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A late 19th century oak breakfront library bookcase with architectural pilasters flanking open shelves to the upper and lower section by S & H Jewell, London. H.258 W.307 D.54cm

A Twelve-panel Screen, grooved wood en relief, fully coated with brown lacquer, polychrome and gilt decoration with hand paintings "Birthday celebration during the Ming dynasty", bordure with "Animals" and "Fortune symbols", back with inscriptions in Chinese characters and "Oriental landscapes with figures and animals", Chinese - Kangxi Period (1662-1722), small restoration, minor faults on the lacquering, signed, marked. Notes: Bidding registration and a deposit of € 20.000 must be received by the auctioneer before December 10th 2021, account number: IBAN: PT 50 0010 0000 5034 1370 0014 2 / SWIFT Code: BBPIPTPL Condition Report will be provided on request: Pierre Ansas Expert - 12 Rue Vivienne, 75002 Paris Tel. 0033 625845634; E-mail: ansaspasia@hotmail.com A TWELVE-PANEL CHINESE COROMANDEL DEPICTING A BIRTHDAY CELEBRATION DURING THE MING DYNASTY - QING DYNASTY, KANGXI PERIOD (1662-1723) 清康熙 款彩十二页恩荣九锡“贺寿图“屏风 The hinged panels are carved with a continuous and lively scene with the title of “En Rong Jiu Xi 恩荣九锡 ”. A standing minister in a majestic pavilion being entertained and receiving high rank scholars and generals bearing tribute. “Jiu xi” was an honorable title, established since the Han period, to classify a noble or a politician at the highest level. “En Rong” means the honor and grace that the Emperor gives to inferiors. The screen displays a rich architectural view surrounded by traditional gardens, showing pine trees, weeping willows, maple trees, banana trees and Taihu stones. On the left side, court ladies watching the ducks in a pond with lotus. On the right side, new guests coming through the main entrance door welcomed by two Buddhist lions (Foo dogs). In the middle of the scene, musicians playing the festival atmosphere. The inferior border decorated with dragons, qilin, hou, taotie, qiongqi, taowu, hundun, baize, qunni and other four mythical animals, and the top border showing fan, ding, conch, books, scrolls, kite, ruyi, guqin, qing and phoenix. The reverse composed by 20 poems illustrated with different calligraphic styles, from local scholars (Shandong province) paying tribute to the minister. All panels in polychrome on a dark brown lacquer ground. The exquisite decoration of the screen proving the social importance of the owner. Coromandel is a part of the southeast coast between the Godava River and Nagapatnam in India. In the seventeenth century, the trade and import of furniture from China to Europe was by sea. The goods passed through Coromandel, which made it a vital relay point for the trade. Many people thought that the objects arriving from Coromandel were really made in Coromandel. The Portuguese arrived first in India in 1498, then in China around 1514. The screens of Coromandel were very popular at the time, and we can find copies decorating the interiors on the Flemish paintings of the seventeenth or eighteenth century. 此屏风题“恩荣九锡“， 恩荣指皇帝向臣下的赏赐，九锡为汉代设立的等级制度中的最高一品。十二页屏风描绘了一位朝中重臣在他的庭院中迎接四方来客，左边为文人骚客，右边为武将。远处新到的客人骑马穿过大门进入庭院。后院的女眷们欣赏荷花池里的野鸭。画面中间的乐师们演奏喜庆的乐曲。 “贺寿图“的四周装饰着龙及九子，并各种上古神兽；文房、如意、方鼎、扇子、风筝、手卷册页、古琴、石罄等吉祥纹饰。 屏风背面有当地士绅以楷、篆、草体书写的称颂、赞美寿星的诗歌，并以各种图案装饰。工匠极尽能事，展现了这件屏风的主人享有重要的社会地位。 款彩是在木板上以漆灰为底子，上黑漆或其他色漆，用类似白描的手法在漆面上勾出花纹，然后把花纹轮廓里的漆灰清空，再补上各种色漆或色油在里面，成为彩色图画。款彩在明清甚為普遍，特別常用於製作屏風，在清初成為潮流. Each panel （单页尺寸) 238 x 46 cm Estimation 估价: 80.000 - 120.000 euros, Dim. - (cada folha) 238 x 46 cm; (total) 238 x 552 cm

SMALL LATE 19TH CENTURY MANTEL CLOCK IN WALNUT ARCHITECTURAL CASE

Architectural salvage: Three cast iron finials, two approx 55cm, one approx 40cm, possibly from a trolley bus or tram

Architectural Salvage: Two magnificent Victorian very large framed windows with central stained panels and Latin inscription "concilio et labore domini dirige nos" meaning "Council & Work" (the motto of Manchester) & "Lord Guide Us" (The motto of London). From the Headquarters for the London & Manchester Assurance Company. Founded in 1869, it was registered as the London and Manchester Industrial Assurance Co. Ltd. In 1981 it just became London and Manchester Group Plc with its head office based in Exeter. Size approx 184 x 301cm. Some damage to clear panels but stain glass good and intact.

