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A collection of 19thc prints, many of Greek interest, including portraits, landscapes and architectural studies (a lot)

A late 19th early 20thc mantel clock of architectural form with onyx top and base, enamel dial with floral decoration, measures 42cm x 23cm x 16cm

A late Victorian slate mantel clock of architectural form with marble segments, dial with roman numerals, measures 28cm x 23cm x 13cm

An early to mid 20thc mahogany mantel clock of architectural form, the metal dial with arabic numerals, measures 31cm x 25cm x 17cm

A 1920's mantel clock of architectural form, bears plaque inscribed Presented to I J Arrigh on the occasion of his marriage 8.1.27, measures 30cm x 21cm x 14cm

A Yverdon mantel clock of architectural form, measures 16cm high

3 watercolours - Architectural scenes

A circa 1900 oak cased mantel clock, of architectural form, the silvered dial showing Roman numerals, having eight-day movement, h.41cm

A 19th century American wall clock manufactured by the “New Haven” clock company, in a mahogany case with an architectural pediment, decorative inlay, turned and ringed pilasters with finials and carved decoration, full length glazed door displaying a faux mercury pendulum, 8” painted dial within a wooden fretwork mask and gilt slip, with Roman numerals, minute track and steel Maltese hands, with an eight-day countwheel striking movement striking the hours on a steel bell.Dimensions: Height: 97cm  Length/Width: 40cm  Depth/Diameter: 14cm

Architectural reference books: Sir Edwin Lutyens, a quantity of volumes by various authors including, Mary Lutyens, Robert Gradidge, Daniel O'Neill, Giles Worsley and others

TES KAINES DIATHEKES HAPANTA NOVUM JESU CHRISTI DM TESTAMENTUM, Coloniae Allobrogum [Geneva], Apud petrum de la Rouiere, 1619, added architectural title, text in Greek with Latin preliminaries, red ruled throughout, collation conforms to copy held at the University of Cambridge bound in at end with a similar period biblia hebraica, 4to, old calf worn

AN 18TH CENTURY GILT MOUNTED GLASS BOX The cover with applied resin classical architectural structures and a band to the body, with gilt metal mounts9cm (3 1/2in) longCondition Report: Hinge goodCover closes wellLosses to the resinSome bubbles to the glassMinor nibbling to the base and cover rimLight scratches and wear commensurate with age and useCondition Report Disclaimer

Miscellaneous collection of prints, predominantly 19th century, some earlier, some later, including etchings, engravings, lithographs, some in mounts, some tipped to scrapbook pages, some loose. To include a mezzotint portrait of William Walsh, by John Faber after Sir Godfrey Kneller, 1735; an engraved portrait of Gilbert Burnet, Bishop of Salisbury, by van der Giest after Edward Lutterell, London: C. Diecy, n.d.; La Tempete [The Storm], engraved by C. E. Cousinet after Joseph Vernet, n.d.; a stylized portrait of Jean-Baptiste Carpeaux, etching, indistinctly signed in pencil, and other prints, including topographical & architectural views, animals, children's illustrations. Together with The Third Tour of Doctor Syntax, third ed., London: Ackermann, n.d., illustrated with numerous hand-coloured aquatint plates by Thomas Rowlandson. Condition varied, collection sold as found with all faults

Miscellaneous collection of prints to include 116 topographical & architectural views, predominantly 19th-century etchings & engravings, all mounted in printseller's wrappers; 140 loose pages of plates published by Alexander Hogg, n.d. [late-18th century]; approximately 30 miscellaneous topographical plates, loose/unmounted; 34 hand-coloured 19th-century plates of birds, loose, plus seven mounted plates of birds; 41 hand-coloured plates from a disbound copy of British Moths and their Transformations, by Humphreys & Westwood, c.1843, plus a further four mounted in wrappers; 22 mounted 19th-century prints of various subjects, including Punch style cartoons and general art, plus 16 loose; a book of John Leech's Pictures, and Redoute Roses 2, sold as a collection of plates, condition generally good but varied, sold as found with all faults, the whole housed in two containers (2)

A large early 20th century black slate and marble architectural 8-day mantel clock, with drum movement, W39cm, H47cm, D18cm, with key and pendulum

