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Nymphenburg porcelain part coffee service decorated with landscape and architectural panels within gilt and pale blue borders, comprising coffee pot with cover 10" high, twin-handled tray 13" x 9", two circular baskets 6.75" diameter, 2.25" high, oval basket 7.5" x 6", eight teacups and saucers, large square plate 9" x 9", bowl 5.5" diameter, 3" high and twin-handles cooling vessel with tiered cooling bowl and cover with central handle, 9" high, each bearing the factory stamp with green shield mark to the underside, and most with the decoration place name in script to the underside

A Gothic Revival limestone architectural fragment, carved as a trefoil poppy head finial, 33cm long, 19th century

A North European oak architectural sculptural pilaster section, carved as the head of a woman, 28cm x 17cm, 19th century

Large collection of architectural plans from a theatre company

PETER NELSON for Architectural Lighting, a pair of aluminium double wall mounted adjustable lamps.Good condition, some age related wear.

PETER NELSON for Architectural Lighting Ltd, a 1960?s British designed aluminium floor lamp, height 138cmGood condition

Anne Elizabeth Dundas (British, 1830-1917), 'Cannes 5am'. Watercolour. Signed in pencil lower right. 35.5 x 26cm. Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendant of the artist.

Anne Elizabeth Dundas (British, 1830-1917), view over summer pasture. Watercolour. Monogrammed in pencil lower left. 25.5 x 35cm.Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendant of the artist.

Anne Elizabeth Dundas (British, 1830-1917), landscape with dead pigeon to foreground (1866). Watercolour. Monogrammed in pencil top left. 27.5 x 34cm. Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendant of the artist.

Anne Elizabeth Dundas (British, 1830-1917), 'Old Olives, near Francesca, Cannes'. Watercolour. Monogrammed and titled in pencil lower left. Sheet size 32.5 x 25cm. Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendent of the artist.

Anne Elizabeth Dundas (British, 1830-1917), 'Woodland scene, Lord Rendell's Park, Cannes'. Watercolour. Signed and titled in pencil lower left. 31.5 x 50.5cm. Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendent of the artist.

Anne Elizabeth Dundas (British, 1830-1917), Herdsman's chalet on a hillside, Engleberg (1885). Watercolour. Signed and titled in pencil lower right, with further annotation in pencil to margin.19 x 26cm. Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendent of the artist.

Anne Elizabeth Dundas (British, 1830-1917), landscape with tall trees. Watercolour. Annotated in pencil verso. 17.5 x 25.5cm. Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendent of the artist.

Anne Elizabeth Dundas (British, 1830-1917), 'Cannes' (February 1905). Watercolour. Signed, titled and dated in pencil lower left. 42 x 59cm. Provenance: Anne Dundas was an accomplished artist, who came from a historically important Scottish family. Her younger sister, Adela, is known to have taken lessons from John Ruskin's pupil, William Ward. Anne's pictures, with their vivid emphasis on natural and architectural subjects, are also highly reminiscent of Ruskin. The collection comes to auction from a descendent of the artist.

Roman Pin. Circa 2nd century AD. Copper-alloy, 84.58 mm. An elaborate bronze hair or dress pin with an open-work architectural finial, possibly representing a shrine or temple. Below is a section of rope style banding and a long tapering shaft. 

Albert Goodwin, R.W.S., (1845-1932) "Peterborough Cathedral", watercolour, a detailed architectural depiction with multiple figures, approx. 26 x 36cms (10" x 14"), signed and dated 1908, lower right, inscribed lower left, in oak frame. (1) Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin.

