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ARCHITECTURAL GARDEN MIRRORS, set of three, 160cm H x 67cm W, distressed metal frames. (3)

ARCHITECTURAL WALL MIRROR, 100cm x 159cm, aged metal frame.

A Portfolio of Life Drawing Sketches, Anatomical Drawings, Architectural Sketches, Portraits etc.

TWO LATE 19TH CENTURY BLACK SLATE AND MARBLE MANTEL CLOCKS, one of architectural form, white enamel dial with Roman numerals, 8 day movement, stamped J.J.S., height 27.5cm, with pendulum and key, the other an alarm mantel clock with gilt finial on an architectural pediment, printed dial with Roman numerals, dust cover with four titled winding holes and stamped 'REVEIL PERFECTIONNE DEPOSE BREVETE), height 38.5cm, no pendulum or key (2 + 1 pendulum and 1 key) (Condition report: both slate cases have minor damage, 30 hour clock winds)

A TERRCOTTA ARCHITECTURAL PARTIAL DOOR TOPPER, purported to be reclaimed from the salvage of St Barnabus' Church, Tamworth with a moulded long billed bird feeding fledglings , CBA4 etched on the base, length 46cm depth 32cm height 20cm

A LATE VICTORIAN BLACK SLATE AND MARBLE MANTEL CLOCK OF ARCHITECTURAL FORM, white enamel dial with Roman numeral, 8 day movement, height 34cm, with pendulum and key (Condition report: chip to centre of pediment, a few very tiny chips to the case, clock winds and runs)

Nigel Priodey - architectural street scene

Original vintage advertising poster for the 1st exhibition of the Palatinate Artists Working Group at the Kaiserslautern State Trade Institute held from 9 April to 3 May 1949 / 1 Ausstellung Arbeits Gemeinschaft Pfalzer Kunstler Landesgewerbeanstalt featuring a great architectural style design depicting two buildings with lines and shadows and a sun on each side, the text above and below. Horizontal. Good condition, folds, creasing, printing error. Country of issue: Germany, designer: KI, size (cm): 42.5x59.5, year of printing: 1949.

An early 20thc oak mantel clock of architectural form, with roman numerals (50cm x 28cm x 15cm)

Art Deco period coloured marble 3-piece clock garniture, the architectural cased clock with twin train movement and the case mounted with two bronzed metal swallows, together with a pair of accompanying vases

Late 19th century Vienna wall clock in architectural case with glazed door, plain dial with Roman numerals and brass movement, 95cm high

The Architectural Antiquities of the Collegiate Chapel of St. Stephen, Westminster, The Late House of Commons; Drawn from actual survey and admeasurements, Observations on the original and perfect state of the buildings, and a description of the plates by Fredrick Mackenzie, [M.DCCC.XLIV]

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)

After Chippendale - a mahogany bookcase on stand, having a broken swan-neck architectural pediment over twin astragal glazed doors, enclosing adjustable shelves, w.120cm, d.39cm, h.205cmCondition report: One glazing panel missing.

A set of five coloured engravings, a similar pair and a single engraving. The set of five after Thos. H. Shepherd's Regent's Park architectural scenes in Hogarth frames (26 x 32cm), the pair (Hurley in Berkshire) in gilt frames (29 x 34cm)

QAJAR BRASS TRAY,late 19th/early 20th century, featuring a central architectural study within profuse detail of birds amongst floral sprays and scrolls, 54cm wide

A Victorian walnut mantel clock with Roman dial, architectural form

A Late XIX Century Oak Cased Mantle Clock, the brass dial plate with silvered chapter ring with Roman numerals below a chime and silent and a slow/fast dials, applied sun face and floral decoration, the architectural case with brass finials and replacement bun feet (one missing), the movement stamped "W & H Sch 4", 36.5cm high

Cotman, John Sell and Dawson Turner: The Architectural Antiquities of Normandy, two volumes bound in one, engraved plates, printed for John and Arthur Arch, Cornhill and J.S. Cotman, Yarmouth, MDCCCXXII, bears label from the library of William Morris, Kelmscott House, Hammersmith, marbled board and calf binding.

