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A framed watercolour architectural scene of a church with indistinct figures in the foreground, unsigned. The measurements are 61cm x 44cm.

digitally signed by the artist, from the unnumbered edition of 1000, published by the Imperial War Museum, London, accompanied by a signed certificate of authenticityoffset lithograph on Arco wovesheet size: 50 by 70cm; 58 by 78,5 by 3,5cm including framing Coined “the most powerful artist in the world” by ArtReview editors (Stevens 2012), Beijing-born Ai Weiwei creates works where art and activism collide in a riot of politically charged, daring performances and spectacles. Ai Weiwei’s output is prolific and diverse, ranging from sculptural installations, to videos, to architectural projects, in an attempt to critique the random importance placed on objects and symbols within society and the arbitrariness of certain cultural values. Many of the important cultural symbols Ai Weiwei uses particularly reference his critique of the Chinese sociopolitical system, using scabrous satire to challenge and critique the authoritarian and conformist Chinese regime. In 1957, just months after the artist was born, his father and renowned poet, Ai Qing, was accused of being ‘rightist’ by Beijing officials and the entire family was exiled to remote parts of China. Later, after studying art abroad, Ai Weiwei returned to China to develop his artistic practice. His time in New York was particularly pivotal, as he was influenced by the conceptual art of artists like Andy Warhol, so upon his return home, Ai Weiwei knew how to combine art and life. The artist’s Dada-inspired ready-mades and strong satirical elements reveal an unrelenting and brave advocacy for freedom of expression and social justice, presenting a provocative and subversive dimension that few, if any, other artists present to the world. Ai Weiwei’s themes of social urgency and his attempt to address critical global conditions, namely political conflict and war, are brilliantly illustrated in History of Bombs (Lot 527). This lot is a framable print of the site-specific life-size renderings of over 50 bombs and grenades from 1911 to 2019, which stretched across the floor of the Imperial War Museum. The work unflinchingly illustrates “a history of the clever ways we kill one another” (Jones 2020). The technical, encyclopaedic collection of renderings highlights the chilling and incalculable destruction caused by human willingness and eagerness to dedicate innovation to violence. The exhibition was appropriately located, since the “murderous arsenal since the early 20th century” seemed unbelievable, until the visitor looked up and was confronted with models of the real weapons hanging from the museum’s ceiling. In this way, Ai Weiwei’s comments about the human condition are simultaneously unflinching, scabrous, and provocative. Ai Weiwei has been the subject of numerous solo exhibitions at prestigious institutions such as the Mori Art Museum, Tokyo (2009); Tate Modern, London (2010); and the Hirshhorn Museum and Sculpture Garden, Washington, DC (2012). The Centre Pompidou, Paris, and the Los Angeles County Museum of Art have also acquired his work.- A.C Cunningham, JM. 2022. Ai Weiwei, Chinese activist and artist, Britannica [O]: https://www.britannica.com/biography/Ai-Weiwei Accessed 8th May 2022Jones, J. 2020. Ai Weiwei: History of Bombs review – high-impact reminder of our insatiable desire for destruction, The Guardian [O]: https://www.theguardian.com/artanddesign/2020/jul/29/ai-weiwei-history-of-bombs-review-imperial-war-museum Accessed 8 May 2022Stevens, M. 2012. Is Ai Weiwei China’s Most Dangerous Man?, Smithsonian Magazine [O]: https://www.smithsonianmag.com/arts-culture/is-ai-weiwei-chinas-most-dangerous-man-17989316/ Accessed 8th May 2022

AFTER OTTO WAGNER, COLOURED ARCHITECTURAL PRINT, F/G

ARCHITECTURAL GARDEN PLANTERS ON STANDS, a pair, composite stone, 79cm x 53cm diam. (2)

ARCHITECTURAL GARDEN PEDESTALS, a set of five various, 108cm at tallest and another a pair and one other, with two decorative disks, 66cm diam, all composite stone, 56cm H at tallest. (10)

ARCHITECTURAL LOTUS FLOWER WATER FOUNTAIN IN URN, 65cm diam x 47cm, composite stone. (2)

ARCHITECTURAL GARDEN BENCH, 85cm W, composite stone, lion supports.

ARCHITECTURAL GARDEN BENCH, composite stone, 106cm W, scrolled supports.

ARCHITECTURAL WALLMIRROR, 196cm x 111cm, metal frame with an arched top.

A Victorian Fitzroy Barometer housed in a walnut case, set beneath an architectural pediment with applied carved detail, with original bright painted paper back and further straw work marquetry decoration

Three Victorian black slate mantle clocks of architectural form all with eight day striking movements

Three Victorian black slate mantle clocks of architectural form all with eight day striking movements

Four decorative painted architectural fluted split columns (3 moulded fibre glass), etc, varying height, the tallest 248 cm

An architectural carved walnut mantel clock - 52cm tall

A Junghams oak cased architectural mantel clock, eight day movement striking on a bell

A 19th century oak longcase clock, 31cm diam, with silvered chapter ring, with Roman numerals, inscribed Ashton, Tideswell, gilt foliate spandrels, the hood with architectural pediment, panelled door, 203cm high, c.1850