George William Russell ("AE") (1867-1935) "Nereid," gouache and  pencil on paper, approx. 28.5 h x 28 w cms (11¼" x 11")  (1) Beneath a green arching wave, a Nereid swims down into the depths of the sea, reaching out her hand towards a flying fish, from whose mouth issues a cascade of gold flakes. Shielding herself from light emitted by the gold with one hand, the Nereid reaches out with the other, perhaps to grasp the flying fish. In Greek mythology, the Nereides, or Nereids, were beautiful sea-nymphs who dwelt in a cave at the bottom of the Aegean sea. The name derives from the Greek word nêros, meaning ?wet?. Responsible for protecting sailors and fishermen, Nereids were often depicted swimming with dolphins. One of their leaders was Thetis, mother of the hero Achilles, and Amphitrite who became Poseidon?s queen. Remembered today as a leading figure of the Irish Literary Revival, the painter, poet and mystic George Russell was also an influential economist, editor, and promoter of rural development. Although practical in terms of politics and social and economic change, he also believed in the existence of a spiritual world, inhabited by ethereal beings. He delighted in painting scenes of both earthly and otherworldly beings, depicted children playing by the seashore, and also gods and goddesses. In works such as Apparell?d in Celestial Light and Aeons as yet Unrolled, Russell?s belief in an otherworld inhabited by spiritual beings is evident. Sometimes the boundaries between earthly and otherworlds is blurred, when sprites and fairies interact with mortal human beings. Born in Lurgan, Co. Armagh, as a child Russell moved to Dublin with his family. After studying at the Metropolitan School of Art, in 1887 he began working for the Irish Agricultural Organisation Society, and edited the IAOS newspaper, the Irish Homestead. He also found time to study esoteric religions, joining the Dublin Theosophical Society in 1888, and later forming the ?Hermetic Society?. Influenced by Symbolist artists such as Gustave Moreau and Puvis de Chavannes, he expressed himself through paintings, novels, plays and poetry, often evoking a world tinged with wistful nostalgia. Russell was also involved with drama, in 1902 becoming vice-president of the Irish National Theatre Society (later the Abbey Theatre Company). He was highly regarded as an artist, and, in 1913, with the support and encouragement of the lawyer John Quinn, his paintings were shown at the Armory Show in New York. Encouraged also by William Butler Yeats, Russell painted murals, depicting his mystical visions, at 3 Upper Ely Place, headquarters of the Theosophical Society. He also painted portraits, of Yeats, Lady Gregory and others. The scene depicted by Russell here is probably intended to illustrate a particular story. The fact that the painting spans two sheets of paper also suggests it may have been a design originally intended for reproduction within an architectural or theatre setting, perhaps at the Theosophical Society?s headquarters at Ely Place. Russell signed his work ?AE?, an abbreviation of Æon, meaning both an infinite period of time, and also the power of a supreme deity. Dr. Peter Murray, 2022

Sir Frederick William Burton, RHA, (1816-1900)   "Portrait of a Woman and Child, probably Caroline Susan Gore-Booth and her son Henry  1840," Watercolour on paper  61cms x 46.5cms (24" x 18 1/4") Signed with monogram FWB and dated 1840 Framed within a Classical arch, this portrait depicts young woman and a child enjoying a tender moment together. Her hair coiffed into fashionable ringlets, the woman wears a velvet dress, with a cameo brooch fastened to the neckline. Leaning against the woman, and dressed in a mock-Elizabethan clothing, the child also sits in an attitude of happy contentment. The subjects of Frederick William Burton's portraits and genre scenes are generally shown absorbed in their own thoughts, unconscious of the wider world around them. The architectural settings in his paintings, often incorporating columns, staircases and grand windows, convey a sense of privilege. Embellished with foliate ornamentation carved into the stone, the arch in this painting is also home to ivy tendrils, that climb up the stone and hang from the top. The symbolism of this plant would not have been lost on people seeing this portrait when it was first exhibited. In the legend of Tristan and Iseult, popular in Victorian times, ivy binds lovers tightly together. The idea of nature providing a commentary on life, promoted by John Ruskin, was coming into vogue at the time this portrait was painted.   Born in Clifden House, on the shores of Inchiquin Lake near Corofin, Co. Clare, in 1816, Frederick William Burton was the son of a gentleman and amateur painter named Samuel Frederick Burton and his wife Hannah Mallet. When Frederick William was ten, the family moved to Dublin, partly in order that he could attend the Drawing Schools of the Dublin Society. Here he was taught by Henry Brocas and Robert West, and became friendly with George Petrie, who introduced him to the study of antiquarian remains in the Irish countryside. After the Drawing Schools, Burton began exhibiting at the Royal Hibernian Academy, showing Abraham on his Journey to Sacrifice Isaac in 1832 when he was just sixteen years old. At the age of twenty-one, he was elected an Associate of the RHA and became a full member two years later. Over the years, Burton painted many portraits of physicians, botanists, mathematicians and clergymen, and of Anglo-Irish families of the West of Ireland. In 1843 he showed at the RHA a portrait of the Galway physician, Sir Henry Marsh, along with portraits of the children of the Rev. William Guinness, of Ardcotton, Co. Sligo. In 1843 also, he showed a portrait of Henry Irwin, Archdeacon of Emly and two years later submitted a portrait of the family of Henry Irwin's grandson, Sir Robert Gore-Booth, of Lissadell House in Co. Sligo. Robert Gore-Booth is remembered both for his evictions and for his attempts to assist his tenants to emigrate to America.   The Gore-Booth family portrait by Burton (preserved at Lissadell House) depicting a woman reading to two young girls, is a tour-de-force in the representation of satin, velvet, lace and other textiles. In 1827, Gore-Booth had married Caroline, second daughter of Robert King, 1st Viscount Lorton, but she died a year later. After two years as widower, he remarried, this time to Caroline Susan, second daughter of Thomas Goold. Caroline Susan had one son, Henry, who succeeded his father as 5th Baronet. Based on the resemblance of sitters in the larger Gore-Booth family portrait, it is likely that the present watercolour is a portrait of Caroline Susan and her son Henry. The portrait has an added poignancy in that it was painted the same year as The Blind Girl at the Holy Well, and just a year before Burton?s masterpiece The Aran Fisherman?s Drowned Child, which depicts the harrowing scene of an island family mourning their lost child. Although he painted mainly members of the landed classes, Burton's privately-held political views are revealed in his friendships within Ireland's literary and academic world; George Petrie, Lord Dunraven, Eugene O?Curry and Sir Samuel Ferguson were all members of an intellectual elite that sought to develop a cohesive sense of Irish national identity. Between 1838 and 1841, Burton made several trips to the Aran Islands with George Petrie. In 1874 he was appointed Director of National Gallery of London, a position he held for twenty years, during which time he did not paint. He died at Kensington in 1900. His most famous work, Helehil and Hildebrand, or the meeting on the Turret Stairs, is now in the National Gallery of Ireland. Exhibited : The Beit Wing National Gallery at Frederic William Burton: For the Love of Art Exhibition, October 2017-January 2018. Dr. Peter Murray, 2022

