectural door opening to a mirrored recess ON A LATER GEORGE III EBONISED AND PARCEL GILT STAND LATE 18TH CENTURY the cabinet and stand overall 176cm high, 146cm wide, 50cm deep Provenance: Christie's, London, Fine European Furniture, Sculpture, Tapestries and Carpets, 10th November 2005, Lot 164 Catalogue Note: During the 17th and 18th Century many visitors on the Grand tour would have marvelled at the Italian interiors adorned with exquisite furniture. The cabinet on stand was a piece particularly admired and often commissioned to be brought back to England. One such grand tourist was Thomas Isham 3rd Bt (d.1681) who spent three years in Rome amassing a collection of wonderful objects which included a similar pair of cabinets. Other comparable examples can be found in the Victoria and Albert museum, The Palazzo Barberini and the Pitti Palace (see E. Colle, Il Mobile Barocco in Italia, Milan, no. 14).   The painted panels depicting mythological subject matter resembles the work of Luca Giordano (1632-1705) although none of the designs have been attributed to him. Bernardo de Dominici an Italian historian and painter (1683-1759) wrote extensively in his Vite de' Pittori Scultori ed Archietti Napoletani on Giordano's painting on glass which resembles the imagery of this cabinet. However, he also mentions the pupils of Giordano who painted on glass, most notably Domenico Coscia. Not much has been written about Coscia and he remains largely unknown. Nevertheless, the artist is mentioned in Linda Martino's introduction of the 'Vetri Dipinti' section in A.Gonzalez-Palacios, Civilta del Seicento a Napoli, 1984, p 4.22. This suggests he was the most prolific glass painter of cabinets at the time and probably was the painter of this piece. Alvar Gonzalez- Palacios also argues panels of this kind were initially painted in Florence and then assembled in Naples. This suggests the painter would have been a living in Florence at the time (A. Gonzalez-Palacios, Il Tempio del Gusto, vol). This theory is supported by Mina Gregori and Frederico Zeri who have attributed similar panels in a Naples private collection to the Florentine artist Pietro Dandini (1646-1712) [ibid.,p.283]. Condition Report: Overall there are knocks, scratches, cracks and abrasions consistent with age and use. There are losses, restorations and observations including: some black staining; cracks to some veneers including the rosewood sides; the base with no carving to the back of the back legs; the base with gilding probably later, suggested by the absence of gilding to the back of the front legs even though they are carved with flutes; scuffing along the top edge of the front of the base revealing the underlying wood; the lock to the central door is a replacement; scuffing where the drawers and door run against the outset base of the top; the painted panels with some paint flaking and scratched; some cracks to some panels; some verre eglomise panels loose; lacking one moulding to the side of one panel; chips and losses to the tortoiseshell including to the edges alongside the drawers; there is evidence of worm. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

▴ Emvin Cremona (Maltese, 1919-1987)Architectural compositionsigned l.l., mixed media65 x 50.5cmCondition ReportFramed size 66.5 x 52.5cmNot viewed out of glazed frame. Signature faded. A 3cm crease to left edge. A 3cm indentation to left edge. Further indentations to paper at edges. Light yellow time staining to extreme edges. Please contact department for additional condition images.

A pair of French architectural prints (65cm by 49cm).

A collection of five Lilliput Lane collectible architectural sculptures, including: Tudor Court; The George Inn; Oakwood Smithy; and two others, each in box.

Three Lilliput Lane collectible musical architectural sculptures, including: Country Christmas; The Old Forge at Belton; and The Old Sun Inn; together with two other Lilliput Lane models, each with box. (5)

Two Lilliput Lane collectible musical architectural sculptures, comprising: Christmas Lights at the Bell Inn; and The Three Kings; together with seven other Lilliput Lane collectible architectural sculptures, including: The First Noel; Christmas Cake; The Star Inn; and others, each with box. (9)

A collection of Lilliput Lane collectible architectural sculptures, including: The Old Vicarage at Christmas; Three Feathers; St. Mary’s; Crendon Manor; and others; together with a Lilliput Lane musical architectural sculpture of Christmas Shopping, each with box. (9)

A collection of Lilliput Lane collectible architectural sculptures, including: Wealden House; Flower Sellers; High Bridge, Lincoln; and others, each with box. (9)

A collection of Lilliput Lane collectible architectural sculptures, including: Flower Basket; Jamaica Inn; Strawberry Fields; and others; together with a Lilliput Lane musical architectural sculpture of The Angel Inn, each with box. (8)