Architectural Salvage - a large of quantity of 19th century oak 'Wainscote' panelling, approx.230cm high, 1210cm wide, in eleven panels, some smaller

Architectural Salvage - a large continental oak door, in the Flemish manner, carved with scrolling foliage, 237cm high, 101.5cm width

Late 19th/early 20th century Continental mantel clock in dark mahogany architectural case fitted with brass movement striking on two coiled gongs, the movement signed Lenzkirch and numbered 838282/52, 40cm high

Stephen Wiltshire (British 1974-): 'Sacre Coeur' Paris, pen and ink sketch signed titled and dated October 1988, personalised dedication verso 29cm x 19cm Notes: Wiltshire is a renowned autistic savant who can produce detailed architectural drawings from memory after viewing a scene just once. He has been compared to the character of Raymond Babbitt in the 1988 film Rain Man, which the artist considers one of his favourite films; coincidentally, the present picture was drawn by Stephen in the same year, when he was aged just fourteen. The following year, he appeared on the cover of You magazine with actor Dustin Hoffman, who portrayed Babbitt. In 2006, he was awarded an MBE and opened a permanent gallery on the Royal Opera Arcade in London.Condition Report:Good overall condition - Ready to hang

A set of unusual Continental landscapes with architectural and marine interest, late 19th/early 20th Century (3), watercolour on glass, circular

Henry Ninham (British, 19th Century), A series of fine architectural depictions of Norwich's old city gates, taken from the artist's best-known work, The Gates of Norwich, 1861. 12 copperplate engravings (8x6ins), mounted, framed (30x30ins., approx) and glazed.Qty: 1

THOMAS HARDY INTEREST: 26 ARCHITECTURAL DRAWINGS OF ATHELHAMPTON/ADMISTON CHURCH BY HICKS ARCHITECTS, DORCHESTER the majority thought to have been produced by Thomas Hardy during his time with the firm, various sizes, several dated 1861, later framesNote: Hardy worked for Hicks between 1856 and 1862 and comments in a letter to Alfred de la Fontaine, owner of Athelhampton at the time, that whilst he did not design the church, he produced 'many of the drawings'.

A PUGINESQUE OAK OCTAGONAL BAPTISMAL FONT with architectural style oak font cover concealing stone basin, carved reliefs to eight sides above columned pedestal base, 194cm high x 76cm wide x 76cm deep Condition Report:Height of font without top is 104cm high

◆ ANCELL STRONACH (SCOTTISH 1901-1981) WHERE SINKS THE VOICE OF MUSIC INTO SILENCE Signed and dated 1924, oil on canvas(127cm x 102cm (50in x 40in))Provenance: Purchased from the Fine Art Society by John W. D. Thomson in 1980, and thence by descent. Exhibited: The Royal Glasgow Institute of Fine Arts, 1924 ‘Ten Years of The Fine Art Society in Glasgow’ exhibition, 1989Note: Ancell Stronach is generally an unfamiliar name, even to Scottish Art enthusiasts, but in his day he was a significant figure in the Scottish art scene. Born in Dundee, he trained at the Glasgow School of Art, winning many awards and a travelling scholarship. Following his studies he worked professionally as an artist, designing stained glass, painting murals, decorating churches and establishing a reputation as a portrait artist. Alongside his own painting he also taught, rising to the position of Professor of Mural Painting at Glasgow School of Art. He was elected a member of the R.S.A. in 1934, and exhibited internationally at the R.S.A., R.A., Paris Salon and in exhibitions in Canada, New Zealand and America; all the markers of a significant and accomplished career. Where Sinks the Voice of Music Into Silence is bold and decorative, with the vibrant colour and ecclesiastical details that were the signature of his painting at this time. Stronach pulls detail, poetry and inspiration together masterfully in this work, with areas of rich, flat colour interspersed with delicate patterning and design. Close attention reveals a wealth of considered detail, such as the tendrils of the male figure’s beard, the curling waves at the bottom-left corner and the snow-topped hills in the distance. The composition is accomplished: the delicate angelic wings are centred in the canvas, with the figures placed in a ‘V’ around them, maintaining balance and visual interest as every inch of canvas is utilised. The result is a richly rewarding viewing experience. Stronach’s poetic title does little to reveal the meaning or moment that this work depicts, but it nevertheless further evokes the atmosphere that the painting itself conveys. The feeling is symbolic and meaningful with a sense of mysticism, creativity and spirituality. Artistically, Stronach was inspired by early Italian fresco painters and the Pre-Raphaelites, though his commitment to mural painting and stained glass design also shines through in this significant work. His chosen style and subject reflects the wider Celtic Revival movement prevalent in Scotland’s arts scene at the time, which is also visible in the work of contemporaneous artists such as John Duncan and Phoebe Anna Traquair. The Celtic Revival and the Pre-Raphaelites were concerned with looking to a distant past for inspiration and Stronach strives for that here. The melding of historic and modern lends the painting an essential timelessness in its beauty. At the outbreak of war in 1939, Stronach felt his opportunities as an artist were greatly reduced by the extenuating circumstances and took the opportunity to change direction, pursuing a long-standing interest in animals and the circus. He married a professional acrobat and they toured together with his show, entitled ‘Ancell and his 40 Painted Pigeons.’ He did not engage with the art world for the remainder of his life, though it is believed he continued to paint for personal pleasure. It is for this reason that his name remains relatively unknown, and the appearance of his works on the market is rare; ultimately his professional painting career only lasted for a very limited period, despite his talent and success. Where Sinks the Voice of Music into Silence was first exhibited at The Royal Glasgow Institute of Fine Arts in 1924. More recently it was purchased by the current vendor’s late husband at the Fine Art Society in 1980. The vendor remembers the dramatic moment of seeing this work for the first time, and the immediate decision to purchase. In the forty years since, it has hung in just two locations, his architectural practice in the West End of Glasgow and their home in Stirlingshire. A rare opportunity now presents itself for this rich, dramatic and decorative work to find a new home.

