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A GROUP OF STUDIO POTTERY AND OTHER CERAMIC WARES, twenty six pieces to include an angular Carn studio pottery vase, height 14.5cm, stamped mark to base, a Brutalist style cylinder vase indistinctly marked, an impressed, sky blue glazed bowl supported by three feet, a slab-built sculptural piece of architectural form, a stylised dragon height 9cm, a large slip trailed charger diameter 33cm, assorted tourist and international wares including a Mexican vase, hand painted with birds in a scene, height 18cm, etc (Condition report: pieces appear in good overall condition, some crazing and small chips) (26)

Architectural model of a house with plaque inscribes 'Isles Bay Plantation, Monserrat Carribean, Palm Tree House, Three Bedroom' 

A Victorian architectural slate mantel clock, the white ivorine dial with Arabic chapter ring inscribed L. Boutry Lille (35cm)

A 1920s mantel clock, the oak case with architectural carving, the dial with roman numerals (45cm x 33cm x 15cm)

POLEN/RUSSLAND 3 Becher, Silber, 1845 und um 1900. Leicht konische Formen mit vegetabilen und architektonischen Gravuren, 1 Becher POLEN 12-Lot (geprüft: etwas unterlegiert) und ungedeutete Meistermarke, 1845, 2 mit russischen Silberpunzen, um 1900, H. ca. 5,5-7 cm, ca. 121 g. Gedellt, Alters- und Gebrauchsspuren.| POLAND/RUSSIA 3 cups, 1845 and c. 1900. Slightly conical forms with vegetal and architectural engravings, 1 cup POLAND 12-lot (checked: somewhat underalloyed) and uninterpreted master's mark, 1845, 2 with Russian silver hallmarks, c. 1900, h. c. 5.5-7 cm, c. 121 g. Dented, signs of age and use.

Warton, Rev. T., Bentham, Rev. J., Grose, Captain and Milner, Rev. J. Essays On Gothic Architecture, Illustrated With Twelve Plates Of Ornaments, &c. The Second Edition. London: Printed by S. Gosnell, Little Queen Street, Holbourn, For J. Taylor, At The Architectural Library, High Holbourn. 1802, full calf binding, 8vo. (1)

Bedford Lemere & Co, architectural photographer to Queen Victoria, a rare archived photograph of dignitaries and workmen inspecting foundations in The Strand, London

Large collection of antique Chinese woodblocks, watercolours etc, depicting animal, bird, portrait, architectural subjects etc

A French Empire style mahogany bedstead, the head of architectural outline, with panelled back, gilt brass banding and raised on ring turned tapering supports, early 20th century, w.140cm, length 207cmCondition report: No base or slats.Headboard height 134cm, gross width 142cm, interior width 130cm.The gilt finials are quite rubbed and a little scratched.Slightly dusty from being left in an empty house.Some surface scratching, particularly to interior of footboard.Sides 194cm long.

A 20th century pine breakfront bookcase in the manner of William Kent, the moulded broken architectural pediment over open shelves and faux book spine cupboard enclosing two glazed shelves. The base having three pairs of cupboard doors, on plinth. 244 x 308 x 60cm

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

Two late Victorian mantel clocks including architectural mahogany example

A group of engravings, mostly architectural and landscape scenes

India.- Griffin (Sir Lepel) Famous Monuments of Central India, first edition, 89 autotype plates, some captioned plate guards with small tear, hole or some marginal repairs, ex-library copy with various ink stamps to title verso, library morocco-backed cloth, rubbed, corners a little worn, oblong folio, [1886].⁂ "The present volume has been issued with the sole desire of placing, by the autotype process, on permanent record in public and private libraries, accurate representations of the more important architectural monuments of Central India, before time, neglect, or barbarous and greedy hands shall have destroyed the buildings which have so special an artistic value in relation to the ancient arts of building and sculpture in the east, and which possess a further interest as illustrating the history of the most highly cultured among the elder members of the Aryan family" (Preface). All the plates are after photographs by Lala Deen Dayal, including views of Sanchi Tope (27), Gwalior (20), Khajuraho (21).

Elyot (Sir Thomas) The Boke named the Governour..., black letter, lacking title but supplied from 1553 edition (with woodcut architectural border dated 1534 in the sill, leaf slightly shorter than rest of text), woodcut initials, contemporary and near contemporary ink signatures & inscriptions to head & verso of title, verso of final leaf and leaf of printer's waste bound as front free endpaper, including those of John Alyngton & Thomas Cutter and later Francis Winn dated 1686, marginalia in fine contemporary hand, later manuscript index of corrections bound in at rear, title soiled and with short tear to inner margin, free endpapers supplied from 15th century Latin illuminated manuscript on vellum, old calf, a little worn, rebacked and repaired, [STC 7640; cf. Pforzheimer 254 & PMM 61, first edition], 8vo, [printed by Thomas Marsh], [1557].⁂ Influential work on moral philosophy and concerning the education of those destined to govern. It was first published in 1531 and there were several further editions throughout the 16th century. Despite the title dated 1553 this is actually the 1557 edition bound with the earlier title, evident from the signings of signatures y and z being in lower case.