A Mid XIX Century Mahogany Framed Mirror, of rectangular architectural form with turned columns and roundels. 53 x 33cm.

An Aesthetic Movement ebonised gilt metal mounted and further stylise floral decorated mantel clock, the case of architectural form with turned finials, white enamel and brass dial, twin winding holes for a German H.A.C. 14-day strike movement, with squat pendulum and winding key, h.49cm, w.24.5cm

Adriaen Collaert (1560-1618)Blazon of the Antwerp Guild of St LukeEngraving, 1614, a good impression of this scarce print, on laid paper with watermark of a crown surmounting two interlocking C's [dateable to mid 17th century], platemark 280 x 211 mm (11 x 8 1/4 in), sheet 300 x 217 mm (11 3/4 x 8 1/2 in), tipped onto album leaf at corners, fine hairline split within the paper across hand of the Virgin and leg of Christ Child, minor surface dirt and handling creases (unframed)⁂ The patron saint of painters and sculptors, St Luke, is depicted painting the Virgin and Child Christ. The decorative border features a painter's palette, a copperplate and several printmaker's tools, architectural instruments, a bookbinder's press, a frame-maker's tools, as well as musical instruments.

RUSSIAN IMPERIAL SILVER NIELLO CIGARETTE BOX,maker likely Egorov Aleksandr Sergeev, Moscow 1876, the hinged cover enamelled with an architectural scene within a chequered border, the reverse with blank central oval cartouche within further chequered decoration, 9.4cm wide, approx 115g

Campo, Antonio. Cremona fedelissima citta et nobilissima colonia de romani : rappresentata in disegno col suo contato et illustrata d'una breve historia delle cose piu notabili..., engraved title, soiled, repaired, engraved dedicatory portrait verso, engraved allegorical frontispiece, 33 engraved medallion portraits and engraved view of a military procession in text, large folding engraved map of Cremona, repaired with minor loss, folding engraved map of the environs of Cremona, 5 architectural engravings on 3 folding plates, minor ink and rust marks, portrait on G3 with small hole, slightly affecting text verso, 8*ii-iii with some discoloration and ink marks, M4 verso soiled, P2 with tear, repaired, P2-3 with light stain, centre, lacks errata, contemporary full calf, rubbed, folio, Cremona: In casa dell' istesso avttore, 1585

Unknown - Two Art Deco style reconstituted stone architectural lion wall masks, with angular features and stylised mane, larger height 40cm and width 37cm, smaller height 35cm and width 32cm. (2)

Albert Wainwright (1898-1943) - Clifford's Tower, York Castle, a landscape study of a castle on the hill top, to the reverse an architectural line drawing, pen, ink and wash, unframed, 13cm x 28cm.

Two framed oils on canvas. One of a Greek seascape, indistinctly signed. The other of an architectural ruin, indistinctly signed. H.48 W.55cm (largest)

THE HOLY BIBLE..., London, Christopher Barker, 1661, engraved architectural general title, New Testament title with cut of Royal Arms, printed by Henry Hills, bound in at front THE BOOK OF COMMON PRAYER..., London, Christopher Barker, 1661, title page and following leaf with marginal restoration/repairs, bound in at end THE WHOLE BOOK OF PSALMS..., London for The Company of Stationers, 1661, all works red ruled throughout and generally vgc, 4to, diced calf gilt rebacked (not recent), Herbert 672