§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) Signed, oil on board(51cm x 61cm (20in x 24in))Redpath visited Corsica in 1954. She stayed in Bastia, in the north-east of the Mediterranean island, with her Edinburgh friend Donald Duff. It has been suggested that the village depicted in this confident, mature work might be Tralonca or Soveria. Redpath had long been drawn to houses and other architectural elements huddled together in a wider landscape setting. However, this subject came to the fore during the 1950s in works inspired by trips including to Spain and France. In this vigorously painted work, Redpath uses a palette based on earthy tones, layering and mixing colours across the surface of the board support. The implied geometry of the buildings gives way to expressive passages which contain hints of geographical features whilst being highly expressive. Redpath explained in 1961: ‘I think that I have always been interested in the textural quality of paint and painting and I think what I have got out of different countries like the Canary Islands, Corsica, Brittany and Portugal is something structural. So you see I haven’t gone really away from depicting the object although it has a kind of abstraction…I would go to Corsica and paint houses on a hill-side. I would exaggerate the buttress quality of the building…instead of having it at right angles to the earth I would exaggerate the fact that the base of it was broader than the top of it, then therefore it looked as if it was growing out of the hill. So that while I am interested in the structural shapes of the picture, I am also interested in the structure of the objects themselves. And therefore they are really more convincing than they were before.’ (as quoted by Philip Long, Anne Redpath 1895-1965, National Galleries of Scotland, Edinburgh, exh. cat., 1996, p. 26). We would like to thank Professor Francis Beretti of the University of Corsica for his help in researching this painting.

§ JOHN MARSHALL (SCOTTISH 1888-1952) WOMAN AND BOY Signed and dated 1946 on the integral base, Caen stone(37cm high (14.5in))Exhibited: Royal Scottish Academy, Edinburgh, 1946, no.63, titled 'Woman and Boy'John (Jock) Marshall was born in Edinburgh and trained at Edinburgh College of Art. As an architectural carver he worked with many leading sculptors and architects including Phyllis Mary Bone on the Scottish National War Memorial, Charles d'Orville Pilkington Jackson on Lothian House, Edinburgh and Robert Lorimer on the refurbishment of Dunrobin Castle, Golspie. He was responsible for the carving of many well-known architectural features in the Scottish capital, including the Scotsman masthead on the north façade of the newspaper's former headquarters on North Bridge. (see biography and index entries in Ray McKenzie, Public Sculpture of Edinburgh, Volume 1, The Old Town and South Edinburgh, Liverpool University Press, 2018). From 24 Dean Path Buildings, Edinburgh, Marshall exhibited seventeen works at the Royal Scottish Academy between 1929 and 1948, made in materials including Caen, Hoptonwood and Portland stone, as well as Istrian marble and plaster. We are grateful to Robin Rodger, Documentation Officer, Royal Scottish Academy and Fiona Pearson for their assistance in researching this work.

Colines.- Juvenalis (Decimus Junius) Satyræ decem et sex, final f. blank, a few instances of contemporary ink marginalia, inter-linear notes or underlining, title closely trimmed at outer margin, h8 small square neatly cut from outer margin, Paris, Simon de Colines, 1542 bound with (as often) Persius Flaccus (Aulus) Satyræ sex, final 2 ff. blank, title with ink ownership inscription obliterated and chipped at outer margin, Paris, Simon de Colines, 1542, together 2 works in 1 vol., titles within woodcut architectural border, initial spaces with guide-letters, ruled throughout in now faded red, occasional staining, lightly browned, contemporary blind-stamped calf, rebacked, preserving original backstrip in compartments with worn label, edges worn, rubbed, [Renouard 360 & 361]; and Scapula's Lexicon Graeco-Latinum Novum, 1589, small 8vo & folio (2)