A collection of Lilliput Lane collectible architectural sculptures, including: April Cottage; The Farriers; Afternoon Tea; Old Thatch Teashop; Holme Dyke; and others, each with box. (18)

A collection of Lilliput Lane collectible cottages and other architectural sculptures, including: God’s Providence House; Smugglers Rest; Sugar Mouse; Cabbage Patch Corner; and others, each with box. (18)

A collection of Lilliput Lane collectible cottages and other architectural sculptures, including: The Pigsty; The Toy Box; Wishing Well; Alfresco Afternoon; and others, each with box. (18)

A collection of Lilliput Lane collectible architectural sculptures, including: Merchants House; Queen of Hearts; Tree Tops; Snowed Dovecote; and others; together with Lilliput Lane architectural Christmas tree ornaments; and other Lilliput Lane collectibles including enamel badges and other items.

A collection of crested ceramics, comprising architectural models, figures, vases, vehicles and other items, by various makers, including: A.B. Pearce; W.H. Goss; Arcadian China; and others.

A 19th Century style German ebonised wood mantel clock, of architectural form, with H.A.C. 14 day strike, the case 39cms high.

A pair of Derby figures of fruit sellers; together with a selection of Continental ceramic figures; and three Staffordshire architectural pastille burners. (8)

A collection of Royal Crown Derby paperweights, comprising: Govier’s of Sidmouth architectural paperweight, celebrating the Diamond Jubilee of HM Queen Elizabeth II, limited edition of 750, exclusive to Govier’s of Sidmouth; The Royal Book Shop architectural paperweight, celebrating the Queen’s Platinum Wedding 2017, limited edition of 500; and a St James’s Millinery and Military Tailors architectural paperweight, celebrating the 90th and 95th Birthdays of HM The Queen and HRH The Duke of Edinburgh, limited edition of 500, two with boxes. (3)

A collection of Royal Crown Derby paperweights, comprising: The Longest Reign Pub architectural paperweight, commemorating HM Queen Elizabeth II becoming the longest Reigning British Monarch, limited edition of 500, exclusive to Govier’s; The Royal Book Shop architectural paperweight, celebrating the Queen’s Platinum Wedding 2017, limited edition of 500; and a St James’s Millinery and Military Tailors architectural paperweight, celebrating the 90th and 95th Birthdays of HM The Queen and HRH The Duke of Edinburgh, limited edition of 500, two with boxes. (3)