λ Henry Moore (British 1898-1986) Mother and Child Lead 17.2 x 13 x 6.5cm (6 3/4 x 5 1/8 x 21/2in.) (excluding base)Conceived c.1939-1940.Provenance: Hubert de Cronin Hastings (1902-1986), Private Collection Gifted by the above to his son John Hastings (1928-2019) by 1974 Thence by descent to the present ownerThis previously unknown work is now recorded in the Henry Moore Foundation database with the reference number LH213a.Left undiscovered for over 40 years, nestled amongst trinkets on a mantelpiece in a Wiltshire farmhouse, a previously unknown sculpture by Henry Moore comes to market for the very first time. The present lot Mother and Child was authenticated by the Henry Moore Foundation in October 2021 and has been added to their archives under the reference number LH 213a. The work, produced in lead, was conceived in c. 1939-1940 at a time when Moore was experimenting with casting in different materials and incorporating elements in string and wire.This very special piece comes from the former collection of architectural publisher and editor, Hubert de Cronin Hastings (1902-1986), whose near fifty-year stewardship of the Architectural Review saw him shed a light on the many challenges and debates posed across the architectural world during this transformative period.Mother and Child (LH 213a) most likely entered the collection of Hubert de Cronin Hastings(1902-1986) (more commonly known as H. de C. or by his pseudonym Ivor de Wolfe) in the 1940s. H. de C. was chairman of the Architectural Press and Architects Journal and editor of the Architectural Review (AR) from 1927-1973.H. de C. was born at Merton Surrey in 1902 and was the third son of Percy Hastings, who owned the Architectural Press and founded the Architectural Review in 1896. H. de C. studied at Berkhamsted School before attending the Bartlett School of Architecture at UCL. However, he never went on to qualify, instead moving to the Slade School of Arts where he is likely to have met John Piper during the early-mid 1920s.In 1927, he joined the family business and became joint editor of the AR with Christian Berman. The magazine was published monthly and together they changed the style of the magazine putting an emphasis on the arts with contributions from the likes of Evelyn Waugh, Osbert and Sacheverell Sitwell and Paul Nash, whilst the editorial board included Sir Hugh Casson and cartoonist Osbert Lancaster.The AR became one of the leading architectural magazines to promote modernism throughout the 1930s and regularly featured articles on painting, sculpture and interior design. He deemed architecture an art form and believed that the understanding of one could support the other. H. de C. 'saw the logic of this as a bright new future for society' as quoted in the Oxford Dictionary of National Biography.H. de C. was first introduced to Henry Moore by Jim Richards who was assistant editor at the AR alongside John Betjeman. Richards who had befriended the artist early on in his career published an article on Moore's work in the AR in 1934. Moore later commented in an interview in 1979 with Jonathan Glancey, architectural critic and writer, that he was appreciative of the AR's support. It would be interesting to think that Moore repaid his appreciation by gifting this sculpture to H. de C. or perhaps H. de C.'s support and encouragement of the artist extended to supporting his career by purchasing the work.By 1974 the sculpture had been passed to his son, John Hastings (1928-2019) where it sat on his mantelpiece in the living room beside a Papier Mache elephant and a china bull, objects which were valued for their sentimental rather than monetary value. John was a countryman and farmer who bred sheep and livestock, more interested in animals than fine art. To John, the Mother and Child that made its home on his mantelpiece was a sentimental family object and nothing more.During the authentication process the panel were able to link the present lot to a known sketch by Moore titled Eighteen Ideas for Sculpture (HMF 1460a). This sheet of sketches shows how Moore was working with his traditional forms; reclining nude, standing figure and mother and child whilst adding a new dimension of movement through exploration of materials such as string and wire. Close comparisons can be drawn between the study at the centre of the sheet and the present lot. The study shows the smooth curve of the mother's arm embracing the figure of the child. Around the child, leading towards the mother's face, are lines suggesting placement of string.What is particularly amusing is the same characterful face that shows the mother's eyes looking toward the child and the small dot used to depict the mouth which is whimsical and endearing. It is possible that Mother and Child (LH 213a) was originally intended to be stringed, connecting the dots and intersecting the space around the sculpture.During this same period that Moore was experimenting with stringed sculptures he also began exploring the use of lead to cast his works. Evidence of this exploration is visible in both finished sculptures but also preparatory drawings such as Reclining Lead Figures c. 1940 (HMF 1550) and Ideas of Lead Sculptures, 1939 (HMF 1473). The production of works cast in lead is concentrated to the years 1938-1940 and it is believed that the present lot was conceived during the latter part of this period.It is interesting to compare Mother and Child (LH 186) which was conceived in 1938. Moore has taken a markedly more abstract approach compared to the present lot (LH 213a). The design has been fulfilled connecting the curved forms of each figure with string creating a fluidity across the sculpture. However, it illustrates his continued experimentation with the mother and child motif, casting in lead and other materials such as string and wire.The theme of Mother and Child remained a dominant theme throughout Moore's career. He was particularly drawn to the subject matter for it is a raw and deeply embedded relationship which every human will experience on some level. On a simpler note, Moore was compelled by the compositional opportunities that a large form and contrasting small form can create. The present lot shows two figures bonded as one. The child's head and face turning up towards the mother who looks directly at the viewer with her distinctive markings. The mother's arms swoops down and around the sculptural form to embrace the child on the other side, creating an area of negative space which creates balance and fluidity in the sculpture.