An architectural carved stone mask of ecclesiastic origin. 6' high

Scrap Albums. A scrap album containing approximately 110 engraved illustrations, mid 19th century, many with contemporary hand-colouring, a few with juvenile colouring, trimmed and laid down on linen pages, many extracted from Victorian children's books, some published by Dean and Co. or Dean & Son, other themes include hunting, military, natural history, humerous, moral, castles and other architectural, pastoral, nautical and transport, including an image depicting an early diving bell beneath the sea with hot air balloons above, and an image of an early steam locomotive, occasional generally minor marks or dust-soiling, several creased, a few close-trimmed, one engraving with loss to lower right corner (torn away), one stained, front pastedown with ink manuscript inscription 'Arthur Rogers Winnington-Ingram, from his Aunt [...?], January 2nd 1852', contemporary maroon half morocco, worn, 4to, together with another similar scrap album, mid 19th century, containing approximately 55 engraved illustrations, most with contemporary hand-colouring, trimmed and laid down on linen pages, many extracted from Victorian children's books, publishers include Darton and Co., A. Park, W.G. Webb, the Society for Promoting Christian Knowledge, the majority depicting animals or birds, including stories involving them such as The Death & Burial of Cock Robin, and some natural history engravings by W.H. Lizars of Edinburgh, some dust-soiling, rubbing and marks, several creased, some fraying and wear to edges, a few losses, original linen wrappers, tied at spine and fore edge with pink silk ribbons, soiled with several losses, slim folio, plus Cinderella, illustrated by Roland Pym, [cover-title], c.1950, 6 peepshow scenes folded in carousel style, each fore edge with single staple (rusting), cloth ties (somewhat frayed), original cloth-backed boards, rubbed with a little wear, 8vo, and 4 other children's books, some defectiveQTY: (7)

Chivers (Cedric). The Holy Bible, containing the Old and New Testaments, Oxford: University Press; London: Henry Frowde, circa 1910, six colour maps at rear, armorial bookplate of Edward Milsom to verso of front free endpaper, all edges gilt, vellum doublures with gilt-ruled turn-ins, front doublure with calligraphic gift inscription 'E.M. from C.H.M. A.D. MCMXIV' in dark blue ink, binder's gilt stamp to rear turn-in, contemporary vellucent binding by Cedric Chivers of Bath, upper board with an image of Christ on the Cross surrounded by angels within an architectural border in gold and colours (lightly faded to lower right quarter), lower board with roundel containing intertwined initials M.H. & E.C.S[?] and motto 'Confitebor tibi domine', title to spine within elongated architectural gothic style panel also in gold and colours (lightly faded at foot), generally in good, clean condition, contained in purpose-made moire silk-lined vellum covered drop-back box with clasp, silk lining a little worn, 8voQTY: (1)NOTE:The Revd. Edward Milsom (1851-1932) was born in Bath, Somerset and married Caroline Louisa Howe (1863-1951) in Diss, Norfolk on the 8th January 1914. He gained an MA at Trinity College, Cambridge and later studied theology at Ripon College Cuddesdon. Shortly after ordination, he became Vicar of Hilperthorne, York, 1881-91 and the Rector of All Saints Church, Roos, Yorkshire from 1891-1921.

Japanese wooden lintel carving of a pair of foo dogs or shisas, likely an architectural fragment. With inset eyes and some remnants of polychroming.Height: 10 1/4 in x width: 42 1/2 in x depth: 10 1/2 in.

Architectural and salvage interest: A group of wrought and cast iron brackets.

A William De Morgan 'Persian' Galleon tile on Poole Pottery Architectural blank, painted with the stern of a manned warship sailing past a classical building, in yellow, aubergine, ochre turquoise and pale green, framed, impressed Poole marks, chips to back of tile, 15.5cm. square Provenance Private collection. Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 176 figure 470 for the full two tile panel of the manned galley in a classical harbour.

De Jong (Cees & Erik Mattie). Architectural Competitions 1792-Today, 2 volumes, 1st edition, Taschen, 1994, numerous colour & monochrome illustrations, original cloth in dust jackets & slipcase, folio, together with;Weale (John [editor]), Monograms, Old Architectural Ornament, Sacred Illustrations, Borders and Alphabets Collected on the Continent and in England, London, circa 1842, colour & monochrome plates, bookplate to the front pastedown, front & rear gutters cracked, front board & spine partially detached, some spotting throughout, contemporary gilt decorated half calf, boards & spine rubbed, folio, plusPfeiffer (Bruce Brooks), Master Drawings from the Frank Lloyd Wright Archives, 1st edition, London: Thames & Hudson, 1990, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other architecture & interior design reference books, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves & a carton)

Dardanello (Giuseppe et al). Guarino Guarini [Centro Internazionale di Studi di Architettura Andrea Palladio], 1st edition, Torino: Umberto Allemandi & Co., 2006, numerous colour & monochrome illustrations, original cloth in dust jacket, 4to, together with Haiko (Peter et al), Joseph Maria Olbrich Architecture, Complete reprint of the original plates of 1901-1914, London: Butterworth Architecture, 1988, numerous monochrome illustrations, bookplate to the front pastedown, original cloth in dust jacket, covers lightly faded & rubbed, folio, plus Macaulay (James). The Gothic Revival, 1745-1845, 1st edition, London: Blackie, 1975, black & white illustrations, original cloth in dust jacket, large 4to, and other architecture reference & related, including Anglo-Saxon Architecture, by H. M. & Joan Taylor, volumes 1 & 2 (of 3), 1st edition, Cambridge University Press, 1965, 4to, Basil Oliver, Old Houses and Village Buildings in East Anglia, Batsford [1912], Eric Mercer, English Vernacular Houses, A study of traditional farmhouses and cottages, H.M.S.O., 1975, Simon Thurley, Hampton Court, A Social and Architectural History, Yale University Press, 2003, Christopher Wren, Parentalia: or Memoirs of the Family of the Wrens, 1750, facsimile reprint, Gregg Press, 1965, many original cloth in dust jackets, some paperbacks, 4to/folioQTY: (approximately 50)