NIGHTINGALE (FLORENCE)Notes on Hospitals, AUTHOR'S PRESENTATION COPY, inscribed on the day of publication to 'Geo. Godwin Esq. in gratitude for the services he has rendered to the cause of good sanitary construction, Florence Nightingale, London, Dec. 14 1863' on title, third edition, 13 folding engraved plans and maps, 3 folding tables, publisher's cloth, hinges separated, lower joint splitting, small losses to head and foot of spine (some portions retained), paper label on spine [cf. Garrison & Morton 1611, citing first edition of 1859], 4to, Longman, 1863Footnotes:As editor of The Builder, George Godwin (1813-1888) expanded its scope to include sanitation, social issues, and other subjects. He wrote on slums and promoted the use of public baths, wash-houses, charitable housing trusts, and pavilion-styled hospitals. His architectural works, centred around Kensington and Chelsea, include The Boltons, Elm Park Gardens, and St. Luke's Kensington. The 1863 edition of Notes on Hospitals was 'massively augmented and rewritten that it is effectively a new book' (Lynn McDonald, Florence Nightingale and Hospital Reform, 2012, p.79).Provenance: George Godwin, presentation inscription; James O'Byrne, bookplate, presumably the Liverpool-based architect (1835-1897) whose library was sold at Christie's on 22 July 1987.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

FRANCO ALBINI (1905, Robbiate - 1977, Milan).Pouf stool, 1960s.Rattan and bamboo.This lot will be available approximately 15 days after payment.Measurements: 40 x 43 cm.A must-have piece for lovers of mid-century rattan design, as it fits perfectly in a modern living room.Through his creations, modern furniture design has fused traditional Italian craftsmanship with new forms of modernism.Albini is one of the leading figures in the development of rationalist thinking in the fields of architectural production, furniture, industrial design and museum design. He graduated in architecture from the Milan Polytechnic in 1929, later collaborating with the studio of Ponti and Lancia. His collaboration with the editorial staff of the magazine Casabella was also fundamental to the development of his thinking, and marked his definitive conversion to rationalism, for which he became a spokesman on the Italian cultural scene. In 1931 he opened his first professional studio in Milan and began to work on social housing; this research continued after the war in relation to the opportunities offered by reconstruction, in collaboration with Franca Helg from 1952. In the 1940s, Albini developed his collaboration with Cassina, for whom he designed a series of chairs containing the stylistic elements of his poetics, an activity he continued in the following years with other companies in the sector, including Poggi. Milan and Genoa represent the geographical axis on which Albini left his strongest mark.

MALTON (JAMES)A Picturesque and Descriptive View of the City of Dublin, Described in a Series of the Most Interesting Scenes Taken in the Year 1791, FIRST EDITION, engraved title-page, engraved arms of the City of Dublin (dated 1792), engraved dedication (dated 1794), 2 uncoloured aquatint plans, engraved key plate, 25 hand-coloured engraved plates by James Malton, uncoloured aquatint vignette on the recto of descriptive text leaves, occasional spotting to text (heaviest on dedication), original marbled boards, printed title label on upper cover ('Price £10:10:0'), rebacked, slipcase [Abbey 374, coloured copy; Tooley 315], oblong folio (45 x 575mm.), James Malton, after 1799, probably c. 1818 [watermarked text 1802-1811, plates 1809-1817]Footnotes:'A Picturesque and Descriptive View of the City of Dublin... is one of the earliest and best of books with coloured aquatints... Malton as a topographical draughtsman had few equals, and the plates... have a distinction of their own in addition to their value as an architectural record' (Hardie, English Coloured Books).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