A unique Poole Pottery faience architectural tile slab by Tony Morris originally mounted on the exterior of the pottery, rectangular form painted with abstract pattern in blue, unsigned, 60.5 x 30.5cm Literature Leslie Hayward and Paul Atterbury, Poole Pottery, Richard Dennis Publications, page 176 for the full panel illustrated. Catalogue notes This panel was one of forty tiles mounted on the exterior of the factory, thirty-two were mounted on the Fisherman's Road elevation, and a further eight in two columns around the corner, in 1963. It is believed this one comes from the latter eight panels and was purchased from the demolition company directly by the vendor.

An architectural stoneware model of a seated lion, in the manner of Alfred Stevens, covered in a matt brown glaze, incised MM to base, minor chips to base, 35.5cm. high

A Carter Stabler & Adams Poole Pottery architectural Lion fountain head, the wall mounted panel modelled as a stylised lion head, with remains of red paint finish, impressed CSA mark to side, 30cm. high, 28cm wide. Provenance Yvette & Robert Scobie, 2003. The Redstone Collection.

A Poole Pottery architectural Sun sundial roundel, used as part of the Poole Pottery factory quayside wall, with remains of orange, blue and white glaze, and a Carter's Faience kerb-stone glazed green unsigned, 51cm. diam.(2) Provenance Poole Pottery factory quayside wall (both pieces). The Redstone Collection.

'Harry Page' a fine Carter Stabler & Adams Poole Pottery Galleon architectural faience sculpture designed by Harold Stabler, the ship modelled at full sail on a rough sea, flat back, on stepped rectangular base, glazed in colours impressed Poole to stern, minor chips, 52.5cm. high. Provenance Bonhams (sale 31151), lot 31. The Redstone Collection. Literature Leslie Haywood & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 42 for a comparable example illustrated. Designed circa 1925 and exhibited as the centrepiece of the Poole display at the International Exhibition of Industrial Art, Leipzig in 1927 - the Harry Page is derived from the local Dorset pirate Henry Paye. The Galleon became a symbol for the Poole Pottery. Exhibited An example of this Galleon faience sculpture was exhibited at the British Industries Fair, 1926.

AN ASSORTMENT OF VINTAGE DOOR AND WINDOW FURNITURE AND FURTHER ARCHITECTURAL FEATURES

A late 19thC slate and marble mantel clock, of architectural design, the 12cm diameter Arabic dial revealing an 8 day movement and flanked by four columns, 30cm high.

A late 19thC slate and marble mantel clock, in a shaped architectural case, with 12cm diameter, Roman Numeric dial, with marble spandrels, 8 day movement on a stepped base, 37cm high.

Early 20th century oak architectural two-train mantel clock, Ansonia Clock Co. U.S.A. Overall 45cm high approx.(B.P. 21% + VAT)