Paine (James). Plans, Elevations and Sections, of Noblemen and Gentlemen’s Houses, and also of stabling, bridges, public and private, temples and other garden buildings; executed In the counties of Derby, Durham, Middlesex, Northumberland, Nottingham, and York. By James Paine, Architect, One of the Directors of the Society of Artists of Great-Britain. Part the first. Illustrated by seventy-four large folio plates, London: Printed for the author, and sold by Mr. Davies, in Russel-Street, Covent-Garden; Mr. Dodsley, Pall-Mall; Mr. Brotherton, Cornhill; Mr. Webley, near Chancery-Lane, Holborn; and at the author’s house, Salisbury-Street, Strand, 1767, [4],iv,[6],11,[1],12-16[i.e.17],[5]pp., 55 engraved plates numbered I-LXXIV (complete, comprising 36 single-page and 19 double-page which are given 2 numbers each), title with letters of word 'of' worn through with loss, list of subscribers present, double-page plate (number 18/19 South Front of Gosforth in Northumberland) torn & damp frayed to fore-edges affecting image slightly, some light offsetting, marbled endpapers (front free endpaper detached), all edges gilt, contemporary calf, gilt decorated spine and board borders, joints split, binding rubbed and worn, folioQTY: (1)NOTE:ESTC T135969; Archer 243.1; Fowler 207; Harris 664.The first edition of architectural designs by James Paine (1717-1789), including Chatsworth, Sandbeck, and Axwell Park. Volume two appeared in 1783, accompanied by the second edition of volume one.

Architecture. A large collection of modern architecture & related reference books, including publications by Routledge, Antique Collectors' Club, Yale, Architectural Press, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves )

A German mahogany architectural bracket style mantel clock, ivorine chapter ring with Roman numerals, twin winding holes, paper label, made in Wurtemberg, key and pendulum, 33cm, early 20th century

An architectural oak chimney glass, rectangular mirror plate flanked by Ionic pilasters, 74.5cm high, 115.5cm wide

A hand tinted architectural engraving, published by Charles Massin Paris 1905, "Arch de Trajan Ancone". 40 cm x 28 cm, framed, signed. CONDITION REPORT: The engraving is in generally very good order with no significant issues. It is flat and not significantly discoloured. There is a very small spot in the centre of the arched doorway and another to the left of the left hand column and very slight staining on the left margin but this is barely significant. The engraving is framed and under glass. The frame has some minor chips and nibbles but is fully serviceable

A pair of 18th/19th century Georgian brass fire dogs, of architectural baluster form with pierced gallery. Height 29 cm, width 17 cm, depth 38 cm. CONDITION REPORT: Both dogs are structurally sound and simply dirty and tarnished. There are no missing pieces and no significant damage other than surface marks and scratches as one would expect.

Two 19th century brass classical lamps of architectural form. Tallest 60 cm.

An early 18th century Georgian walnut bureau bookcase, of narrow proportions with architectural pediment (glass missing). Height 200 cm, width 68 cm, depth 47 cm (see illustration). CONDITION REPORT: The bureau bookcase is in generally good condition. The cornice is in good order all round. The door is in good condition also. The lock is present but we do not have a key. The shelf fronts are in good order. The door has a very slight warp but would close flush should the key be present. The slide is missing its knob handle. The sides of the top are in good order as are the sides of the base. The flap is not warped, the leather is in good order. The lock is present but we do not have a key. The stepped interior is in good order. The handles and lock escutcheons are not original but do cover the original handle holes. All drawer fronts are in good condition. The bracket feet are later replacements. The backboards are in good order.

An 18th century oak tripod centre table, of architectural form with carved gadrooned border. Height 79 cm, diameter 76 cm.

Of Local / Bristol Interest. An early 20th century scrap book to contain sepia photographs of Weston Super Mare, Bristol and more. Together with cut outs of Bristol architectural & historical books.

Édouard Frédéric Wilhelm Richter (German, 1844-1913)The favourite signed 'E. Richter' (lower left)oil on canvas50.5 x 75.5cm (19 7/8 x 29 3/4in).Footnotes:Edouard Richter was born in Paris in 1844, and began his training at the Hague Academy of Fine Art. He then studied in Belgium, before returning to Paris to enrol at the Academie des Beaux-Arts under the tutelage of Ernest Hebert and Leon Bonnat. Between 1860-1870 his subjects tended to be portraits and genre scenes, however he showed an early interest in Orientalism as his 1866 submission to the Paris Salon was entitled Orientale à la Fontaine, Alger. In 1883 he became a permanent member of the Society of French Artists – a contemporary, Louis du Seigneur, noted his 'palette of precious gems'. Upon moving more firmly into Orientalism, Richter's carefully conceived compositions were often sensual depictions of harems, and his work was characterised by precise architectural and ethnographic details. In the present lot the artist shows features of the Maure architecture of the Alhambra. This attention to detail can also be seen in the costumes of the seated women which resemble the Kat fabrics, as worn by noble society in Algeria at the end of the 19th century and have their origins in traditional Algerian Karabou art.Opulent interiors such as this which define Richter's Orientalist period, were much admired by his Parisian contemporaries, in particular the Austrian and German artists who had settled in the French capitol such as Ludwig Deutsch and Rudolf Ernst.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