Refuge (Eustache de) A Treatise of the Court or Instructions for Courtiers, translated by John Reynolds, 2 parts in 1, first edition in English, fine engraved architectural title, woodcut initials and typographic ornaments, with blank leaf & letterpress title to second part and 2 preliminary leaves bound after O6 as usual and text continuing with O7, with errata leaf at end but lacking final blank, light browning to first few leaves but an excellent copy in contemporary vellum, spine titled in manuscript, a little soiled and marked, [Heltzel 494; STC 7367], by A[ugustine] M[atthews] for Will. Lee, 1622; The Accomplish'd Courtier...By H.W., woodcut initials and head-pieces, without 20pp. Index at end (never bound in), title and final leaf a little browned, contemporary sprinkled sheep, rubbed, a little stained, spine and joints worn, covers slightly splayed, [Wing D2682C], for Thomas Dring, 1658, 8vo (2)⁂ Scarce translations of Refuge's Traité de la Cour, first published in 1616, the second item being the second part only. ESTC lists 6 UK copies of the first.

Latimer (Hugh) The seconde sermon of Maister Hughe Latimer, whych he preached before the Kynges maiestie, w[ith]in his graces palayce at Westminster [the]. xv. day of Marche. M.ccccc.xlix., first edition, black letter, title within woodcut architectural border, woodcut decorative initials, a few instances of later ink marginalia, 20th century pencil manicules, lacking final 2 blank ff., closely trimmed at head, occasionally touching a headline, water-stained, some soiling and finger-marking, lightly browned, modern calf, spine in compartments and with leather label, [Pforzheimer 582; STC 15274.7], 8vo, [By Ihon Day, dwellynge at Aldersgate, and Wylliam Seres, dwellyng in Peter Colledge. These bokes are to be sold at the new shop by the lytle Conduyte in Chepesyde], [1549].⁂ This edition has printed side-notes throughout.

Chaucer (Geoffrey) The Workes, edited by William Thynne, 2 parts in 1, double column, black letter, title to part 2 within woodcut architectural border, woodcuts of the Knight and a squire, woodcut criblé initials, contemporary ink marginalia, lacking all before A4 (including first title), A6-8, 3P1, 3Q1,5&6, some of these provided in attractive contemporary manuscript, 2S1-4 repairs where text excised or in case of the 2S4 torn away, some text supplied in same hand as above, 2R6 upper corner repaired with loss of text, a few tears, last few ff. loose, some water-staining / staining, occasional spotting, lightly browned throughout, contemporary blind-ruled panelled calf, worn, with loss, lower cover detached, [cf. STC 5074; Pforzheimer 175; Grolier 41], small folio, [c.1550]; sold not subject to return. ⁂ One of four variants of the undated fourth collected edition, which was published simultaneously by four London booksellers (William Bonham, Richard Kele, Thomas Petit and Robert Toye). It is the last edition of Thynne's highly regarded version of The Workes. Thynne held a number of offices at the Court of Henry VIII, including chief clerk of the kitchen, who was in charge of all royal banquets.

Chapman (George, translator).- Homer. Homer prince of poets: translated according to the Greeke, in twelue bookes of his Iliads, engraved architectural title by William Hole, woodcut head- and tail-pieces and decorative initials, Cc4 blank, lacking leaf of dedicatory verses to Lady Wroth and the Countess of Montgomery ('rarely present' (Pforzheimer)) and final blank, dedication leaf to Queen Anne misbound after A2, title page repaired seemingly using central title and imprint from another copy, I1-3 heavily stained, but perfectly legible, T1 short tear at foot, not affecting text, V2 repair to lower blank corner, X2 small piece from upper corner, not affecting text, some water-staining and spotting, 18th century red panelled morocco, gilt, rebacked, preserving original backstrip in compartments (with some loss here and there), corners worn, stained, rubbed and marked, [Pforzheimer 168; Grolier/Langland to Wither 26; STC 13633], small folio, Printed [by Humphrey Lownes] for Samuel Macham, [?1609]. ⁂ Rare at auction, with only four copies recorded since 1923 (the last two being the Pirie copy (2015) and the Henry Yates Thompson copy (2016)). First edition of the 3rd, 4th, 5th, 6th and 12th books. Provenance: Grenville family (engraved armorial bookplate with motto 'repetens exempla suorum').