VALLET (PIERRE)Le jardin du roy tres chrestien Loys XIII, etched architectural title, portrait of Vallet, 93 etched plates (numbered 1-30, 32-57, 58-89, 91-95 and 99), all hand-coloured in a good later hand, without the portrait of Robin, light dampstain in the fore-margin of text leaves with some light pencil annotations in the margins, small light stain just touching image of plate 39, modern vellum [Nissen BBI 2039, calling for only 90 plates; cf. Hunt 187; Pritzel 9672], folio (343 x 216mm.), Paris, Pierre Vallet, 1623Footnotes:'THE FIRST IMPORTANT FLORILEGIUM... A WORK OF GREAT BEAUTY' (Blunt). First published in 1608, this second edition was expanded with a further 20 plates and re-dedicated to King Louis XIII. The flowering plants that Vallet depicts were collected and cultivated by Jean Robin, director of the royal gardens at the Louvre Palace. Robin had introduced a number of exotic flowers from Spain and the archipelagos off the coast of Guinea, and a brief synopsis of these is given in the text.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

HALL (JOSEPH)The Works, title within wide woodcut architectural border, lacks portrait and blank 3H5, endpapers creased, contemporary calf, sides with single gilt rule border enclosing central gilt and blind-stamped arabesque, old manuscript vellum used as binder's waste, worn, losses to spine, Melton Literary Institution label on upper cover [ESTC S92832], folio, Nath. Butter, 1635; Episcopacie by Divine Right Asserted, with opening blank, contemporary calf, red edges to text block, 2 old worm trails to spine [ESTC S103631], small 4to, R.B. for Nathanael Butter, 1640--CHARLES I. Eikon Basilike [in Greek] The Works, second edition, additional engraved title incorporating a portrait, and Royal arms, lacking the 2 plates and lower free endpaper, contemporary calf, worn, joints cracked [ESTC R6734], folio, Richard Chiswell, 1687--LAUD (WILLIAM) The History of the Troubles and Tryal of the Most Reverend Father in God, and Blessed Martyr, William Laud, title printed in red and black, engraved frontispiece portrait on verso of half-title (slightly shorter, repaired in blank horizontal margins) [ESTC R354], R. Chiswell, 1695; Second Volume of the Remains, [ESTC R200966], Sam. Keble, 1700, 2 works bound in 1 vol., later polished calf, gilt spine with morocco label, joints weakened, folio; and another, by Joseph Hall (5)Footnotes:Provenance: First, Revd. William Woodcote, bequeathed to his cousin Cheevor Woodcote and friend William Latham, by whom given to the 'Melton Institutional Library... he died in the West Indies Oct. 8th 1857', manuscript note inside the upper cover; Third, Frederick Adolphus Philbrick, bookplate; Third, Nicolas Docton, ownership inscription dated 1708 on second volume of Laud; J. Brown Craven, Bibliotheca Lavdiana, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

WHITE (GILBERT), SELBORNE AND THE HOLT-WHITE FAMILYAn archive of books, watercolour and scrap albums, photographs, portrait miniatures, silver and other ephemera relating to the White, and Holt-White families, including: HOLT-WHITE (RASHLEIGH) The Life and Letters of Gilbert White of Selborne, 2 vol., AUTHOR'S COPY, EXTRA-ILLUSTRATED with c.55 additional plates (of which approx. 20 photographic, including images of the Selborne Great Oak, the house, etc.), several autograph letters by later family members, and manuscript receipts of eighteenth century, green half morocco gilt, by F.T. Neale of Hastings, John Murray, 1901Silver tray, with the arms of Rebecca White (nee Luckin, 1664-1755) who married the vicar of Selborne in 1687, together the grandparents of Gilbert White (1720-1793), diameter 256mm., hallmarked John Robinson, 1746Album, with artwork attributable to Mary (b.1809), Caroline (b.1811) and Anna Holt-White (b.1813) and other family members, approx. 42 pencil drawings, 18 watercolours (botanical, costume, portraits), of which many signed with initials, 1 gouache of Switzerland, 4 watercolours on rice paper, mostly mounted one per page, contemporary morocco, covers detached, 4to, [c.1832-1840]Album, belonging to Louisa Rose White (1804-1870), approx. 155 mounted engraved or lithographed views of British scenes (including one of White's residence at Selborne), loosely inserted a lithographed plan with view of the Selborne Estate issued for the auction held by George Robins on 28 July 1840, contemporary half morocco, rebacked, folio, [c.1840]Album, associated with Algernon Holt-White (1807-1880), with newspaper cuttings, printed ephemera (electioneering, schools projects, etc), architectural drawings (including 'Plan of the Intended Lodge at... Clements Hall, the Residence of A.W. Holt' signed by G.B. Crowes, Surveyor, 1842), all loose, original calf, worn, folio, [1840/50s]A collection of approximately nine portrait miniatures, mostly of members of the Holt-White family, mostly mounted, framed and glazed, various sizes, [late nineteenth-early twentieth century]Miscellaneous others, including 2 twentieth century albums of watercolours, an album of nineteenth century cuttings with a signed document by Leon Gambetta, approximately 40 albumen and silver gelatin photographs, etc. (collection)For further information on this lot please visit Bonhams.com