Collection of five framed & glazed maps and prints, comprising: a 17th-century map of Huntingdonshire, by Joan Blaeu, uncoloured engraving on laid paper; an 18th-century map of the South Part of Scotland, by Andrew Johnston, hand-coloured engraving on laid paper; a sheet of engraved designs for a bridge to cross the Thames from Blackfriars to Southwark, submitted to The Rt. Hon. Slingsby Bethell Esq., published 1756; a 19th-century French architectural lithograph of a hotel design by E. Duquesne, and an etching of two girls carrying branches over a mound, 'Annie & Christine', numbered 8/10, signed indistinctly & dated 1978 at lower margin (5)

Koch,A. (Hrsg.).: Academy architecture and annual architectural review. 48 Bde. der Reihe. London 1889-1916. Kl.4°. Mit zahlr. Abb. Olwdbde. 8Tls. berieb. u. best.). Annähernd durchgehende Reihe der ersten Jahrgänge (erschien von 1889 bis 1931). - Tls. etw. Gebrauchsspuren. Nicht eingehend kollat.

A Regency giltwood and gesso overmantel mirror with ball decorated architectural pediment above swag decorated frieze and triple plates flanked by pilasters resting on bun feet. H.77 W.137 D.11cm

The frontispiece leaf from an extremely early copy of the Apocalypsis Nova, attributed to the mystic Amadeus of Portugal, in Latin, fine Renaissance manuscript on parchment [northern Italy (the Veneto), c. 1500] Single leaf, with opening words of text in 6 lines of ornamental capitals in liquid gold on a purple panel, this above a 4-line initial 'E' (opening "Ego Amedeus fui raptus et spelunca ...") in gold, on blue and dark green grounds, with full border of Renaissance architectural features on blue and burgundy grounds, enclosing numerous putti, angels playing musical instruments, God the Father appearing at the head of the page, and the bas-de-page with the symbols of the evangelists Luke (ox) and Mark (lion) before column bases, either side of angels who support a coat-of-arms (azure, a lion rampant argent flanked by two palm fronds or: perhaps that of the Dirossi family, all beneath a cardinal's or bishop's galero in black with only two tassels, i.e. in form used for priests), with the initials 'IO' and 'AT' at its sides (most probably abbreviations for the Latin forms of the original owner's first two names), this before a grassy and mountainous landscape, text in single column of 25 lines of an excellent humanist script on recto, and 30 lines of same on verso, some modern dealer's pencil marks on reverse, some scuffing and paint chipping due to folds, and losses to outer corners of leaf, some red (such as galero) oxidised to silver, overall in fair condition, 316 by 227mm. Provenance:1. Written and decorated for a priest whose family arms appear in the bas-de-page of the recto; the arms without the palm fronds are recorded for the Dirossi family of the Veneto, and the owner may well have been a member of that family. Despite his lowly ecclesiastical office he clearly had wealth and influence, and given the extremely early date of this copy (the text was purportedly only discovered in 1502) its original owner may have been an important Amadean (a follower of Amadeus' reformed branch of the Franciscans: see below).2. From the collection of Roger Martin (1939-2020) of Grimsby. Text:Amadeus of Portugal was an influential mystic in Italy in the fifteenth and first half of the sixteenth century. He was born João de Menezes da Silva in 1420 to a prominent Portuguese family, and changed his name when he became a monk and then a Franciscan friar in Milan. There he was the subject of reports of miracles and went on to found a reformed branch of the Franciscan Order which bore his name (the Amadeans or Amadists). He served as private confessor to Pope Sixtus IV, and his followers established twenty-eight of their own houses in Italy. After his death in 1482, he was beatified, but not canonised, and in 1568 his reformed branch was swept away among others in a papal reunification of the Franciscan Order.This text is part of the genre of prophetic-mystic works relying heavily on the Book of Revelations that emerged in late fifteenth-century Italy, and purports to have been dictated as a revelation to its author by the Archangel Gabriel. In it, Gabriel describes the future coming of a pope named 'the Angelic Pastor' who was to work with the emperor to restore harmony to the Church and reunite the Eastern and Western Churches, ushering in a new age of Christendom. However, the text was reported not to have been discovered until 1502, when Cardinal Bernardino Carvajal and the theologian Giorgio Benigno Salviati opened it after its discovery in either a cave or Amadeus' tomb, and so it may be in fact the work of an immediate follower of Amadeus, produced to further the interests of his reformed branch of the Franciscans.