Heraldry.- [Milles (Thomas)] The Catalogue of Honor, first edition, engraved architectural title by Renold Elstracke, woodcut head-pieces and initials, 9 engraved illustrations, 2 full-page, numerous woodcut coats-of-arms throughout, lacking blanks A1 & 2V8, title lightly soiled, trimmed and tipped into blank leaf (?A1), with 3S4 intact and 3 column errata at end, 5X3 defective at upper outer corner up to border (repaired), one or two spots but a remarkably clean copy, later engraved bookplate of Chas. E.H.Chadwyck Healey, handsome later red morocco ruled and tooled in gilt, spine gilt in compartments with six raised bands, g.e., gilt floral turn-ins, a few spots to lower cover, very slightly rubbed at edges, small nick to fore-edge of upper cover, folio, [STC 17926], folio, William Jaggard, 1610.⁂ A very fine copy and complete with 3S4 intact, which has frequently been mutilated to excise reference of Charles Blount's illegitimate children.

Bible (English) The Holy Bible Containing the Old Testament and The New, engraved architectural title, ruled in red, final blank with modern manuscript annotations, lacking initial blank? (pi1?), occasional spotting, by the Assigns of John Bill deceas'd, Henry Hills and Thomas Newcomb, 1682 bound with The Psalms of David in Meeter, title within woodcut border, ruled in red, some marginal browning, Edinburgh, George Swintoun, 1675, together 2 works in 1, lacking endpapers, contemporary red panelled morocco, richly gilt, covers with centre-pieces of acorns, flowers and leaves within a small field of framed dots, in turn within a wide scrolling foliage border with its own triple filet frame richly decorated with flower heads and foliage corner-pieces, all within an outer double filet border, spine in compartments and with central floral- and foliage-filled circular decorations, each dissected by a raised band and flanked by triangular floral side-pieces, all within a border of double filets, spine with central vertical crease and occasional splitting, corners worn, some staining, rubbed, vanishing fore-edge painting depicting a rose and thistle, 8vo (172 x 121mm)⁂ A very early example of a vanishing fore-edge painting. This decorative tradition is accepted as having taken-off in the 1650s, in a London bookbindery. The image here present is typical of early styles in fore-edge painting which were often floral designs, scrolls and possibly biblical scenes; this example depicts a verbal caption encased within a heart, between a rose and thistle, as well as what might be a frond of strawberries to the right, and further flowers to the left. Fore-edge painting reached its zenith in popularity in the late eighteen century. Bible as per Wing B2319B, but with collation A-Zz4 Aaa8 and with New Testament title dated 1675. Psalter as per Wing B2519, but with collation A-F4. Both scarce.

Faria y Sousa (Manuel de) Asia Portuguesa, 3 vol., mixed edition, vol.1 second edition, vol.2 & 3 first editions, vol.2 & 3 with engraved architectural titles, vol.1 with engraved coat-of-arms to dedication and small woodcut portrait to end of preliminaries (engraved in vol.2 & 3), woodcut initials, 19 folding views/plans of fortresses (engraved in vol.1, woodcut in vol.2 & 3), numerous woodcut portraits of navigators and governors, over 40 full-page, vol.1 with final blank leaf but lacking in vol.2, contemporary ink signature to verso of vol.1 title, some browning, short tear and loss of lower outer corner to S2 of vol.1, engraved titles and a few head-lines shaved, plan of Mozambique torn at inner edge, light worming and water-staining to vol.3 (mostly marginal), modern embossed library stamp of Antonio de Almeida Correa to title of vol.1 and one or two other leaves with label to front pastedowns, uniform contemporary mottled calf, spines gilt in compartments with red morocco labels, rubbed, folio, Lisbon, vol.1 Bernardo da Costa Carvalho; vol.2 & 3 Antonio Craesbeeck, 1703-1674-75.⁂ Important account of the Portuguese empire in Asia. The views are of Santa Elena, Cochim, Quiloa, Cananor, Sofala, Goa, Malaca, Ormuz, Bacaim, Chaul & Dio in vol.1; Mocanbique, Daman, Manar, Mangalor, Onor & Barcalor in vol.2; Mascate & Macao in vol.3.

ANDREW FELL. A SUPERB LIMITED EDITION LACQUERED BRASS ARCHITECTURAL DESIGN ROLLING BALL CLOCK, with three silvered chapter rings, turned column supports on a marble base, housed in a glass case. Number 041, dated 1974.

AN UNUSUAL LATE 19TH CENTURY, MAHOGANY CASED, MANTLE OFFICE CLOCK by BARWISE, LONDON, with eight-day movement, silvered dial in an architectural case with rotating day / date / month. 24.5ins high x 16ins wide.

An unusual 19th century Channel Islands mahogany longcase clock, the 8 day bell strike movement fronted by a painted arched Roman dial with moonphase, signed 'Thos De Gruchy 1780 Jersey', with subsidiary seconds and date dials, the architectural case with with fluted columns and broad, classical style base with columns and lancet arched blind fret panel, 82¾in. (210cm.) high, the case with faults.