Frederick Arthur Bridgman (American, 1847-1928)New Shoes, Algiers signed 'F . A . Bridgman' (lower left)oil on canvas73.4 x 60.5cm (29 x 23 3/4in).Footnotes:ProvenanceThe artist; his sale, American Art Galleries, New York, 10 March 1899, lot 40. M. Knoedler & Co., New York (acquired at the above sale). William Randolph Hearst, Sr. (1863-1951), New York and San Simeon, CA, (acquired from the above, 14 March 1899). With Maxwell Galleries, San Francisco, after 1940. Dr. James V. Raia (1923-2020) (probably acquired directly from the above circa 1965). By descent to the present owner, 1999. Literature'Some Prices brought at the Bridgman Sale', American Art Annual, New York, 1899, p. 67, no. 40.We are grateful to Ilene Susan Fort, Ph.D., F. A. Bridgman authority and Curator Emerita, Los Angeles County Museum of Art, for confirming the authenticity of this work on the basis of photographs.Born in Alabama, USA, Frederick Bridgman's early training was as a draughtsman and engraver for the American Banknote Company. Visiting Paris in 1866, he worked for a time in the atelier of the Orientalist master, Jeon-Leon Gérome, at the École des Beaux-Arts. Often referred to as 'the American Gérôme', Bridgman's early work reflects the master's precise draughtsmanship and smooth finishes, although his palette would soften over the years, his style becoming broader and more impressionistic.Bridgman's first visit to North Africa came in 1872, remaining there for the next five years, where he divided his time between Egypt and Algiers. As well as producing hundreds of preparatory sketches, he also took numerous photographs, and amassed a large collection of objects, costumes and architectural pieces, which cluttered his Paris studio and served as props for his paintings. Bridgman was a regular exhibitor at the Paris Salons, notably the Salon des Artistes Français and the Salon of the Société Coloniale des Artistes Français, as well as at the Royal Academy, and Suffolk Street Gallery in London. His work was shown at the Exposition Universelle of 1878, 1889 and 1900, receiving a silver medal at each of the exhibitions. He was decorated with the Légion d'Honneur in 1878 and was made Officier in 1907. Bridgman retained his ties with his home country and held a number of exhibitions with accompanying sales in New York, the first of which was held in 1890.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

Andalusian School, Circle of MATIAS DE ARTEAGA (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703), 17th century."The Annunciation".Oil on canvas.Retouching.Repainting and restorations.Measurements: 81 x 102 cm; 105.5 x 120 cm (frame).The spatial complexity that the theme of the Annunciation denotes here, making the pedestrian architectural plane coexist with the celestial one, presents clear concomitants with the way in which Matias de Arteaga treated the biblical episodes. It is therefore part of the Sevillian Baroque, in Arteaga's circle. The main scene is set in an interior in which, on the right hand side, the Virgin kneels before a lectern. A vase of lilies, a symbol of Marian purity, stands between her and the archangel who brings her the good news. Saint Gabriel points upwards, where God the Father and the Holy Spirit burst forth in a burst of golden glory. In the background, the urban architecture is depicted, based on sober, perfectly delineated arcades. A Spanish Baroque painter and engraver of the Sevillian school, Matías de Arteaga y Alfaro was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, while still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals a wealthy lifestyle that included an important library and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.

Spanish school of the second half of the 19th century.Following models by Bartolomé Esteban Murillo,"The Good Shepherd.Oil on canvas. Frame of the 19th century.Measurements: 125 x 103 cm, 145 x 125 cm (frame).Following models by Bartolomé Esteban Murillo, copy of the original in the Prado Museum.Murillo has gone down in history as one of the great painters of children's themes, not only for his famous genre scenes featuring children, but also for representations such as this one, in which the Child Jesus appears in the biblical metaphor of the good shepherd who feeds and cares for his sheep. This type of image was a great success among Sevillian society at the time, and its devotional efficacy has remained intact over the centuries. In this type of work, which in many cases was intended for private worship, the artist showed himself to be a true master when it came to combining a wise and delicate style with a gentle and sweet content. However, as he had a powerful sense of composition, he endowed them with remarkable monumentality and balance. The architectural ruins in the background have a double meaning. On the one hand, they are part of a Virgilian tradition which is evident in literature and the plastic arts and which is very fond of the image of the shepherd among the fallen remains of a splendid past. On the other hand, Christian iconography frequently used the reference to classical ruins as a symbol of defeated paganism. The study of the colouring, in which cold shades predominate, led to the dating of this work to around 1660, which is now in the Prado Museum.From that time onwards, followers of Murillo and different artists represented this work by copying the composition used by Murillo in this Good Shepherd.