Ɵ Book of Hours, Use of Saintes, in Latin, illuminated manuscript on parchment [northern France (Paris), c. 1470-80]To view a video of this lot, click here.190 leaves (plus two endleaves at front and back), lacking single leaves after fols. 43, 69, 73, 77, 94, 128 and 190, and two leaves after fol. 91, else complete, collation: i12, ii-iii8, iv2 ,v8 , vi7 (wanting vi), vii-ix8, x6 (wanting i and vi), xi7 (wanting iii), xii8, xiii7 (wanting ii-iii and vii), xiv-xvi8, xvii-xviii (both wanting i), xix-xxiv8, xxv7 (wanting viii), ruled in red ink for single column of 16 lines of tiny and precise lettre bâtarde, Calendar in red with major names in blue, capitals touched in yellow, red rubrics, line-fillers and one- and 2-line illuminated initials throughout in burnished gold on red and blue groundswith white tracery, panel borders on every page with 2-line initials in rinceaux foliage terminating in coloured acanthus leaves, flowers and fruit and gold bezants and ivy-leaves, three large initials with three-quarter illuminated borders in same, and five large arch-topped miniatures by Maître François, above large initials and 5 lines of text, these with full borders as before and inhabited by occasional birds and drolleries, nineteenth-century collector's label on front pastedown with "No 514", some minor stains and thumbing to edges, discolouration and slight cockling to first leaf, else in good and presentable condition, 95mm by 65mm.; seventeenth-century French olive-brown morocco gilt, marbled endleaves, gilt edges, headband detached, slight scuffs, else good condition A tiny pocket-sized Book of Hours prepared in Paris for a patron in the south west of France, and following the exceptionally rare Use of Saintes Provenance:1. Written and illuminated in Paris for a patron in Saintes in south-western France. The Calendar has SS. Albinus, bishop of Angers (1 March), the Litany includes SS. Eutropius, Ambrose, Bibianus, Trojanus and Palladius, all bishops of Saintes, St. Machutus (Malo), who lived in exile at Saintes, and St. Fronto, apostle of Périgueux, and the Use is that of Saintes, which appears not be recorded in any example by Leroquais. The presence of a number of Norman saints, including St Lawrence O'Toole, archbishop of Dublin, who died at Eu in Normandy in 1180 ("Laurencii de augo", 14 November), may reveal family origins of the original owner in that region.2. The Calendar leaves then used in the seventeenth or eighteenth century to record family events in French. These later erased and now only partly visible through UV light.3. Perhaps then owned by John M. Augustin Felicite Steinmetz (1795-1883) of Shadwell, a lawyer of Middlesex and Bruges: with a small inkstamp of a 'VS' within a circle on front endleaf, similar to two variants (but within flattened circles) recorded by Lugt for Steinmetz.4. Sold in Sotheby's, 6 July 2000, lot 83, to the current owner.  Text:This book comprises: a Calendar (fol. 1r); the Gospel Sequences (fol. 13r); the Obsecro te (fol. 20r, for male use) and O intemerata; the Hours of the Virgin, with Matins (fol. 31r), Lauds (fol. 44r), Prime (fol. 57r), Terce (fol. 64r), Sext (fol. 70r), None (fol. 74r), Vespers (fol. 78r) and Compline (fol. 86r); the Hours of the Cross (fol. 92r) and of the Holy Ghost (fol. 95r); the Penitential Psalms (fol. 98r) with a Litany; the Office of the Dead; and Suffrages (fol.186r).  Illumination:For the artist, Maître François, see previous lot. The miniatures here are: (1) fol. 31r, the Annunciation, the Virgin kneeling before a chair or bed draped in red, a green canopy above, Gabriel on the right with a banderole "ave maria gracia", gothic windows behind, architectural frame, and border including three song birds and a peacock facing the viewer in the middle of the bas-de-page; (2) fol. 57r, the Nativity, the Child lying on the hem of the Virgin's robe who kneels with Joseph outside the thatched stable, a hill to the right, the donkey behind; (3) fol. 64r, the Annunciation to the Shepherds, two shepherds and a shepherdess gazing up as two angels appear in the heavens holding a musical scroll, sheep in the foreground drinking from a spring, a dog asleep, landscape background; (4) fol. 86r, the Coronation of the Virgin, with the Virgin kneeling before the Throne of God as an angel leans over a tapestry and places a crown on her head; (5) fol. 98r, David in prayer, kneeling before an open book on an elaborate carved wooden lectern (apparently adjustable through a wooden screw forming its central pillar), his harp beside him as God appears in the sky above, with an animal-legged human-bodied drollery shooting an arrow at an orange dragon-headed snail in the border. 