A Very Large customs Scale, English, c.1910, signed along the beam 'COUNTY BOROUGH OF PRESTON TO WEIGH 7LB' and to the supporting column 'DE GRAVE & CO LTD, MAKERS LONDON' the balance with large architectural brass pillar, lignum handle, large brass beam, hangers and pans, the pans with standard stamps the earliest being 1911, in a large French polished mahogany cabinet, with counterweighted sliding door, (damage to front corner of wooden case), cabinet height 67cm Please note: we cannot pack or ship this item, please arrange your own collection or courier

A fine pair of Retour D’ Egypte ormolu and patinated bronze four sconce candelabra, in the manner of Pierre Philippe Thomire, early 19th century possibly Naples, Italy. Each with gilt scrolling branches issuing from Egyptian style female figures, on architectural veined marble architectural plinths with sepulchral appliques. 77.5 cm high overall Lot 90, Sotheby’s Ariane Dandois sale, 25 October 2007, New York.LOT 382, Sotheby’s, 13 June 2001, London Footnote: Probably based on a similar pair that can be seen in the Louvre that are to a design by Charles Percier (RF30630) the column design was originally taken from a sketch and was originally conceived as caryatid supports for a table. Condition report: Some minor damage to the mounting plate of one candelabra, no visible repairs or further damage to either.Expected wear to patina likey from age, slight tilt to both central sconces, probably part of flower motif.One corner of the architecturally base has a small patch

A large early 20th-century Winterhalder & Hofmeier 8-day mantle clock with ting-tang chiming on two coil gongs and fitted a matted brass dial with silvered chapter ring dial and strike silent and advance and retard subsidiary dials The oak "broken arched" case on. The architectural walnut case with carved detail and supported on simple block feet. 31 cm wide x 19.5 cm deep x 42 overall height

A 19th century ebonized 30-hour Duru of Paris portico timepiece with elaborate gridiron pendulum The case with brass stringing and gilt brass neoclassical appliques on a simple architectural plinth base. 22.5 cm wide x 13.5 cm deep x 45 cm high

Samuel Marti a French white marble and ormolu clock garniture, early 20th century, the 8-day clock in an architectural case with triumphal military trophy surmount above a dial marked in Arabic numerals and decorated with swags of flowers and marked "Comptoir General."Accompanied by a pair of matching two sconce candelabra each mounted with a flaming quiver of arrows motif on corresponding white marble bases with toupee feet. 18 cm wide x 34 cm high x 12 cm deep (the clock)Qty: 3Private collectionCondition report: The bodies of the clock and accompanying candelabra are good without cracksThe clock is complete with a pendulum and key the retaining nut for the bell has dropped inside the body of the clock when the bell was removed to see the maker's name.The going and the chiming train wind and go through the motions of escaping and striking when the hands are moved to the hour positionsThe dial has some fine cracks to the top section at around 11.00 oclcok.Note the fact that the movement runs is NO guarantee of accuracy or reliability but the clock came from a private residence and I can only assume it would have been working whilst there.

A pair of 19th century Neo-Classical cut glass and ormolu candelabra bases in the manner of Osler of Birmingham. Each of urn form with diamond cut finials, associated lustre hung collars above architectural stepped plinths with stylized fan cutting. 46 cm overall height x 17 cm approx widthCondition report: The urns have some chipping to the plinths.The urns would have been fitted with detachable scrolling arms that are no longer presentThe collars have mismatched lustres and fo not belong to the urns

A Multani architectural pottery frieze tile with relief designs and painted calligraphic Islamic script, together with one similar. 38 cm x 23 cm the largestCondition report: Flaking of glaze and some structural losses.

An early 17th-century style oak credence table with demilune fold-over top and spindle supports united by a cross stretcher, probably constructed from period and later architectural elements.83 cm wide x approx 43 cm deep x 70 cm overall height.Private collectionCondition report: Not a period tableRequires work to make good

An Italian painted and parcel-gilt single door Catholic Tabernacle, possibly Venetian 17th /18th century The arched architectural form decorated with baroque scrolls and the door carved with a monstrance in low relief. 57 cm wide x 29 cm deep x 63 cm highCondition report: A crack to the door and some knocks and signs of age

An Empire-style ormolu mounted mahogany oval center table, possibly Spanish first quarter of the 19th century. The figured top with inset black marble panel the frieze fitted a single drawer and two leathered candle slides to either side, on plain architectural supports decorated with neoclassical ormolu appliques throughout, supported on a concave square base. 121 cm long x 92 cm wide x 72 cm overall height, 59 cm to the underside of the frieze.Lot 2, Sotheby’s Ariane Dandois sale, New York, 25 October 2007.Formerly of the Gucci collection, Milan, Tajan, Paris December 12th, 1995Condition report: The top has some signs of old now secured cracks to the mahoganyThe drawer linings have possibly been replaced or the drawer maybe a later adaptation utilising a section of the original frieze, this is evident from construction and the sharp arris of the drawer sides and signs of work being undertaken in the interior.The bottom boards seem to have been refixed with panel pins.The top shows some fine shrinkage cracks in the ground that transmitted through the veneer. The whole has been coated with a coating of button polishThe ground timber of the base shows extensive but not structural woodworm activity.