ADHAIDVIPA PATA DE MADYALOKAGUJARAT, XVIIIE SIÈCLEDistemper on cloth. 119 x 117 cm (46 7/8 x 46 in.), irregular Footnotes:AN ADHAIDVIPA PATA OF MADHYALOKA GUJARAT, 18TH CENTURY古吉拉特邦 十八世紀 耆那教宇宙學中觀世界圖 Published: Jan van Alphen, et al., Steps to Liberation: 2500 Years of Jain Art and Religion, Antwerp, 2000, p. 177, no. 42. Exhibited: Steps to Liberation: 2,500 Years of Jain Art and Religion, Etnografisch Museum Antwerpen, 26 May - 15 October 2000. Provenance: With Claude de Marteau, Brussels, by 1980s Discussing this Jain cosmological map, which Claude de Marteau displayed prominently in his dining room, van Alphen notes, 'This extremely detailed and richly coloured representation of Adhaidvipa - the 'two and a half' continents - is most probably based on an early seventeenth-century model. However, the clothes worn by the various figures, the architectural details of the palaces and also the aquatic figures point to the eighteenth century. The painting shows some unusual features, the extra ring between the central continent, Jambudvipa, and the surrounding salt ocean, Lavanoda, for instance. It is abundantly filled with flowers and trees in a purely decorative style. Great care has been taken in the painting of the figures in the oceans, one of the few areas in which the artist enjoyed a measure of freedom in the otherwise strictly defined representation of the madhyaloka, 'the middle world'. A great many inscriptions are included within the area of the 'two and a half' continents, which are more usually found around its circumference.'For further information on this lot please visit Bonhams.com

STATUE D'ATLAS SOUS FORME D'HERCULE EN SCHISTE GRISANCIENNE RÉGION DU GANDHARA, II/IIIE SIÈCLE 51 cm (20 1/8 in.) high Footnotes:A SCHIST ATLAS FIGURE IN THE FORM OF HERCULES ANCIENT REGION OF GANDHARA, 2ND/3RD CENTURY 犍陀羅 二/三世紀 片岩赫拉克利斯形象之阿特拉斯像 Published: Mario Bussagli, L'Arte del Gandhara, Torino, 1984, p. 55. Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1990, p. 155, fig. 448. Provenance: With Claude de Marteau, Brussels, by 1970s Fewer subjects convey the intriguing Greco-Roman legacy in ancient Gandhara (modern-day Pakistan and Afghanistan) more clearly than such Atlas figures lining the bases of its Buddhist stupas. Epitomized by this superlative example, the bearded face, dramatic expression, athleticism, and male nudity nod unmistakably to Classical aesthetic ideals. In Greek mythology, Atlas fought on the side of the Titans against the Olympian gods, lost, and was condemned to support the spherical vault of the heavens for eternity. His myth inspired a leitmotif in Greek and Roman architecture of figures upholding architectural superstructures. During a period of heightened contact with the Mediterranean world, the figure of Atlas was adopted in Gandhara. Repeated images of composite Atlas-like figures surrounded the base of stupas, whose solid domes can be understood as symbols for the sky. With the skin of the Nemean lion worn as a cape over his head and shoulders, the imagery of this distinctive Atlas is conflated with that of Hercules. Hercules conquered the beast as the first of his Twelve Labors, and also briefly relieved Atlas of his duties during his penultimate Labor. While the subject of Hercules is represented in other forms of Gandharan material culture, such as a wrestler's weight now in the Metropolitan Museum of Art (1994.112), the only other known large stone Atlas in the form of Hercules is in the Cleveland Museum of Art (fig. 1). In comparison, the present example alludes more directly to the hero's depiction in Classical art, as the modelling of his high cheek bones, thick beard, and searching gaze draws remarkable resemblance to a monumental head of Hercules from Pergamon (fig. 2), a likeness that was also observed by Ingholt about an Atlas figurine with a similar countenance (Ingholt, Gandharan Art in Pakistan, 1951, p. 157, no. 387). In the Gandharan context, surviving Atlas figures sculpted from stucco line stupa bases at the sites of Taxila, Hadda, and Jualian. There is a considerable number of small stone panels and figurines, yet only a few large stone Atlas sculptures are broadly-known, and originate from two dispersed sets. The first set consists of three figures of smaller scale (each approx. 40 cm high) carved in a dark grey, almost black schist, comprising the aforementioned Cleveland Herculean Atlas, an Atlas in the Norton Simon Museum, Pasadena (F.1975.17.17.S), and another sold by Bonhams, New York, 17 March 2014, lot 66. Atlas figures from the second set survive as a pair carved in a lighter grey schist, consisting of the present sculpture and its mate in the Peshawar Museum (Kurita, Gandharan Art, Vol. II, 1990, p. 157, fig. 453). This second pair is larger, more expressive, and better carved—truer to the Classical aesthetics of naturalism—making the de Marteau Atlas one of the two most important Gandharan Atlas figures remaining.For further information on this lot please visit Bonhams.com

A very attractive brass and mahogany Terrarium, of architectural form, the octagonal frame with 17 glass plates and a pointed top with 8 glass panels and urn finial, 23" (59cms). (1)

A good Architectural Wall Mirror, in the Pre-Raphaelite style with Greek key cornice, the frame in low relief with scrolling foliage, 24 1/2" x 17 1/2" (62cms x 44cms). (1) Full measurements: Mirror inset: 15"high x 9" wide approx.Overall including frame: 24 1/2" high x 17 1/2" wide x 3" deep approx.