The Agony in the Garden, a large miniature from a Book of Hours, with a text leaf from the same, in Latin, illuminated manuscript on parchment [France (probably Paris, c. 1510-20] Single leaf, with large miniature of Christ kneeling in the Garden of Gethsemane, while his disciples sleep in the foreground, all within a picketed fence and before a wide open sky, white initial on gold grounds within blue frame and 6 lines of text in an excellent French humanist hand (John 18:1-15 and part of Vespers from Hours of the Virgin) within rectangular text box set in lower part, and the whole within an architectural frame, the reverse and the text leaf with small initial in liquid gold on blue and burgundy and 33 lines in same humanist hand, these framed with gold ropework frames, once damaged in a flood while owned by Boycott Jarman (see below) and retouched and remargined then by Caleb Wing in paper mounts, stains and cockled, overall in fair condition, each approximately 150 by 90mm. Provenance:1. From an elegant French Renaissance Book of Hours painted by the Master of Morgan 85, who may be identified as Jean Pichore (C. Zöhl, Jean Pichore, 2004).2. John Boykett Jarman (c. 1781-1864), the jeweller, with the parent volume damaged in the flood in 1846 that affected much of his collection and caused him to employ the artist Caleb William Wing (1801-75) to restore (and in this case remargin) many of his manuscripts. The parent manuscript was sold in Jarman's sale at Sotheby's, 13 June 1864, lot 30.3. The complete manuscript offered in Maggs Bros. cat. 397 (1920), no. 198, but then sold leaf by leaf (with the present leaf Maggs, cat. 437 (1923), no. 1150). See M.M. Manion, V.F. Vines and C. de Hamel., Medieval and Renaissance Manuscripts in New Zealand Collections, 1989, no. 98, pp. 103-04, for other recorded leaves. 4. The miniature here then passing to Otto Petschek (1882-1934), from the prominent Prague family of bankers, mine owners (who in the first part of the twentieth century controlled half of all brown coal mining in Europe) and philanthropists, of Jewish extraction. The family left Czechoslovakia en masse for New York in 1938 as the Nazis began to seize Czech territories that bordered Germany. The export of many of their paintings and much of their graphic collection (of which the miniature leaf here must have formed a part) was legitimised by the local Czech authorities in the first week of January 1939, three months before the Nazis seized control. This leaf then passing by descent to Otto's son, Viktor Petschek (1914-2005), and by descent to his granddaughter.6. The miniature leaf acquired by Roger Martin directly from Viktor Petschek's granddaughter in 2016, with the text leaf added from another private North American collection in 2017 (with a calligraphic inscribed envelope recording that this leaf had been given by "Rossie and A.J." to Bernard Inzel (1922-2002), master engraver, as a Christmas gift in 1980).

Pentecost, in a historiated initial on a leaf from an Antiphonary, in Latin, decorated manuscript on parchment [Italy (Emilia-Romagna, perhaps Bologna), c. 1260-70] Single large leaf, with a large initial 'D' (opening "Dum complerentur dies pentecostes ...", the second response of the first nocturne for Pentecost), formed of light pink and orange acanthus extending into the margin and including a human head, on a blue ground with white penwork decoration, framed in light pink, enclosing the Pentecost with the twelve Apostles seated under two arches supported by a central column, large initials in red or blue with contrasting penwork, rubrics in red, capitals stroked in red, 10 lines of text with accompanying music on 4-line red staves (rastrum: 21mm.), parchment stained and cockled in places, small holes and remains of paper at edges and on verso, inscriptions '1600' and '1604' from reuse on an account book binding, 490mm. by 340mm. The illumination here shows the twelve apostles seated in an architectural setting, with faces painted in dark green and using strokes of white paint for modelling. The style is notably close to that of the Maestro d'Imola (see F. Lollini in Dizionario biografico dei miniatori italiani, 2004, p. 685) who was named after a group of choirbooks decorated for San Domenico in Imola (see Cor unum et anima una. Corali miniati della Chiesa di Imola, 1994). He was active in and around Bologna, a leading centre of manuscript production in the thirteenth and fourteenth century.