A Victorian iron and brass Corinthian column standard lamp with telescopic action over a stepped architectural base and lion's paw feet. Fitted with a Japanese (Nihon Shishu type ) embroidered and stretched silk shade. 178 cm high overall.

Pietra dura-Kabinett im Barock-StilHöhe inkl. Museumssockel: 195,5 cm. Höhe ohne Sockel: 95,5 cm. Breite: 195 cm. Tiefe: 45 cm. Italien, 17. oder 19. Jahrhundert.Ebonisierter Holzkorpus mit Pietra dura-Einlagen und vergoldeten Bronzen sowie Messingzier. Auf gedrückten Kugelfüßen der kastenförmige Korpus mit risalitartigem Vorbau. Dieser architektonisch aufgefasst mit gesprengtem Giebel in Wellenleistenprofil und darunterliegender, von gedrehten Säulen gerahmter Tür mit Lapislazulibesatz und Hohlnische, mit Athene in vergoldeter Bronze. Dahinterliegend vier Schübe mit ornamentaler Pietra dura-Zier in Lapislazuli und gelbem und grünem Marmor, überfangen von weiterer Lapislazulihohlnische mit Segmentgiebel und eingestellter Götterfigur. Der mittlere Risalit flankiert von zwei zusammengefassten Schüben in der oberen und unteren Etage sowie zwei Türen, deren Giebel als weiterer Schub fungieren, sowie drei danebenliegenden Schübe. Die flankierenden Türen ebenfalls mit drei ornamental verzierten Schüben mit Wellenleistenprofil hinterfangen. Jeder der Schübe mit auf schwarzem Grund eingelegten Pietra dura-Arbeiten, großformatige Tiere zeigend, darunter Ochse, Hirsch, Leopard, Nashorn, Kamel, Elefant, Elch, Löwe, Wildschwein und ein im Kampf befindliches felines Wesen sowie zwei kämpfende Steinböcke. Nebst den Tieren häufig Blatt-, Baum- und Blumenzier in Pietra dura-Arbeit. Die Mitteltür flankiert von zwei gedrehten Säulen, die als Paar herausziehbar sind und jeweils vier, mit Wellenleistenprofil gerahmte Schübe bergen. Minimal besch. (12821132) (13)Baroque style pietra dura cabinetHeight incl. base: 195.5 cm.Height excl. base: 95.5 cm.Width: 195 cm.Depth: 45 cm.Italy, 17th or 19th century.Ebonized wooden structure with Pietra dura inlays and gilt-bronze and brass mountings. Chest-shaped architectural structure on compressed ball feet with risalit-like porch with a door decorated in lapis lazuli and framed by twisted columns and an alcove with gilt-bronze figure of Athena, surmounted by a broken pediment with ripple moulding. Every drawer is decorated with pietra dura on black background depicting large scale animals including an ox, stag, leopard, rhinoceros, camel, elephant, elk, lion, wild boar and a feline animal fighting two ibexes.

Jean-Baptiste Camille Corot, 1796 Paris – 1875 ebendaCOUBRON, UM 1870 – 73 Öl auf Leinwand. 55 x 40 cm. Rechts unten signiert.Zertifikat von Lebeau & Dieterle. Die Personen, die auf dem Allee-Weg wandeln, scheinen sich fast in einem architektonischen Gebilde zu bewegen, so sehr ist die Landschaft hier konstruiert. Die Wahl des Hochformats verstärkt den sehr geschlossenen Eindruck. Die Stämme der Bäume, die den Weg säumen, gleichen Säulen, die die Wölbung einer pflanzlichen Kathedrale bilden. Die Äste bilden die Kreuzgrate. Der einzelne Baum auf der linken Seite des Weges scheint der tragende Pfeiler der Konstruktion zu sein. Leicht dezentral nach links versetzt konkurriert der Weg mit der Baumreihe um die Aufmerksamkeit des Betrachters. Die fast anekdotisch positionierten Personen dienen als Maßstab. Der durch die Äste aufblitzende Himmel ist auch am Ende des „Gewölbes“ zu sehen – als winziger Punkt, aber dennoch wichtig, um dem Bild einen Fluchtpunkt zu geben. Corot zählt zu den bedeutendsten Landschaftsmalern des 19. Jahrhunderts. Obwohl ihm zunächst eine Kaufmannskarriere angedacht war, trat er mit 26 Jahren in das Atelier von Achille Etna Michallon (1796-1822) ein. Von ihm lernte er die Prinzipien der klassizistischen Landschaftsmalerei und wurde in der Pleinair-Malerei bestärkt. Aus seinen zahlreichen Reisen durch Italien brachte er Ansichten von Florenz, Rom und Tivoli zurück und bereiste anschließend Frankreich. Das vorliegende Werk gehört in das Spätwerk des Künstlers. Dieser zog sich, vermögend geworden, 1874 nach Coubron zurück, wo auch das vorliegende Werk entstand. (†)Literatur: Abgebildet in André Schoeller, Jean Dieterle, L’oeuvre de Corot, 2. Supplement. (1301339) (10)Jean-Baptiste Camille Corot,1796 Paris – 1875, ibid.COUBRON, ca. 1870 – 73Oil on canvas.55 x 40 cm.Signed lower right.Certificate of Lebeau & Dieterle.The figures strolling on the boulevard almost seem to be walking inside an architectural edifice as the landscape appears to be constructed as such. The portrait format reinforces this very closed impression. The tree trunks lining the road are like columns forming the vault for a botanical cathedral. Corot is one of the most important landscape painters of the 19th century. He brought back vistas from Florence, Rome and Tivoli from his numerous travels through Italy and then went on to travel through France. The painting on offer for sale in this lot is a late work by Corot. In 1874, after having acquired some wealth he retired to the country, to Coubron where the present work was created. (†)Literature:Illustrated of André Schoeller, Jean Dieterle, L’oeuvre de Corot, 2nd Supplement.