Charlotte Keates Under Treetops 1 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charlotte's work is inspired by interiors, travels, and architectural composition, in seamless communion with elements from the natural world. Trees push through flat concrete, while perspectives unfold in sheets of glass. These images of modernist leisure leave one with the feeling of having entered a space only recently vacated, dramatising stillness without surrendering movement. These are environments that suggest, technically as well as artistically, indistinct human activity and motion. "The interiors that I paint are entirely imagined - I am very interested in architecture; a certain angle or spatial construction within a room. I do not necessarily have a constructed interior in my head, I start with one element that has inspired me and let the painting unfold. There is a sense of anticipation yet stillness, almost like a moment frozen in time, remembering the split second of a place or object. It is this fragility and vulnerability I want to convey, almost waiting for something to happen or even emerge."If, as Kevin Lynch argues in his essay The Image of the City (1960), architecture is 'construction in space' and therefore a 'temporal art', then Keates's paintings, replete with geometric and trapezoidal imagery, are the artist fracticalising the no-less concrete practice of the architect. Keates's work is interdisciplinary, meta-textual - serene, airy landscapes that shock the viewer with 'more than the eye can see, more than the ear can hear', evermore settings, corners and aspects 'waiting to be explored'.Charlottes works can be found in collections across the globe including the UK, Europe, US, Bahamas, Taiwan and Hong Kong.   Select Exhibitions/Awards   UPCOMING Mestre Projects, Bahamas London Art Fair 2022, Arusha Gallery May 2022 Group Show, Asia Art Centre, Taiwan   2021 The Armory Show 2021, New York Group show with Cristea Roberts 'Just what is it...?' Safe as Milk, Arusha Gallery, London A Constant Hum, Arusha Gallery, London   2019 London Art Fair, Arusha Gallery 'Art on the Mind' Charity Auction, Mayfair PULSE Miami Contemporary Art Fair (group booth presentation with Arusha Gallery)   2018 PULSE Miami Contemporary Art Fair (solo booth with Arusha Gallery) 'LA Summer' group exhibition, Arusha Gallery, Edinburgh 'A Focus On Painting' Cynthia Corbett Gallery London Columbia Threadneedle Prize, Mall Galleries London January (2 paintings) London Art Fair, Arusha Gallery Marie Curie 'Garden of Light' Charity Installation - guest artist, London 'Art on the Mind' Charity Auction featuring Tracy Emin, Antony Gormley, Anish Kapoor Mayfair, April   2017 'Sojourn' Solo Exhibition, Arusha Gallery   2016 Royal Academy Summer Exhibition London, exhibiting artist Lynn Painter Stainers Prize Exhibition, The Mall Galleries London 'Geometry of Space' Group Exhibition The Porthminster Gallery 'Form, Colour, Light' Group Exhibition, The Project Gallery 'Exploiting Perspectives; a harmony in chaos' Solo Exhibition Arusha Gallery Stockholm Art Fair, Arusha Gallery   2015 'Perspectives on Space' The Project Gallery 'Alternatives Never Found' Arusha Gallery, Edinburgh 'Margaret Lovell Retrospective: 50 Years On Accompanied by Charlotte Keates and paintings, drawings and prints by St Ives Modern Artists such as Barbara Hepworth, Peter Lanyon and Ben Nicholson' The Porthminster Gallery, St Ives 'Summer Collective Exhibition' The Project Gallery Manchester Art Fair, Arusha Gallery 'Small Scapes' The Project Gallery, Arundel, West Sussex