Jacob Grimmer (Antwerp circa 1525-1590)A View of Kiel on the Scheldt with Antwerp beyond bears signature '**** BRUEG***' (lower right)oil on panel42.8 x 51.2cm (16 7/8 x 20 3/16in).Footnotes:The present, unpublished, painting is related to the large View of Kiel with Antwerp beyond, dated 1578, in the Royal Museum of Fine Arts in Antwerp, which measures 121 x 196 cm (47 6/8 x 77 1/8in) (fig.1). Although different in size, the compositions are very similar, but the 1578 painting shows a more elaborate landscape and also a greater variety of staffage. It seems likely that Grimmer received a commission to make a smaller rendition based on one of his masterpieces. The execution of the landscape elements but also the figures in the present painting are typical for Jacob Grimmer. A date in the 1580s is feasible for the present work. Almost an exact contemporary of Pieter Brueghel the elder, Jacob Grimmer was among the most important 16th century Antwerp landscape painters. His rural landscapes show a clear development moving away from the fantastic panoramas with gigantic rocks of Joachim Patinir, Herri met de Bles and their followers towards a more intimate rendition of the Flemish countryside. Jacob Grimmer was born in Antwerp, the son of Nicolaas and Elisabeth Cops. According to Karel van Mander - in his Schilder-boeck, Haarlem 1604 - Grimmer first learned to paint landscapes from Matthys Cock and later from the unknown Christian van den Queborn. He became a master in the Antwerp Guild of Saint Luke in 1547, and the next year later he married Lucia van de Wouwer. Their son Abel, born in the early 1570s, became a landscape and architectural painter in his own right. The city of Antwerp succeeded in the 15th century in becoming the successor of Bruges, which until then had been the most important mercantile metropolis of western Europe. At the end of the 15th century, when nearly all the Low Countries were united under the Burgundian and Habsburg dynasties, the economic preeminence of Antwerp over Bruges is indicated by the fact that the majority of foreign merchants transferred their residence to Antwerp. It quickly became the leading commercial centre of western Europe, benefiting from the beginnings of colonial trade and stimulated by the great discoveries of the Portuguese and Spaniards. Extensive urbanization plans were developed to lodge the increasing population, who earned their livelihood in trade, transport, and industry.We are grateful to Dr. Luuk Pijl who endorses the attribution to Jacob Grimmer on the basis of high definition photographs.This lot is subject to the following lot symbols: αα Buyers from within the UK: VAT is payable at the prevailing rate on just the Buyer's Premium (NOT the Hammer Price). Buyers from outside the UK: VAT is payable at the prevailing rate on both Hammer Price and Buyer's Premium. If a Buyer, having registered under a non-UK address, decides that the item is not to be exported from the UK, then they should advise Bonhams immediately.For further information on this lot please visit Bonhams.com

ROBIN WELCH STUDIO POTTERY VASE a small stoneware vase of compressed form and circular base, with a metallic glaze around the rim and splashes of blue on a buff ground with brown bands. With a Alpha House Gallery press release about Robin Welch from 1993, with a RW seal mark inside. 14.5cms high. Also with various other items of studio pottery, and a William De Morgan style tile made by Architectural Pottery, Poole Dorset. (8)

HASBROUCK, Wilbert R, The Chicago Architectural Club, 4to, still in shrinkwrap. With other large format books on architecture (2 boxes)

ARCHITECTURAL REVIEW, 12 issues from 1930s. With other books on architecture (2 boxes)

Thomas Henry Kendall: a carved stained beech architectural arch crestingThe central flower vase issuing multiple acanthus and rocaille scrolls with further flowers against an arch of roiling clouds, over a double-ogee moulding with giltwood husk swag, 140cm wide x 55cm high.Provenance: Acquired in 1957 at the dispersal sale of Thomas Henry Kendall's Chapel Street showroom and studio, thence by descent to the vendor.As found - distressed throughout with mutiple missing elements.  Please refer t images.