Architectural and geometry related items to include rules and The Infinity of Geometric Design book by Robert William Biltings A/F, scientific sets, ephemera and other items to include pumps Location: 10.1

Seven portfolios containing architectural drawings, nude studies, coloured card and others

Thomas Henry Kendall: The Chapel Street Ceiling (part)Comprising eight Californian red pine and mixed wood coffered panels, the geometric mouldings having floret bosses at the intersections, 284x145cm, 190x166cm (x2) 234x167cm, 282x166cm (x2), 210x144cm and 190x145cm, a triangular section, 157x176x235cm, eight moulded dentil ribs, 197cm (x3), 147cm (x3) and 148cm (x2), and four drop pendents, 30cm, together with a moulded window arch, 292cm wide x 102cm high, with its two supporting half-column Conrinthian pilasters, 135cm high, and other elements.Footnote: Footnote: The ceiling and window mouldings are illustrated in The Conoisseur Magazine of 1956 in an article by Denys Hinton A.R.I.B.A. and briefly described, "The rooms themselves have an architectural quality . . . and resemble a provincial version of Sir John Soane's Museum. Two semi-circular arched windows spring from attached Conrinthian columns, in timber . . . beneath a heavily coffered ceiling in woods of four different colours . . ."Condition report: This lot has been left in 'as found' condition for the purposes of sensitive restoration. It does not constitute the whole ceiling from the Chapel Street showroom but a part thereof. Dry stored since 1957 and so all elements have degrees of surface dust and grime. General wear and discolouring throughout. A few small areas of old worm. Some missing and loose elements to all items including dentil blocks and some of the carved florets. Ceiling panel red pine planks fair with splits to some. Two of the columns are good, one column lacking its capital and there is an associated spare capital carving. Arch has stress splits to each end. Please refer to images.

A rare Compton Stoneware garden bird bathEarly 20th century, the moulded octagonal shallow bowl top above a tapering column and lobed knopped base, set on an octagonal plinth, 97cm high x 47cm wide.Footnote: Footnote: A Compton stoneware garden sundial with the same design of column and base as the present lot was sold at Summer's Place Billingshurst rooms, 20 May 2014.Founded by Mary Watts, wife of the painter George Frederick Watts, in 1895, The Compton Potters Art Guild was located in the village of Compton, near Godalming, Surrey. The Watts were strong advocates of the Home Arts and Industries Association, a movement launched by Earl Brownlow in 1885 to revive the art of handicraft among the working classes. The Pottery Art Guild developed quickly, winning medals at the Royal Botanical Society and the Home Arts highest accolade, the gold cross. Their garden ornaments were sold by Liberty's and they received architectural commissions from Edwin Lutyens, Clough William-Ellis and Goodhart Rendel.Condition report: Surface lichen and weathering overall.  The top has two chips to the lower rim and a hairline to the underside.  Also on the top there is a small hole near the outer edge, possibly an air bubble during manuracture, and there is a very small area of fritting near the outer edge.  The capital appears good.  The stem has a few small flat chips at the top.  The base and foot have some small surface chips.  Please refer to images.

A walnut domed architectural mantel clock, silvered dial, Arabic numerals, twin winding holes, striking on a bell, key and pendulum, 27cm high; a Bakelite Smith Sectric mantel alarm clock (2)

An 18th century oak eight day longcase clock, Robert Thwaites of Barnard Castle, with broken dentil moulded architectural surmount with ball and eagle finial over the arched glazed door with turned columns and with brass dial with silvered chapter ring with Roman hours and Arabic minutes all within applied ornate brass spandrels and surmounted by a circular disk with makers details. Shaped trunk door between fluted quarter columns and raised on a plain base. Height 223 cm. Provenance Greystoke Castle.

A limestone architectural fragment with relief carved eagle, length 17cm, a carved stone Classical figure, length 23cm, and a Chinese terracotta dragon mask (3)

A silk applique wall hanging, 20th century, decorated with architectural elements in muted pink, blue and sand hues, copper colour wire and beaded highlights throughout, 112cm long

Three sketch books, probably 19th century, each containing finished watercolours, watercolour sketches and pencil drawings, mainly of bucolic, architectural and coastal scenes, with some portrait sketches, 17.5cm x 23.5cm, 16.5cm x 24cm, and 17cm x 24cm (3) ADDITIONAL INFORMATION:The three books contain approximately one hundred works between them, including finished watercolours, finished pencil sketches, and finished pen and ink studies, with unfinished sketches and studies.