A 19th century French green marble and gilt bronze architectural mantle clock by Samuel Marti, Paris. With relief classical frieze decoraation and gilded dial with bubbles for the numbers. No key. H.30 W.24cm

Colin Middleton RHA RUA MBE (1910-1983)Castle Park, Bangor Oil on canvas, 61 x 61cm (24 x 24'')Signed with monogram; also signed, inscribed and dated 1979 versoProvenance: Sale, these rooms, 1/4/2015, lot 6; private collection.This late work is one of the surprisingly small number of paintings by Colin Middleton that record a specific location in Bangor, the town where he lived for the last decade of his life (a blue plaque at 6 Victoria Road was unveiled in his honour in 2005). Middleton had first moved to Bangor for a shorter period in 1953 and had painted at least two canvases of Castle Park at that time; the turbulent and expressionist style of these works, typical of the early 1950s, is quite different to this later painting, where the more formally organised and architectural arrangement creates a mood of tranquillity.It is notable, however, that both paintings do share such a vibrant palette. In the present work, this is used in a less obviously expressive manner than in the 1950s and short and controlled strokes of high-toned colour are integrated into more subdued passages to imbue the scene with a subtle sense of luminosity. The presence of figures is unusual in Middleton's post-1960 landscapes but the mother and child are reminiscent of his 1955 painting, 'November Evening, Bangor Pier'. They are very much in harmony with the woodland, introducing solid passages of colour that make connections around the canvas, mirroring the shape of the tree to their right and occupying the triangle between the diagonal path and the higher level of land.The painting seems to convey a clear note of nostalgia; Bangor would have carried strong associations for Middleton of his own young family growing up in the 1950s and Castle Park appears to have been a place he enjoyed. This particular view must have been painted close to North Down Museum where, most appropriately, an exhibition of Middleton's paintings of Bangor was held in 2013.Dickon Hall

Corinthian capital; Renaissance period, 16th century.Sandstone.Measurements: 35 x 36 cm.This architectural section has been conceived through an aesthetic of classical inspiration that rescues one of the classical orders (Ionic, Doric and Corinthian), specifically the Corinthian order. The creation of the Corinthian order is attributed to the Greek sculptor Callimachus in the 4th century BC. It is basically the same as the Ionic order, but differs from it in the shape and size of the capital. It is the most ornate of the three main classical orders, and although it is of Greek origin it was mainly used in Roman architecture.

Cross vault keystone; Gothic; 14th century.Carved limestone.It has slight damage caused by the passage of time.Measurements: 90 x 60 cm.Keystone of a ribbed vault made of limestone. This type of architectural element was common during the Gothic period, as ribbed or ribbed vaults made it possible to raise the ceilings in height and unload the weights in order to introduce large openings. The importance of the central voussoirs or keystones, such as this piece, was fundamental as their role was to distribute the weights. In this case, the piece stands out for its delicate carving as ornamentation, in which the Virgin is represented as the throne of the Child, accompanied by two musical angels. During this period the representation of the Virgin Mary is no more than the seat of divinity; she is not presented as the mother of God, so there is no affective relationship between her and the Child. In fact, at this time the Virgin is not yet an important figure in the Church. The carving shows the couple formed by the Virgin and Child on her lap. It is a carving that follows the typology of the "Sede Sapientiae" or "Throne of Wisdom". Mary, seated facing the viewer, acts as the throne, the seat of Christ, the supreme incarnation of Wisdom. No emotional communication of any kind is established between the two figures, but rather the majesty, the regal aspect of both figures is encouraged. It was also common in Gothic carvings to present the Child blessing and holding a sphere, a symbol of the totality, of the Universe, which would allude to his condition of "Salvator mundi". Mary, on the other hand, is dressed in a long tunic and cloak that fall in symmetrical folds to the ground. A veil covers her hair, framing her serene and harmonious face. She originally held a sphere in her right hand, although in this case it must allude to the apple of Original Sin. In Christian exegesis, if Eve was the introducer of Sin, Mary is its counter-figure, through whom salvation comes to the human race, thanks to her son, Jesus. Formally, the delicate workmanship stands out, in addition to the vegetal motifs carved on the outer perimeter.