Thomas Henry Kendall: a group of carved wood architectural features from the Chapel Street showroomIncluding three carved oak panels of lozenge form, each carved with wild flowers and foliage, originally forming part of a staircase, 51x22cm, set into a later softwood mount, 201x35cm, a series of further rectangular carved oak door panels by Kendall similarly carved with wild flowers, all unmounted: seven at 25x18cm; five at 35x18cm and six at 43x18cm, five carved oak panels in the Elizabethan style, possibly by other hands, 39x29cm, six carved spandrels containing flora and fauna, 33x36cm, three carved stained beech balusters, 67cm, and a length of balustrade, 132cm long.Provenance: Acquired in 1957 at the dispersal sale of Thomas Henry Kendall's Chapel Street showroom and studio, thence by descent to the vendor.Footnote: In a feature written for the Connoissuer magazine on Thomas Henry Kendall in 1956, a year before the Chapel Street showroom was dismantled, a staircase is illustrated showing the balustrade as well as a door showing some of the panels in the present lot.As found condition - varying but ranging from fair/good to distressed.  Please refer to images.

Thomas Henry Kendall: a carved stained beech architectural arch crestingComprising a central scroll cartouch containing two winged putti heads amid clouds and sunbeams, surrounded by multiple acanthus and scrolls and flowers against an arch of roiling clouds, over a double-ogee moulding with giltwood husk swag, 150cm wide x 60cm high.Provenance: Acquired in 1957 at the dispersal sale of Thomas Henry Kendall's Chapel Street showroom and studio, thence by descent to the vendor.As found - distressed throughout with mutiple missing elements.  Please refer t images.

A pair of cast lead neoclassical architectural plaques, probably late 19th century, of oval form with moulded edges, each cast with a neoclassical maiden, 37cm. (2)

A late 19thC American stained pine mantel clock, of Gothic form the painted enamel dial bearing Roman numerals, movement with bell strike, case of architectural form, base paper label for a clock maker, Newhaven Connecticut, 7.5cm high, together with a Victorian walnut smoker's cabinet, the galleried top with pierced brass front, glazed door enclosing a single drawer, 32cm high. (2, AF)

A 1960s designer circular black glass-topped dining room table on architectural chrome plated/stainless steel frame with arched cross supports and ball feet, diameter 114cm, and a set of four matching chrome and upholstered chairs of angular form with rubber arm rests (5).

Art Deco three piece clock garniture, by A.M.C. of Belgium, with architectural timepiece, flanked by square stands either side, the clock 26cm wide, 15cm tall (3)

ANSONIA CLOCK CO, NEW YORK; an oak cased mantel clock with architectural pediment, the enamelled dial set with Roman numerals, on stepped base.

JUNGHANS; a c1900 oak architectural cased mantel clock, the silvered dial set with Arabic numerals, height 39cm.

JUNGHANS; a walnut cased eight day mantel clock, the brass-effect dial set with Roman numerals and silvered chapter ring, movement striking on a coil, stamped with maker's mark, within architectural case with quartered pilasters and a stepped top with brass-effect carrying handle, height 36cm.

Three 19th century Bohemian glasses comprising an octagonal glass with cream enamel scroll, foliate and acanthus leaf gilt-heightened overlay, to octagonal base, height 12cm, a wine glass with vignettes of various colour overlay, amber, red and green with pastoral and architectural engraving, with all-over etched floral and leaf trellis design, to circular base with ribbed rim, height 12cm, and a trumpet glass with clear and amber overlay circular vignettes with architectural scenes, one initialled 'FM', with all-over etched tulip and line design, and various etched name places, to circular base, height 12cm, also a late 18th/early 19th century trumpet glass with etched all-over floral design with line and dot border to the top, to circular base, height 12cm (4). CONDITION REPORT All have age related wear in the form of surface scratches, no obvious restoration, chips or cracks, apart from the glass with initials 'FM' which has a chip to the rim and various small frits to the rim

Three 19th century Bohemian glasses comprising a clear glass example with amber overlay small vignettes, with cornucopia within an etched floral border separated by etched floral and leaf design to a circular base, height 12.5cm, an amber overlay example with etched architectural scenes, each in separate square vignette, separated by etched laurel leaf design, one initialled 'CS 1836', to a spreading cut glass base, height 13cm, and a small glass, also with amber overlay, one vignette engraved 'Marie' within a vine leaf border, and two vignettes of architectural city scenes, one engraved 'Sprudel In Karlsbad', height 10cm (3). CONDITION REPORT All have some age related wear in the form of surface scratches, no signs of restoration, larger glass with the amber overlay and architectural scenes has a chip to the rim and an associated small crack.