A Royal Copenhagen vase, 20th century, of baluster form decorated with the Little Mermaid statue, printed maker's mark with date code for 1957 to base, 17cm high, with a selection of Royal Copenhagen pieces decorated with architectural scenes, comprising two decanters with stoppers, each 25.5cm high, a documentary vase named for 'Admiral Gjeddes Gaard', 14.5cm high, two mugs, a bell and eleven trinket dishes (18)

An early 20th century walnut cased perpetual roller desk calendar, of architectural form, the roller displays with turned handles displaying day, date and month, upon a stepped plinth base, 31cm high (at fault)Condition reportLacking top LH handle, replaced backboard.All rollers have some marks and stains, day roller has a small hole.General marks, scuffs and wear to the case commensurate with age and use.

A late 19th century French brass cased mantel clock by Japy Freres, the architectural case applied with wreath spandrels and figural pilasters, enclosing the 9cm silvered bezel dial applied with Arabic numerals, along with the two train movement stamped with the makers name and striking upon a coiled gong, raised upon an integrated plinth base and turned feet, 31cm high, with pendulum

A late 19th century oak cased German bracket clock, by Winterhalder and Hofmeier, the architectural case applied with simulated brickwork detail and fluted pilasters, flanking a 15cm gilt metal dial with silvered bezel below silent/chime and fast/slow indicators, signed 'Kent, Manchester', and enclosing the two train movement stamped 'W & H', striking on two coiled gongs, raised upon an integrated plinth base with a presentation plaque to the front dated 1897, with pendulum, 45cm high.The wording on the plaque:"PRESENTED TO MR JAMES BERRYas a token of esteem on his retiring after 50 Years service under the Bridgewater TrusteesBY THE CLERKS, MACHINEMAN, LOCO ENGINE DRIVERS, BRAKESMEN, CLEANERS & PLATELAYERS UNDER HIS CHARGE-DECEMBER 31. 1897-"

A mid 19th century inverted breakfront oak housekeepers cupboard, the central architectural pediment flanked by a moulded cornice to both sides, all over a frieze applied with acorn and oak leaf detail, above an arrangement of central arched panelled cupboard doors enclosed by a pair of conforming glazed cupboard doors over three drawers, punctuated by quarter ring turned columns, upon the base formed from a pair of cupboard doors flanked by banks of three gradated drawers to both sides, all applied with hardwood handles centred with mother of pearl roundels, above a shaped apron and bracket feet, 206cm H x 213cm W x 48cm DCondition reportBoth right hand glazed doors are slightly warped with the far right door extremely tight, which requires some attention to open, the same door has multiple cracks to the top right arched panel.Three acorn motifs are missing from the frieze, the spandrel on the LH glazed doors is loose and needs to be re-attached along with the door handle. The majority of the handles have chips and losses around the collars, multiple minor chips and losses to the inlay and beading on the columns.Moulding on top of the base to both sides is loose, with some joint separation in the boards to both sides, cupboard door on the base has dropped slightly and is lacking a handle.Overall the cupboard is in good original condition although it would benefit from some minor repairs and a tidy.

An Edwardian Sheraton revival wall hanging mahogany display cabinet, the broken architectural pediment above a single astragal glazed door, opening to a lined interior and two fixed shelves, overall inlaid with satinwood crossbanding and stringing, 90cm H x 49cm W x 23cm D

Three albums containing 300+ photographs circa 1900, from a Mediterranean voyage taken aboard SY Evona, by owner J. Menzies, his family and friends, sometime between yacht's launch in 1897 and 1912, places visited/images include Bay of Biscay, Gibraltar, Cap Negro, Algiers, Bourgie, Kharata, Philipville, Constantine, Tunis, Bizerta, Galetta, Carthage, Malta, Ftelia, Trescolie, Corinth Canal, Patras, Piraeus, Athens, Bosphorus, Gallipoli, Constantinople, Stamboul, Salamlik, Thesapia, Naples, Pompeii, etc, architectural and topographical views, plus many photos of locals, street scenes, peasants, captain and others in sailing party etc, majority of photos with neat contemporary captions to card leaves beneath, in 3 large contemporary red cloth albums (cloth with some soiling) lettered in gilt (3)

A late 19th Century photograph album containing approx 100 large mounted albumen topographical and architectural views, the vast majority Sicily, c.1892-1897, including Taormina; Sicilian Peasant Girl; Eruptions of Mt. Etna; Randazzo; Islands of the Cyclops; Syracuse; Girgenti; Sicilian Cart; Palermo; "Saracenic cupolas built in form of a mosque"; Monte Pellegrino; ruins of Solunto, etc; plus a few Naples, Pompeii, Foggia etc at end, photos mainly with pencil captions to card leaves beneath, the album compiled by a "T. Hodgkin", folio, contemporary half calf gilt album (worn, lacks backstrip); together with matching red half calf album containing 76 similar albumen and other photographs c.1894, of Rome; via Appia; Naples; Pompeii; Tempio di Nettuno, Pesto/Temple of Neptune, Paestum; Salerno; Amalfi; Ravello; Perugia etc, pencil captions to card leaves in the same hand, album also lacks backstrip (2)