Tabernacle door from the early 17th century."The Last Supper".Relief in carved, gilded, stewed and polychrome wood.With its original polychromy.Measurements: 58 x 35 cm; 66 x 43 cm (frame).Relief in carved, polychromed, gilded and stewed wood, with the representation of the Last Supper in the foreground, occupying the lower half of the composition. It is a relief on different planes: the first with the representation of the table and the apostles, in a pronounced foreshortening that shows the artist's notable technical astuteness, behind which is a Baroque curtain, produced by the fall of the cloths hanging from a baldachin. Above this is a gilded censer of markedly baroque forms, with a rounded shape. Ultimately, a cobbled architectural structure indicates that we are in the city of Jerusalem.The Last Supper is one of the most important representations in the history of Western art. Firstly, because it is the specific moment in which the sacrament of the Eucharist is established, since Jesus at this supper made the analogy between his body and the bread, and the wine and his blood. Secondly, the mythical scene, which was painted by Leonardo, laid the foundations of Renaissance aesthetics, thus contributing a conception of perspective that was hegemonic until well into the 20th century.It presents slight flaws and marks of old xylophages.

Door for tabernacle. Spanish School, 16th century.Resurrection of Christ.Carved and polychrome wood.Measurements: 42 x 36 cm.Door for an altar tabernacle made of carved and polychromed wood, which still conserves part of the metal fittings. On the front of the relief, there is a usual decoration in this type of liturgical elements: the representation of the Risen Christ with the gesture of blessing with his right hand, while with his left hand he holds a cross with a phylactery. He rests his feet on the tomb, whose tombstone the miracle has raised, while the two Roman guards remain asleep. The heavenly world is represented in the upper part, with two angels whose trumpet blasts celebrate the event. The architectural structure, based on fluted pilasters supporting a semicircular arch, orders the composition.

Spanish Renaissance school; 16th century."Front of tabernacle".Carved, polychromed and gilded wood.It has an original key.It presents xylophagous remains.Measurements: 58 x 53 x 4 cm.Door for an altar tabernacle made of carved and polychromed wood, which still conserves part of the metal fittings. The piece is conceived in an architectural way as it has a structure flanked by columns that look like Solomonic columns, and a lintel with a classicist aesthetic. On the front of the relief is a decoration that is common in this type of liturgical element: the representation of the Risen Christ with the gesture of blessing with his right hand, while with his left hand he holds a cross with a phylactery. He rests his feet on the tomb, whose slab the miracle has lifted. Despite the distortion of the anatomy of all the figures, typical of the period, the artist has succeeded in capturing a great dynamism in the piece, which is provided by the harmonisation of a clear triangular compositional structure. He portrays the figures with angular lines that intensify the sensation of movement.In the early years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first-hand the new standards in the most progressive centres of Italian art, whether in Florence or Rome, and even in Naples. On their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionised Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualised and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

Corinthian capital; Spain, 16th century.Carved stone.It shows faults in the carving caused by the passage of time.Measurements: 30 x 21.5 x 20 cm.Carved stone capital with carved decoration imitating plant motifs that extend over the entire surface of the piece. This architectural section has been conceived through an aesthetic of classical inspiration that rescues one of the classical orders (Ionic, Doric and Corinthian), specifically the Corinthian order. The creation of the Corinthian order is attributed to the Greek sculptor Callimachus in the 4th century BC. It is basically the same as the Ionic order, but differs from it in the shape and size of the capital. It is the most ornate of the three main classical orders, and although it is of Greek origin it was mainly used in Roman architecture.

A MAHOGANY BREAKFRONT LIBRARY BOOKCASE 18TH CENTURY AND LATERWith architectural pediment, the breakfront brushing slide with an indented border, the central door enclosing five graduated drawers with brass handles, the side doors enclosing adjustable shelves216cm high, 168cm wide, 50cm deepCondition Report: As catalogued, the bookcase is dated 18th century and later. The main body of the bookcase is of George III period but there have been many adaptations. Including; later cornice using some period timbers, later glazing and astragal moulding to the upper doors, a slide added, drawers added to the interior of the central lower doors, later plinth base, and various later mouldings. Bookcase with marks, knocks, scratches and abrasions commensurate with age and use. Old chips and splits. Old veneer and moulding repairs - see images. Some filler used in places. Two keys present, they operate all locks except to the left glazed door. Some additional scratches to the slide and waist of the bookcase. Minor evidence of old worm. Please refer to additional images for visual reference to condition.     Condition Report Disclaimer

A JAMES I BOARDED OAK CHILD'S CHEST OR COFFERCIRCA 1620Of small proportions, with unusual channelled and stylised architectural column carving 44cm high, 75cm wide, 29.5cm deepProvenance: Purchased from Timothy Wilson Antiques, Bawtry, North YorkshireFor a related examples of chest, see Victor Chinnery, Oak Furniture: The British Tradition, Antique Collectors Club, 1979, reprinted 1986, page 105, figure 2:109. For two joint stools of a similar period see ibid page 264 figures 3:80 and 3:84. A related 'child's' chest sold in these rooms, 5th September 2018, lot 6 (£3,000 hammer).  