LATE 19TH/EARLY 20TH CENTURY MANTEL CLOCK IN ARCHITECTURAL HARDWOOD CASE

Y A CHARLES II PAINTED OAK, MOTHER OF PEAR AND BONE INLAID ENCLOSED CHEST OF DRAWERSCIRCA 1660 With cushion frieze drawer above a deep drawer, the cupboard doors to the base enclosing an arrangement of three further drawers136cm high, 115cm wide, 66cm deepProvenance:Sidney Edward Letts (1868-1940)Sold to Leonard and Maud Messel for the Sitting Room at 104 Lancaster Gate Thence by descent to Oliver Messel Supplied by Oliver Messel to Frederick and Phyllis Watkins for Flaxley AbbeyThis mother-of-pearl, bone-inlaid and painted oak chest-of-drawers was in the collection of Leonard and Maud Messel, parents of Oliver Messel, in [approx. date of photograph] where it was photographed in the Drawing Room at their London home at 104 Lancaster Gate (private collection). Enthusiastic collectors throughout their lives, this chest-of-drawers was almost certainly purchased by them from the London antique dealer and maker of reproduction furniture, Sidney Edward Letts (1868-1940) of 98 Great Russell Street, London, who owned this chest in c. 1904-08 when it was illustrated in Percy Macquoid's The Age of Oak (London, 1904-08, reprinted 1989, pp. 76-77, fig. 141). As a young man, Oliver was surrounded by artists, collectors, connoisseurs and scholars in the 'rarefied and exotic world' of his parents (T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 18). Fashionable dealers and interior decorators of the period were also among the visitors to Lancaster Gate, Balcombe House and, from 1915, Nymans in West Sussex. Mr. Lenygon of Lenygon and Morant, specialists in period interior rooms, would take Oliver 'on fascinating expeditions through a maze of Dickensian streets to see marvellous materials being woven in Hogarthian surroundings, secret havens for fringes, gimps and tassels, master wood-carvers, gesso work, gilders, glass-blowers and engravers' (ibid., p. 24). The chest-of-drawers has mouldings applied to the facade in geometrical patterns, which are architectural in spirit. The advent of the 17th century chest-of-drawers in England, often made in two parts, is a testament to the skill of the joiner before he was replaced by the cabinet-maker in 'the creation of fashionable furniture (Benno M. Forman, 'The origins of the joined chest of drawers', Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art, Vol. 31, 1980, p. 170). It derives from continental prototypes such as the Netherlandish Zeeland Kast although it differs in that it has drawers rather than shelves. Such chests-of-drawers are identified in the London inventories of the middling sort rather than urban aristocrats or rural gentry. The inlaid mother-of-pearl and bone decoration was common on the stocks of guns made in London in the 16th century (ibid., p. 172) although the ornamentation of English chest-of-drawers is composed of larger pieces of inlay and the patterns are looser possibly undertaken by emigré craftsmen working in London (ibid.). While the bone and mother-of-pearl inlay of this chest-of-drawers is probably original, the painted ornamentation in the Neo-Renaissance style, together with the carving on the cornices and feet and the drawer handles, are almost certainly a later enhancement - possibly dating to the late 19th / early-mid 20th century. In general, no English 17th century example has carved or relief ornamentation (ibid.). Furthermore, it is unusual for not having turned half-spindles suggesting engaged architectural columns. Other examples are at: Towneley Hall Museum and Gallery, Burnley; Benthall Hall, Shropshire and Montacute House, Somerset (A. Bowett, English Furniture 1660-1714: From Charles II to Queen Anne, Woodbridge, 2002, p. 50, Plate 2:29; NT 509680 and NT 597546). Interestingly, there is a Carolean chest-of-drawers inlaid with bone and mother-of-pearl at Parham Park. At Parham, Oliver Messel was advising Clive Pearson on the interiors and prior to this Pearson was buying furniture from Sidney Letts for his Grosvenor Square address in c. 1920 (J. Cornforth, 'Parham Park Revisited - I: The Home of Mrs. P.A. Tritton', Country Life, 6 June 1985, p. 1569). Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, some losses to mouldingsOverall this has had various alterations and adaptions over the years, the top most and central deep drawers would both have had side runners, these have been filled in and cut back to allow it to run on the base, The drawers to the interior of the cupboard doors have the central runners, these appear to have been refreshedThe internal painted surface is certainly later applied The handles are replacements throughout, there are old holes where the previous handles have been visible to the interior of the drawer frontsOverall solid and stableThe bun feet are later associated and again on later castorsPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