A Victorian architectural marble 8-day mantel clock, with ormolu mounts and key, height 43cm

Two trays of cottages and other architectural ornaments to include: The Travellers' Rest, St. Mary's Church, Lilliput Lane 'Blaise Hamlet' etc. (13) (B.P. 21% + VAT)

Early 20th century Ansonia American two train architectural design mantle clock. (B.P. 21% + VAT)

Ceren Oykut The Raid, 2022 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Ceren Oykut was born in 1978, Istanbul. Her drawings, which are often created on small size of papers spread over paper rolls and onto the walls, extend the classic techniques in terms of size and space. Focusing on small details, Oykut conveys a condensed image of an ungraspable panorama that explores the absurdity of daily life's circumstances. Oykut uses the images she produces as a field of study. She creates new stories by cutting and tearing her drawings. Her artistic range expands to drawing performances on stage and regularly implies collaborations with artists from different disciplines.   Education   Mimar Sinan Fine Arts University Painting department, Istanbul   Select Exhibitions/Awards   Her works were presented in various international publications such as Vitamin D3/Today's Best In Contemporary Drawing (Phaidon, 2021), Unleashed: Contemporary Art from Turkey (Thames and Hudson, 2011) She participated in international exhibitions such as 1st Architectural Biennale of Tbilisi (2018), Istanbul/Passion/Joy/Fury (MAXXI, 2015), Jerusalem Show (2014), 10th International Lyon Biennial (2009),10th International Istanbul Biennial (2007). Her latest solo exhibition titled "Still Here" took place in the Apartment Project Berlin in 2018. In 2021 she received the Research grant from The Senate Department for Culture and Europe, DE   Statement about AOAP Submitted Artwork   The two drawings titled "The Raid" and "The Jury" actually follow each other. They are quickly depicting two short moments from daily life on paper. Influenced by Turkish poet Edip Cansever's poem "Table", the drawing fantasizes about what a desk can carry. The drawings include two compositions of the story, which begins with raindrops dripping from an open window falling on an old miniature drawing depicting a dervish lodge in Istanbul, on an old book lying open on the table. Despite the chaotic appearance, a calm existence in a constant movement prevail in both compositions.     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Ceren Oykut The Jury, 2022 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Ceren Oykut was born in 1978, Istanbul. Her drawings, which are often created on small size of papers spread over paper rolls and onto the walls, extend the classic techniques in terms of size and space. Focusing on small details, Oykut conveys a condensed image of an ungraspable panorama that explores the absurdity of daily life's circumstances. Oykut uses the images she produces as a field of study. She creates new stories by cutting and tearing her drawings. Her artistic range expands to drawing performances on stage and regularly implies collaborations with artists from different disciplines.   Education   Mimar Sinan Fine Arts University Painting department, Istanbul   Select Exhibitions/Awards   Her works were presented in various international publications such as Vitamin D3/Today's Best In Contemporary Drawing (Phaidon, 2021), Unleashed: Contemporary Art from Turkey (Thames and Hudson, 2011) She participated in international exhibitions such as 1st Architectural Biennale of Tbilisi (2018), Istanbul/Passion/Joy/Fury (MAXXI, 2015), Jerusalem Show (2014), 10th International Lyon Biennial (2009),10th International Istanbul Biennial (2007). Her latest solo exhibition titled "Still Here" took place in the Apartment Project Berlin in 2018. In 2021 she received the Research grant from The Senate Department for Culture and Europe, DE   Statement about AOAP Submitted Artwork   The two drawings titled "The Raid" and "The Jury" actually follow each other. They are quickly depicting two short moments from daily life on paper. Influenced by Turkish poet Edip Cansever's poem "Table", the drawing fantasizes about what a desk can carry. The drawings include two compositions of the story, which begins with raindrops dripping from an open window falling on an old miniature drawing depicting a dervish lodge in Istanbul, on an old book lying open on the table. Despite the chaotic appearance, a calm existence in a constant movement prevail in both compositions.     You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