Five circa late 19th Century photograph albums, mainly Italy, Rome, Southern Europe, including album of 24 large mounted albumen photos of Venice by Paolo Salviati, c.1870's, each image approx 20 x 24cm, oblong folio, original lacquered boards gilt; large album of 50 mounted albumen views of Rome, old half calf very worn; album of 40+ mounted albumen and other photos Cannes; Menton; 4 large photos Liguria by A Noack, Genova, incl. peasants/local costume/fishermen; Florence; Milan; Como etc, old half calf worn; plus another smaller album Rome, and an album of approx 150 mounted photogravure topographical and architectural views and people scenes of Greece, oblong folio, contemporary half green morocco gilt, monogrammed "A.M.B." to front cover (5)

Four large Victorian photograph albums, containing a total of over 400 mounted albumen and other topiographical and architectural views, many by James Valentine, plus several by George Washington Wilson and others, UK including cathedrals, castles, country houses, buildings, universities; Scottish highlands topo views including JV; Devon & Cornwall topo views including JV; Isle of White topo views etc; Fingall's Cave, Staffa; Ireland including WL; Continent including Rome, Switzerland, Germany, Belgium, France; small quantity Japan, etc, in four contemporary half calf folio albums (mixed condition, one generally VGC, others worn) (4)

Two late 19th/early 20th Century photograph albums containing 160 mainly large mounted topographical and architectural views of Switzerland, France, Germany, Austria & Northern Italy, many alpine/ mountain/lake scenes, images include Geneva, Lausanne, Chillon, Montreux, Bern, Interlaken, Lauterbrunnen, alpine railway, Murren (incl. double page panorama), Grindelwald, double page panorama Wengernalp, Giessbach, Reichenbach Falls, Zurich, Lucerne, Matterhorn, Zermatt, Chamonix, Koblenz, Franfurt, Heidelberg, Falls of the Rhine, Davos, Como, Lugano, Silvaplana, Glacier Bossons et Aiguilles du Midi, Innsbruck, Salzburg, Munich, Engelberg, Spiez, Thun, Simplon Pass & Gorge, Lago Maggiore etc etc, majority of images approx 19 x 26cm, mainly with neat pen & ink captions beneath to card leaves, uniformly in the same hand to each album, each album with ownership signature "Mrs FG Steed West View" to ticket at front, each oblong folio, contemporary half calf gilt albums (2)

A Victorian photograph album containing over 130 mainly albumen print mounted photographs, c.1890-1894, mainly topographical and architectural views of England, Scotland & Germany, many by James Valentine, plus some by Frank Meadow Sutcliffe and George Washington Wilson, images include views of Whitby Harbour and St Hilda's Abbey Whitby by FM Sutcliffe, No's 513 and 587, each approx 13 x 20cm, plus others Harrogate, Ripon, Bolton Abbey by James Valentine etc; several Norfolk & Suffolk including Blickling Hall; Cromer including looking West to church/town/beach/pier, and "Lion's Mouth"; Thornham Hall, Suffolk (2); Six images of Lowestoft, including harbour, church, beach, stormy sea, piers, herring industry; Pakefield beach; Southwold church; Norwich cathedral and castle (3); plus numerous others Cornwall, Devon, Bath, Hampshire, Isle of Wight, Bristol, Salisbury, Worcester, Hereford, Braemar, Balmoral, Aberdeen (several by George Washington Wilson), Glasgow etc; plus Germany including Cologne, Trier, Nuremberg, Stuttgart, Baden-Baden, etc, folio, old lattice calf gilt album (worn), all edges gilt

A Victorian photograph album containing approx. 100 albumen and other photos 1887-1892, topographical and architectural views of Belgium, Ireland, Scotland, French Riviera etc, plus a few of English cathedrals, several images by James Valentine, many of Ireland "W.L." including Dublin, Killarney, Glengarriff, Queenstown, Blackrock Castle etc; Riviera including Menton, San Remo, Monaco; several Scotland including James Valentine and George Washington Wilson; four of Fiji incl. Taviuni and Levuka, by Burton Bros, Dunedin, etc etc, many photos captioned to card leaves beneath, in very worn oblong contemporary red morocco album, titled and monogrammed "J.C." in gilt to front cover (a/f). together with a similar album of albumen print photos c.1870's-1880's, 95+ photos topgraphical, architectural and groups of family and friends, UK & Europe, many by James Valentine & others, captioned beneath to card leaves in the same hand as first album, oblong, contemporary cloth gilt album (2)