A good large Regency gilt Overmantel compartment Mirror, of architectural form with inverted breakfront cornice above nine compartments in a frame with leaf moulded half round pilasters, 72" x 64" (183cms x 163cms). (1)

Two Architectural Prints, after Eric Patton, Limited Edition No. 872 (999), and one other after Tom Daly, of the Four Courts, a a lot, w.a.f. (3)

A fine Architectural silver plated Oil Lamp, with cutglass reservoir supported by four Corinthian columns on a square stepped base, 31" (79cms). (1)

A pair of George II gilt gesso pier mirrors, c.1735-1740, attributed to Benjamin Goodison (c.1700-1767), each architectural frame surmounted by a foliate crest within a broken swan neck pediment, over an egg-and-dart moulded edge and relief-carved acanthus detail, the shaped apron centred with a shell, surrounding a mercury glass plate with a shaped bevel, 59cm wide 121cm high (2) Provenance: The Pleydell-Bouverie Family, Longford Castle, Salisbury, Wiltshire, thence by descent. Possibly supplied to Sir Jacob Bouverie (1694-1761), 1st Viscount Folkestone by Benjamin Goodison, who was furnishing parts of the castle c.1737-1743. Benjamin Goodison served as Royal cabinetmaker to George II from 1727 onwards, furnishing apartments at Hampton Court and St. James’s Palace. Longford Castle was built during the Elizabethan period, with silver and gold retrieved from the wreck of one of the Duke of Medina-Sidonia’s galleons, which sank in the wake of the Spanish Armada. In 1717, it came under the ownership of Sir Edward des Bouverie, whose family were descendants of a Huguenot refugee, Laurens des Bouverie (1536-1610), who in the late sixteenth century fled persecution by the Catholics in the then Spanish Netherlands.Following settlement in England, his successors earned vast fortunes during the seventeenth century with the Levant Company, profiting from a time of flourishing trade with Turkey. In 1713, Sir William des Bouverie (1656-1717) was knighted by Queen Anne, from which point they transitioned quickly into nobility, amassing wealth and status through the purchase, lease and inheritance of land, particularly in the South West of England. Upon Sir Edward’s death in 1737, his brother Sir Jacob inherited the castle and brought about the advent of several generations of refurbishment, refurnishing and remodelling. Amelia Smith in 'Longford Castle: The Treasures and the Collectors' credits Sir Jacob Bouverie as ‘the most important patron and collector of art to reside at Longford Castle’, acquiring some of its greatest assets, including ‘two suites of fine eighteenth century gilded and upholstered furniture’, of which these mirrors may have been a part. Some of the decorative motifs seen in these mirrors are similar to those in a pair of pedestals, also attributed to Goodison, which were sold at Christie's, 'The Collection of Paul F. Walter', 27 September 2017. The remaining four are still situated in the castle’s picture gallery, in which also reside gilded furniture attributed to the likes of Giles Grendey and William Vile. Other notable pieces that were acquired during this period include Hans Holbein’s ‘Ambassadors’, sold to the National Gallery in 1890, and works by Velázquez, Claude Lorrain, Poussin, Sir Joshua Reynolds, Sir Godfrey Kneller and Van Dyck. Literature: A Smith, 'Acquisition, Patronage and Display: Contextualising the Art Collections of Longford Castle during the Long Eighteenth Century', Doctoral Thesis, Birkbeck, University of London, 2017;A Smith, 'Longford Castle: The Treasures and the Collectors', Unicorn Press, London, 2017.The plates heavily degraded but a reflection still visible. Backboards appear to be original and don't appear to have been off, with the plates appearing relatively contemporary, however the shaped bevel does not follow the profile of the frame, inferring that the plates were probably re-acquisitioned from a slightly earlier pair. Chips, small knocks and losses to gilding and gesso. Later gilding and gesso to the frames. Gilding worn through in places and quite unstable, with areas flaking. One fitted with later girandole sconce brackets. Some small losses to floral detail to crest and apron. Some areas of re-touching and overpainting. Splits and cracks to frames. One crest a little wobbly. Some scratches to plates. Traces of old worm damage to the backboards, particularly to one. General wear commensurate with age.

A month-going Lanterndluhr-type Vienna wall clock,the gilt metal dial with silvered chapter ring, within a mahogany and boxwood strung architectural case,35cm wide 16cm deep 145cm highwe believe the clock to be 19th century, the front face of the back plate is stamped A:SCH, the case has old splits and cracks to the veneer the bottom left-hand corner of case shows separation from the base (shown in photos) the movement seems to be complete although does not run as it should, various small knocks and chips to the case in places, door bowed, wear to string.

A mahogany and rosewood crossbanded longcase clock,by Justin Vuillamy, late 18th century, the 11.5in square silvered dial with subsidiary seconds dial, date aperture and 'strike/no strike' lever, enclosing an eight-day five-pillar movement striking on a bell, the case of architectural design with moulded trunk door and plinth base,41cm wide22cm deep202cm highCondition ReportStrip of moulding missing to the top of the door. General wear, knocks and scratches to the hood and the case. Split to inside of the door. Damage to backboards, with a later baton applied. Case appears cleaned and re-finished. Areas of wear to the silver dial. Scratches and marks. Ticks and chimes when wound, however a little eratically and we would recommend inspection by a professional. Tarnish and discolouration to brass. Associated winding key present.