A small collection of various drawings Including figural, architectural, topographical and loose sketches. (qty)

Design for an architectural cartouche, Italian school Pen and ink Monogram lower right corner 22cm x 16cm

A pair of 18th century architectural carved oak lion corbels of scrolling form With underlying traces of polychrome paint, each 116cm high. (2)

Three carved oak architectural overdoors, 17th and 18th century One centred with a mask, one centred with an open cartouche, the widest 134cm. (3)

NO RESERVE Wild (Charles) Select Examples of Architectural Grandeur in Belgium, Germany, and France, 24 etched plates, occasional marginal childs scribble, cracked hinges, previous owner's ink-stamp, original cloth, rubbed and worn, loss to spine, chipping and bumping to corners and extremities, 1843 § Cook (SirTheodore Andrea) Twenty-Five Great Houses of France, tipped-in frontispiece, illustrations, contemporary half-morocco, a little rubbed, bumping to corners and extremities, n.d.; and others, architecture, v.s. (23)

Johnson (John) Typographia, or the Printers' Instructor, 2 vol., wood-engraved portraits, additional architectural titles and Roxburghe Club arms leaf, titles with ornamental border, illustrations and type-specimens, ink inscriptions and bookplates to front endpapers, contemporary calf with borders in blind, a little rubbed, rebacked, red morocco labels, (120 x 75mm.), 1824 § Luckombe (Philip) The History and Art of Printing, woodcut frontispiece of Gutenberg and illustrations, type specimens, a little browned, bookplate of the artist and designer John Vinycomb of Belfast, contemporary mottled calf, rubbed, corners worn, rebacked, 1771; and another on printing, 8vo et infra (4)

[WINDSOR] HOPE (W.H. St. John) Windsor Castle. An Architectural History. Collected and Written by Command of Their Majesties, 3 vols, 4to, 2 col. frontispieces, 122 plates, 2 vols half vellum, with the third a cloth portfolio vol containing 8 large folding plans, Limited Edn. of 1050 copies (this set unnumbered), L., Country Life, 1913 (3)

A 16th / 17th century and later Anglo-German Nonesuch style chest, the later oak top on iron strap hinges, over an architectural front with marquetry and parquetry decoration depicting palaces and towers, the sides with parquetry panels and iron carrying handles, on a later moulded plinth, 46 ¼ x 21 ¾in. (117.5 x 55.25cm.), 23 ½in. (59.5cm.) high, alterations.

A large late Regency mahogany wheel barometer by B. Gally, with architectural pediment, silvered hygrometer, mercury thermometer, 10in. dial with opening brass bezel and signed level, within a boxwood and ebony strung case, 41½in. (105.5cm.) high.

A 'Greenwich Clock' walnut cased mantel clock, early 20th century, made in Germany for W. E. Watts, Nottingham, no.12970, twin train movement striking the hours and half hours on a gong, fronted by a Roman enamel and gilt metal dial, in an architectural walnut case, 17½in. (44.5cm.) high. * Runs and strikes. Good condition overall with no faults. Original label to inside of movement door.

Two Late Victorian slate mantel clocks. Each of architectural temple form, one with fluted gilt-metal column supports, each with ivorine and gilt-metal dial with Arabic numerals, with key and pendulum, one with striking movement, 42.5cm wide

Victorian slate mantel clock, architectural form with gilt brass mounts, circular dial, cylinder movement, striking on a gong, height 51cm.

Late Victorian rosewood and marquetry overmantel mirror, architectural pediment with turned finials and a bevelled glass, 79cm x 120cm.

ARCHITECTURAL WALL MIRROR, 204cm x 153cm W, antiqued sixteen panels with star detail.

ARCHITECTURAL GARDEN SCULPTURAL STUDY, Rapa Nui style, resin with a faux stone finish, 110cm x 45cm x 35cm.

ARCHITECTURAL GARDEN BENCH, Regency style, aged painted metal frame, 98cm x 110cm x 67cm.

ARCHITECTURAL GARDEN MIRRORS, a set of three, aged metal frames, 160cm x 67cm. (3)