Charlotte Keates Under Treetops 2 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Charlotte's work is inspired by interiors, travels, and architectural composition, in seamless communion with elements from the natural world. Trees push through flat concrete, while perspectives unfold in sheets of glass. These images of modernist leisure leave one with the feeling of having entered a space only recently vacated, dramatising stillness without surrendering movement. These are environments that suggest, technically as well as artistically, indistinct human activity and motion. "The interiors that I paint are entirely imagined - I am very interested in architecture; a certain angle or spatial construction within a room. I do not necessarily have a constructed interior in my head, I start with one element that has inspired me and let the painting unfold. There is a sense of anticipation yet stillness, almost like a moment frozen in time, remembering the split second of a place or object. It is this fragility and vulnerability I want to convey, almost waiting for something to happen or even emerge."If, as Kevin Lynch argues in his essay The Image of the City (1960), architecture is 'construction in space' and therefore a 'temporal art', then Keates's paintings, replete with geometric and trapezoidal imagery, are the artist fracticalising the no-less concrete practice of the architect. Keates's work is interdisciplinary, meta-textual - serene, airy landscapes that shock the viewer with 'more than the eye can see, more than the ear can hear', evermore settings, corners and aspects 'waiting to be explored'.Charlottes works can be found in collections across the globe including the UK, Europe, US, Bahamas, Taiwan and Hong Kong.   Select Exhibitions/Awards   UPCOMING Mestre Projects, Bahamas London Art Fair 2022, Arusha Gallery May 2022 Group Show, Asia Art Centre, Taiwan   2021 The Armory Show 2021, New York Group show with Cristea Roberts 'Just what is it...?' Safe as Milk, Arusha Gallery, London A Constant Hum, Arusha Gallery, London   2019 London Art Fair, Arusha Gallery 'Art on the Mind' Charity Auction, Mayfair PULSE Miami Contemporary Art Fair (group booth presentation with Arusha Gallery)   2018 PULSE Miami Contemporary Art Fair (solo booth with Arusha Gallery) 'LA Summer' group exhibition, Arusha Gallery, Edinburgh 'A Focus On Painting' Cynthia Corbett Gallery London Columbia Threadneedle Prize, Mall Galleries London January (2 paintings) London Art Fair, Arusha Gallery Marie Curie 'Garden of Light' Charity Installation - guest artist, London 'Art on the Mind' Charity Auction featuring Tracy Emin, Antony Gormley, Anish Kapoor Mayfair, April   2017 'Sojourn' Solo Exhibition, Arusha Gallery   2016 Royal Academy Summer Exhibition London, exhibiting artist Lynn Painter Stainers Prize Exhibition, The Mall Galleries London 'Geometry of Space' Group Exhibition The Porthminster Gallery 'Form, Colour, Light' Group Exhibition, The Project Gallery 'Exploiting Perspectives; a harmony in chaos' Solo Exhibition Arusha Gallery Stockholm Art Fair, Arusha Gallery   2015 'Perspectives on Space' The Project Gallery 'Alternatives Never Found' Arusha Gallery, Edinburgh 'Margaret Lovell Retrospective: 50 Years On Accompanied by Charlotte Keates and paintings, drawings and prints by St Ives Modern Artists such as Barbara Hepworth, Peter Lanyon and Ben Nicholson' The Porthminster Gallery, St Ives 'Summer Collective Exhibition' The Project Gallery Manchester Art Fair, Arusha Gallery 'Small Scapes' The Project Gallery, Arundel, West Sussex

Sophia Bharmal Sustained 2 Oil Pastel on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Sophia Bharmal (1996) is an emerging British Asian Artist based in London. Following her graduation in 2020, she has focused on developing artwork which encases aspects of her Indian upbringing, using oil pastels to produce vivid colourful architectural landscapes fuelled by memories. Her work has been featured in several publications as well as group exhibitions internationally, and in the UK in the last year   Education Master's (MArch) degree in Architecture from the University of Edinburgh, MA degree in Architecture from the University of Cambridge.   Select Exhibitions/Awards Royal Academy Summer Exhibition 2021   Statement about AOAP Submitted My work exists on the threshold of dream and reality depicting seemingly inconsequential aspects of my Indian heritage. Nevertheless, the drawings hold the stories, culture and memories of unheard women passed down through generations. "Sustained 1 & 2" satirise an understanding of marriage within my community, that, like food, it sustains a woman. My women are being fed by others, mirroring the notion that socially someone else must have a hand in your sustenance.

Mary Yacoob Manifold 02 Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Mary Yacoob's work encompasses ink on paper, printmaking, large-scale vinyl artworks and light boxes. She appropriates the visual languages of electrical and engineering diagrams, architectural plans, cartography, and alphabetical systems. Playing with repetition and geometry, systems and chance, her work involves transfiguring source materials, creating intricate, yet monumental and mysterious thought forms.   Education Based in London, Mary Yacoob gained a MA in Fine Art at Central Saint Martins, and a BA in Fine Art at London Metropolitan University. She received a BA in English Literature and Political Science.   Select Exhibitions/Awards Solo exhibitions include Five Years Gallery, The Hospital Club, The Centre for Recent Drawing and Seven Seven Gallery. Group exhibitions include The Royal Academy Summer Exhibitions in 2019 and 2021, Gallery 46, &Model, PayeShurvell, Guest Projects, Saturation Point, and Dark Matter Studio. Residencies include The Delta (Δ) Research Placement at Flat Time House with the Diagram Research Group, The North Devon Artist Residency in 2020, Mutton Fist Press in 2019 and the AA2A residency at Camberwell College of Art print department in 2011. Mary Yacoob's works are in the collections of Yinka Shonibare / Guest Projects, Brunel University Art Collection, and private collections. Her artist books are in the Tate Gallery Archive; Chelsea College of Art Special Collection and in the London College of Communication Library.   Statement about AOAP Submitted Artwork Mary Yacoob's drawings are inspired by geometric proof pictures. The drawings deconstruct simple forms, such as circles and triangles, reconstructing them with fractured lines, forming complex perceptual fields. The drawings explore how simple diagrams can be repurposed for playful, gestural and creative encounters.