A CHINESE EXPORT LACQUER CABINET ON STANDLATE 18TH/EARLY 19TH CENTURYThe doors enclosing a stepped arrangement of architectural recesses and drawers155cm high, 92cm wide, 54cm deepCondition Report: There are marks, scratches, chips, splits and abrasions consistent with age and use.Overall the piece has crackelure and lifting lacquer cracks to varying degrees. Repairs with over-painting. There is also some touching up to the gilding and of other paintwork from rubbing. The painting to the top more indistinct by comparison with some wear and later touching up.The lock appears to be original, but is missing one screw, there is no key present, the lock is open.Some sections to the architectural interior are loose, for example some balustrade sections and the round frames. Some splits to the drawer linings. One detached small section to hold balustrade panel in one of the drawers.The back with crackelure and cracks along the panels of construction.Some movement and possible shrinkage, including to the doors so that there is a gap between them and they do not sit flush with the cabinet frame.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer

A REGENCY SERPENTINE MAHOGANY SIDE TABLEIN THE MANNER OF MARSH & TATHAM, CIRCA 1820 99cm high, 139cm wide, 57.5cm deepThe architectural and monumental nature of this table's roundels, fluted sabre legs and spade feet relate in a manner to Tatham's etchings of designs for hall seats. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall with a polished appearanceThere is a later block to the inside of one legSome minor chips and losses to veneers around some edgesOverall solid and stablePlease refer to additional images for visual reference to condition Condition Report Disclaimer

A CONTINENTAL CARRARA MARBLE CASED CLOCK IN THE MANNER OF BERTEL THORVALDSEN, EARLY 19TH CENTURY The case of architectural form in the manner of Neoclassical monuments by Canova, scrolling pediment with acroteria and anthemion around twin lion masks, the case front with relief decoration of elaborate scrolling pilasters flanking dial, carved relief of winged nymph writing, stiff leaf and laurel base, sides with relief carved caduceus decoration, the stepped dial supporting later 8 day movement by Just Paris57cm high, 33cm wide, 18cm deepCondition Report: There is very mild wear and abrasions consistent with age and use. This mild wear is noticeable to the plinth edges and corners. Surface is slightly dirty. Clock movement looks to be not workingPlease see the additional photographs as a visual reference of condition and which form part of this condition report. Condition Report Disclaimer

AN UNUSUAL SCULPTED STONE ARCHITECTURAL FINIALLATE 19TH/EARLY 20TH CENTURYOf pointed castellated tapering form,92cm high, 58cm diameter 

A quantity of Architectural prints

A LARGE EARLY GEORGE III OAK DRESSER C.1760-70 the architectural plate rack with fluted pilasters and pierced scroll corbels, the base fitted with six fielded panel drawers, flanked by a pair of cupboard doors 214cm high, 230.7cm wide, 60cm deep Provenance Purchased from Edward Hurst.

A FRENCH GILT BRASS AND LIMOGES ENAMEL MANTEL CLOCK C.1870-80 the brass eight day movement striking on a gong, the backplate stamped with an anchor and numbered '297', the enamel dial painted with musical trophies and an 18th century amorous couple, with Roman numerals, in an architectural case with turned finials, the back door with an applied plaque, inscribed 'From the Officers Mess, 20th Decr 1888' 37.8cm high, 21.2cm wide

A PAIR OF ITALIAN PAINTED AND PARCEL GILT ARCHITECTURAL PEDESTALS 18TH CENTURY of scroll form (2) 112.8cm high, 34cm wide

AN ITALIAN PAINTED AND GILTWOOD TABERNACLE POSSIBLY TUSCAN, 18TH CENTURY of architectural form, the front decorated with angel masks and with an arched door with a chalice 44.2cm high, 32cm wide, 25.2cm deep

An interesting Architectural hardwood panel of the arch way and window of the Mosque of Sidi Saiyyed in Ahmedabad, the Mosque was built by Hindu craftsmen for the Muslim Sultan in the 15th century, 26 cm high by 31 cm by 6.5 cm deep

An impressive German late 19th Century carved oak quarter-chiming bracket clock, the brass dial with silvered roman chapter ring, slow/fast dial to arch, two-train Lenzkirch movement, architectural case with brass urn finials, arched door with bevelled glass plate, flanked by gilt metal caryatids, stepped platform base with gilt metal caryatid supports, 36 x 69cms high; together with a matching wall bracket, 43 x 36cms high.

A late 19th Century mahogany quarter-chiming bracket clock, with silvered arabic dial, the two-train movement by Lenzkirch, striking on a gong, the architectural case with brass carrying handle and brass bracket feet, 42cms with handle raised.