Ɵ  Poetry.- Custance (Olive, Lady Alfred Douglas) Rainbows, first edition, presentation copy inscribed by the author 'For dear Mrs. Bupton with much love from Olive, Weston, August, 1902', browning to preliminaries, half-title, original boards with paper label to spine, boards marked and rubbed, lower spine chipped, spine ends and corners bumped, edges uncut, The Bodley Head, 1902 § Tennyson (Alfred, Lord) The Poems 1830-1856, Oliver Messel Association copy, inscribed on front endpaper 'To Oliver, from Vivian, 25 June, 1941', red morocco, gilt, rubbed, extremities bumped with loss top of spine, 1919 § Milton (John) Paradise Lost. A Poem in Twelve Books, 2 vol., Oliver Messel Association copy, half-titles, engraved titles dated 1822 loosely inserted in vol. 1, 12 engraved plates after Richard Westhall, foxed, tissue guards, printed titles, foxed, vol 1. inscribed to Oliver Messel on front endpaper 'Oliver Messel, with gratitude for many kindnesses, Peter, July 8, 1941', toning, occasional light foxing, purple morocco, gilt, rubbed, decorative tooled spine, gilt, spine ends and corners bumped, g.e., John Sharpe, 1825; and others related, 8vo, 12mo, (40)*** Olive Eleanor Custance, Lady Alfred Douglas (1874-1944) was an English poet and part of the aesthetic movement of the 1890s. Custance spent her childhood at Weston Old Hall, the family seat in Weston Longville, Norfolk.She instigated a courtship with Lord Douglas by writing to him in June 1901, six months after the death of Oscar Wilde. Lord Alfred Douglas (1870-1945) also known as Bosie Douglas, was an English poet and a lover of Oscar Wilde. Oliver Hilary Sambourne Messel (1904-1978) was an English artist and one of the foremost stage, costume, interior and architectural designers of the twentieth century.           Condition Report: Others Include - Milton (John) Todd (Henry John, Editor} The Poetical Works of John Milton In Six Volumes, 6 vol., first edition, half-title, engraved portrait frontispiece, light foxing, browning, armorial bookplates of Leonard Charles Rudolf Messel, full calf, gilt, rubbed, upper board detached to vol. 5, spines worn (with loss) extremities scuffed and bumped, marbled edges and e/ps., 1801 § Crabbe (George) Life and Poems, 5 vol., vol. 2-6 only (of 8) engraved frontispieces and titles after C. Stanfield and E. Finden, foxing and browning with damp-staining to vol. VI, toning, bookplates of Leonard Charles Rudolf Messel, contemporary calf, gilt, rubbed, decorative spines, extremities bumped, marbled e/ps., marbled edges, 1834 § Scott (Walter) Poetical Works, 11 vol. only (of 12) New Cadell edition, lacking vol. 7, engraved frontispieces and titles after J.M.W. Turner, browning, occasional foxing, toning, armorial bookplates, contemporary calf-backed maroon leather, gilt, marked and rubbed, gilt-blocked leather spine labels, lacking on some vol., extremities bumped and rubbed, 1833 § Adams (W.H.) The Golden Book of English Song, additional engraved title, damp-stained, in-text illustrations, contemporary inscription for the College music prize gained by Clarissa Hazlewood, rebound, contemporary tooled calf with Leam House College gilt design to upper cover, rubbed, extremities scuffed and bumped, all edges red, 1875 § Willmott (Robert Aris, Rev. Editor) The Poets of the Nineteenth Century, New edition, portrait frontispiece of Wordsworth, Illustrated throughout, vignette engravings, toning, light marks, occasional light foxing, original decorative cloth, gilt, g.e., 1869 § Percy (Thomas) Reliques of Ancient English Poetry, 2 vol., fourth edition, armorial bookplate of Charles Searle, browning, occasional foxing, contemporary calf, extremities bumped, lacking upper board to second vol.; with a duplicate copy of vol.1, 1794 § Ruskin (John) Works, Sesame and Lillies, Vol. 1 only (of 12) seventh edition, blue leather, decorative spine, gilt, rubbed, g.e,. extremities bumped, 1891; and 8 others similar.   Condition Report Disclaimer

Ɵ  Theatre and Design.- Mathews (Mrs.) Memoirs of Charles Mathews, 4 vol., first edition, 14 plates, (4 double-page) each vol. with bookplates of Charles B. Cochran to marbled endpapers, half-titles, engraved vignettes to titles, contemporary calf, gilt, red and black morocco panels to spine, t.e.g., 1838-1839 § Moses (Henry) Designs of Modern Costume, &c., 29 engraved plates, many captioned, foxed and marked, pencil inscription to front endpaper 'M.F. Messel, Bought at Saxtons Book Shop, North Street Brighton, Summer, 1947', red morocco, gilt, rubbed, light marks, decorative spine with gilt titles, spine ends and corners bumped, g.e, [c. 1823] § Lacroix (Paul) Les Arts au Moyen Age et l'epoque de la Renaissance, fifth edition, chromolithographed plates, some heightened with gold, tissue guards, illustrations, foxing, bookplate of Leonard Charles Rudolf Messel to front pastedown, contemporary half leather, black morocco panel and raised bands to spine, speckled edges, Paris, 1874, 4to, (6)*** Sir Charles Blake Cochran (1872-1951) was an English impresario and theatrical producer of the most successful musical revues, plays and musicals of the 1920 and 1930s. Following an exhibition of Oliver Messel's masks at the Claridge Galleries, London, 1925, Charles B. Cochran engaged the young Messel to design costumes, masks and sets for his numerous revues at the London Pavilion. Messel's lavish costume and set designs for Cochran's 1932 Adelphi Theatre production, Helen, directed by Max Reinhardt, secured Oliver Messel's critical success as one of the foremost stage, costume, interior and architectural designers of the twentieth century. Charles Mathews (1776-1835) was an English comic actor and theatre manager at the Adelphi Theatre, London: Maud Frances Sambourne (1875-1960) was the mother of English artist, architect and set designer, Oliver Messel (1904-1978) and the only daughter of Edward Linley Sambourne (1844-1910) English cartoonist, illustrator and draftsman for Punch magazine. Maud married Leonard Charles Rudolf Messel (1872-1953) who upon his father's death in 1915 inherited 'Nymans,' Cuckfield, West Sussex.