Claudia De Grandi Moonlight View 1 Gouache and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Brazilian/British artist living and working in Hastings, East Sussex, UK The artwork is a gentle and subtle expression of abstraction with representation - incorporating nature with geometry, colour and contrast.   Education University of The Arts, Camberwell, London   Select Exhibitions/Awards Residency Award in Kyoto and Tokyo - 2014-2015   Statement about AOAP Submitted Artwork For this Art on Postcards project I drew my imagination and inspiration while visiting my family in Brazil. I'm also taking time for a personal artistic residency. Here I can explore the visual landscape of this incredibly nature rich country with its stylish architectural modernist buildings and structures.

Claudia De Grandi Moonlight View 2 Gouache and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Brazilian/British artist living and working in Hastings, East Sussex, UK The artwork is a gentle and subtle expression of abstraction with representation - incorporating nature with geometry, colour and contrast.   Education University of The Arts, Camberwell, London   Select Exhibitions/Awards Residency Award in Kyoto and Tokyo - 2014-2015   Statement about AOAP Submitted Artwork For this Art on Postcards project I drew my imagination and inspiration while visiting my family in Brazil. I'm also taking time for a personal artistic residency. Here I can explore the visual landscape of this incredibly nature rich country with its stylish architectural modernist buildings and structures.

Claudia De Grandi Window to Moon 1 Gouache and Acrylic on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Brazilian/British artist living and working in Hastings, East Sussex, UK The artwork is a gentle and subtle expression of abstraction with representation - incorporating nature with geometry, colour and contrast.   Education University of The Arts, Camberwell, London   Select Exhibitions/Awards Residency Award in Kyoto and Tokyo - 2014-2015   Statement about AOAP Submitted Artwork For this Art on Postcards project I drew my imagination and inspiration while visiting my family in Brazil. I'm also taking time for a personal artistic residency. Here I can explore the visual landscape of this incredibly nature rich country with its stylish architectural modernist buildings and structures.

Anastasia Shimshilashvili Oxford Watercolour on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I was born in Moscow in 1987. I started my art education in 1998 at the Moscow State Academy Art Lyceum of The Russian Academy of Arts. I believe that a large part of my knowledge and skill was developed at the lyceum. The Surikov Art Institute was a logical progression of my academic training. I got admitted into the Faculty of Painting and after my 2nd year, I got accepted into the Department of Monumental Art. There, I learnt various techniques such as making church frescos, mosaics, breadboarding etc. Following graduation, I have focused a substantial amount of my time on teaching fine art to eager students, running a YouTube Art Channel, and recently publishing a 'self-teach' art book based on my teaching methods in Russia. The most important aspect is the character of each personage and tone. I like to work on different pieces with different technologies simultaneously. This way I never get tired of one particular work and I can enjoy diversity during my work.   Education MA in Fine Art Faculty of Painting, Surikov Academic Institute of Art, Moscow at 2011 BA Monumental Art Workshop of Monumental Art, Faculty of Painting, V. Surikov Moscow State Academy Art Institute, Moscow, Russian Federation 2009 Architectural Graphics and Drawing Introduction to Architecture and Design. Moscow Architectural Institute, Moscow, Russian Federation 2004-2005 Secondary, Higher Secondary Education Specialisation in Painting and Graphic Art - Studio No.1 under V.E. Elizarov, Moscow State Academy Art Lyceum, Moscow, Russian Federation 1998-2005   Select Exhibitions/Awards Royal Society of British Artists Royal Institute of Painters in Water Colours Saatchi The Other Art Fair The Sunday Times Watercolour Competition The Biennial Ruth Borchard Self-Portrait Prize Figurative ART now New English Art Club Society of Women Artists The Pastel Society Sky Portrait Artist of the Year Sky Landscape Artist of the Year Young Artists of Russia Exhibitions of Moscow Union of Artists