A large Victorian photograph album containing approx. 120 albumen print and other photographs, various topographical and architectural views, Ireland (14), including Patrick Street, Cork; Belfast; Blarney Castle; Glengarriff; Killarney; Portrush; Giant's Causeway, some of which coloured; Spain including Madrid, Barcelona and Zaragoza; Belgium incl. Brussels, Antwerp, Dinant, Bruges, large panoramic views of Ostend; several others Scotland, Cornwall, Derbyshire, Hastings, Wales, some James Valentine, Francis Frith & Co & George Washington Wilson; Mediterranean cruise including Marseille, Algiers, Naples, Pompeii, Palermo, Messina, Constantinople, Athens, several of these coloured, some by Mihran Iranian; panoramic view of Valletta, by Fenech photographer, etc etc, images mainly captioned to mount, large folio, contemporary calf gilt (worn), all edges gilt

(Topography, Oxford & Cambridge etc) Thomas Wright (of Trinity College Cambridge) & William Bartlett: 'The History & Topography of the County of Essex', 1836, 2 volumes, added engraved vignette title pages, engraved folding map, 100 engraved topographical and architectural views including country houses etc, bindings a/f very worn; Willis & Clark: 'The Architectural History of the University of Cambridge, and of the Colleges of Cambridge and Eton', Cambridge, 1886, 3 volumes, engraved plates & ills. in text, uniform full crushed green morocco, gilt tooling, "T.H.F." monogram in gilt to front covers, spines a bit faded and slightly rubbed and worn, but a nice quality signed binding "Bound by Stoakley. Late Hawes", marbled EP's/pastedowns, all edges gilt; 'An Inventory of the Historical Monuments of the City of Cambridge', 1959, 2 volumes, 4to, orig. decorative cloth gilt, dust wrappers, plus map/plans volume, with ditto Oxford, 1949 2nd printing, orig. cloth gilt, dust wrapper (9)

Collection of 19th vellum and other documents relating to Burgh Hall, Burgh Hall Farm & Estate, Burgh Next Aylsham, Norfolk, James Hunt Holley Esquire, son of Aylsham Attorney George Hunt Holley, 7 vellum and 4 paper documents 1860-1869 including leases, conveyance, mortgages, sale particulars etc, 1863 vellum conveyance of the Burgh Hall Estate with large manuscript pen, ink & wash plan; 1863 Burgh Hall Estate Statutary Declaration with a good quality large folding pen, ink & wash plan; 1873 lease of Burgh Hall with smaller pen & ink map, etc; plus 11 Abstracts of the Title of James Hunt Holley Esqre to a Capital Mansion House called Burgh Hall and land situate at Burgh next Aylsham, 1861/62. The once grand Jacobean style mansion of Burgh Hall was demolished in 1981. The hall was originally owned by the Holley family and rebuilt in the 1830s with architectural plans showing extensions for a new veranda by James Hunt Holley, son of Aylsham attorney George Hunt Holley. These were designed by George Stanley Repton, the fourth son of the famous landscape designer, Humphry Repton, who created Sheringham Park. The land at Old Hall Farm, the site of the former mansion, was sold by Savills in October last year for £2.2m

A Md 20th Century Wrought Iron Wall Hanging Lantern with Blue and Green Glass Shade, Architectural Form, 39cm high

Two Framed Architectural Prints

An Art Deco Presentation Mantle Clock for Country School Chislehurst 1939 (Broken Glass) and a French Mantle Clock of Architectural Form, both in Need of Attention

A marble case mantel clock of architectural design, 32cm high, a brass shell case, 64cm high, a pair of shell case vases, a bayonet and other metalware.

A painted plaster figure of 'Hebe', 76cm high, damage to arm, a moulded plaster cherub head and other architectural ornaments.

A painted metal architectural mantel clock, a pair of cast-iron shelf brackets, a copper Champagne bucket on stand, mirrors, metalware and miscellaneous items.

A carved and polychrome-painted architectural fragment,probably 20th century, Southeast Asian, with elaborate foliate decoration, raised on an ebonised display stand,15cm wide31cm deep115cm highCondition report: Chips, knocks, losses to paint and wood. Rubbing and distress.

Late 19th century mantel clock by Winterhalder and Hofmeier, chiming on two gongs, in oak case of architectural gothic style, 54cm.

Indian Art A Mughal red sandstone architectural stand Northern India, Rajasthan, Bikaner, 19th century . . Cm 15,00 x 12,50 x 9,00.

ARCHITECTURAL GARDEN MIRRORS, a set of four, aged metal arched frames, 77cm x 50cm. (4)

ARCHITECTURAL GARDEN MIRROR, Gothic arched frame, 180cm H x 75cm W.