Micro mosaic; Rome, ca. 1850."View of St Peter's Square".Micro enamel tesserae.Size: 13 x 18 x 2 cm.Where mosaic art made its greatest inroads was in the reproduction of urban scenes that formed part of the Grand Tour routes. This bird's eye view of the city, specifically of St. Peter's Square, has the typical characteristics of this type of work. In the skyline, the colours range from the pinkish tones of the city skyline to the more cerulean tones of the atmosphere. A variety of ochre and earth tones describe the architecture.The art of micromosaic came to fruition during the 18th and 19th centuries. The term was coined by Sir Arthur Gilbert to refer to mosaics made with small pieces of enamel. The use of birds was common in Florentine mosaics to represent the seasons as early as the Renaissance, and became more frequent during the Baroque period, as emblems of purity and the soul. The art of micro-mosaic was born in the Vatican to cope with the deterioration of its collection of paintings. Realising that architectural mosaics retained their colour over time, the papal workshops began experimenting with the technique of glass mosaic to reproduce the masterpieces. The Vatican kept the secret of the formula that allowed an exact reproduction with micromosaics whose lack of gloss and chromatic quality made the copy indistinguishable from the original painting. As early as the 19th century, private workshops began to proliferate in Rome in response to the demand of the tourist market. Commercial mosaics became available in a variety of decorative pieces. Many of them are preserved in the Hermitage Museum in St Petersburg, in the Gilbert Collection in London and in the Vatican itself, whose workshops are probably responsible for this piece.

A late 19th century American mantel clock in architectural case; a mantel clock in arch top case; etc.

A Victorian variegated red and yellow onyx architectural mantle clock with gilt dial and French striking movement.32cm wide, 32cm high, 14cm deep. Please note, the case is onyx and not marble.  It is in good condition. Pendulum present. Movement stamped 'Made in Paris'.  The clock is not fully wound, but does not seem to work and will require attention. 

A French Black Slate and Marble Mantle Clock of Architectural Form with Eight Day Movement Striking on a Gong, 31cm high

Victorian slate mantel clock, architectural case, circular dial, with visible escapement, Ansonia movement, 30cm.

Late Victorian walnut and beechwood mantel clock, architectural pediment with turned spindles, square brass dial, the movement striking on a gong, stamped with TH in monogram, 35cm.

Early Victorian rosewood chiffonier, architectural shaped back with open shelf, single frieze drawer above pair of arched panel cupboards, raised on turned feet, width 97cm, depth 39cm, height 132cm.

Pencil drawing of a male figure study, housed in an architectural design frame, together with a sepia drawing of a cherub, largest 12ins x 6ins

Pair of large architectural watercolours of Shockerwick House, Wiltshire and The Garth, Batheaston, both signed Leach, dated '89, 17ins x 24ins each, gilt framed

Late 19th / early 20th Century carved oak aneroid barometer thermometer by Negretti & Zambra, in architectural form case (thermometer at fault), 42ins high

19th Century French gilt bronze mantel clock, the architectural Gothic revival case with a bell tower surmount above a circular gilt dial with Roman numerals and tracery window inset with blue glass, the two train movement with outside count wheel and silk suspension, signed Vieyres & Repingon, 16ins high (pendulum lacking)Clock does not have a rear door

Architectural Salvage; A pair of early 20th century circa. 1920s ebonised iron gates with crossbar structure. 

A late 19th century Victorian pastel and watercolour painting depicting an earlier 18th Century street scene Depicting the Bush Hotel featuring architectural studies of a coach house and hotel with figures below. The sketch being framed and glazed. Measures 74cm x 47cm. 

ARCHITECTURAL WALL MIRRORS, a pair, Moorish style arched design, aged white painted, 132cm x 66cm. (2)