Pine architectural L-shaped corner book case / display case with three cupboards under, approx 152cm x 84cm x 126cm tall

Interesting Early 19th century continental secretaire abbatant of architectural form with mahogany veneers, the fall front enclosing a fitted interior over three frieze drawers, the upper section with further cabinet and mirror panel flanked by further drawers, with additional ebony banding detail, 183cm high x 97cm wide

A large 20th century, red marbled, architectural mantel clock, enamelled dial with roman numerals, twin train movement, striking on a bell, 21cm H x 38cm W x 21cm D (pendulum & key)

Old Baluchi village prayer mat with central Islamic red medallion fitted with a floral still life with architectural borders upon a red ground, 150 x 90 cm

A Turkish full pile rug with architectural decoration upon an ivory ground, 190 x 115 cm

Circle of James Whistler RBA (American 1834-1903) - Three early 20th century monochrome etchings of a female figure and architectural scenes possibly Italy, no signature visible, 12 x 21cm approx max, in wide silk mounts and gilt frames, together with further pictures and prints including bust length pencil study of a smiling boy, signed coloured screen type print of boats on a shore signed Steven Doyle, etc, mostly framed, (collection)

Aesthetic period oak hanging wall cupboard, with raised architectural swan neck pediment over a single panelled door with Sheraton type stained boxwood inlay over two frieze drawers, 53 cm high

A collection of clocks to include a novelty German cuckoo clock, black slate architectural clock and a gothic style shelf clock (3)

Don Swann (American 1889-1954) - Collection of fifteen monochrome signed etchings, mostly limited editions comprising three studies of sailing vessels and the rest of American architectural interest including a coastal military base with distant shipping, a college building in the snow, a street scene with monument and figures, etc, 38 x 47.5cm approx max sheet size, all unframed in portfolio belonging to Doctor Frederick J Ladd (the original owner of the etchings and author of A Study in Revival Style Architecture and Landscaping 1749-1849) (15)

CROSS; A.W.S & K.M.B, Practical Notes for Architectural Draughtsmen (series 3) published by Architectural Press Ltd 1923

German Gothic Architectural Fragment Red sandstone architectural fragment from the Friedburg Munster Cathedral in Germany; together with a handwritten note in German describing how fragment was found Height: 9 inches, Width: 3 3/4 inches, Depth: 3 1/2 inches Condition: Very Good, overall light wear consistent with age and use Disclaimers: surface flaws typical of this art form Category: Decorative Arts > Objects Estimated Sale Time: 11:16 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4

Asian Decorative Object Assortment (14) items including pair of Galvano Bronze P. Mori & Son Japanese couple bronze-clad book ends depicting Japanese male and female figures standing next to a flowing stream, marked on undersides; a bronze miniature replica of a Japanese samurai kabuto helmet having the Ishikawa family crest (mon) on the datemono of the helmet and a lion figure on the top of the piece, marked with Japanese text and seal on underside of the shikoro (neck guard), with orange decorative rentention cord and a plain black wooden stand; (2) Japanese bamboo and paper folding fans with landscape motifs; a Japanese lacquered box with golden crane motif; a Chinese carving of a man drinking from a large vessel, reclining, marked 'Hong Kong' on underside with custom wood base; (2) small figurines including a bone style Buddha atop traditional carved wood plinth and resin Chinese-style dragon; a Chinese wood carving depicting cavalry and infantry soldiers within an architectural setting having gold, black and red painted finish atop a black and aubergine rectangular base; a roll of Japanese cotton fabric having white on navy geometric motif; a Japanese hanging textile having black horizontal bar and cream and light beige floral earth tone motif; a Japanese wood box holding (4) elliptical porcelain scroll weights and tassels; and a rectangular tile of flat sedimentary rock containing the fossils of (2) small fish with modern Japanese writing directly on the tile, on cotton loosely framed Property from: a Chicago, Illinois (Streeterville) estate Height: 7 3/4 inches, Width: 5 inches, Depth: 4 1/2 inches (male bookend (same sizes)) Condition: Very Good to Good, overall light wear consistent with normal use; Japanese fan with silver landscape having broken handle rivet; datemono not attached to kabuto and missing nut and bolt; fish fossil not secured within frame Category: Decorative Arts > Asian Estimated Sale Time: 11:54 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6

A 19th century black slate and red marble drumhead mantel clock, of architectural form, the two train movement striking on a bell, the case enclosing a cream chapter ring with Arabic numerals centred by a recessed visible escapement (glass to cover lacking), over a pendulum window displaying a mercury pendulum. Height 47cm

A French four-glass gilt-bronze mantel clock 19th century, the case of architectural form, with turned leaf-cast columns, enclosing a white enamel chapter ring with Roman numerals and Brocot escapement, suspending a twin tube mercury pendulum, the eight day Marti movement striking on a bell. Height 32cm

An Aesthetic Movement mantel clock, last quarter of the 19th century, the ebonised case of architectural form enclosing a silvered dial with Arabic numerals signed "Edwards & Sons" within a panelled frame of blue and white painted flowerheads, the eight day movement striking on a gong and signed S. Marti, with pendulum. 40cm by 31cm by 16cm

A late 19th century carved oak cased bracket clock, the silvered 7 1/2" dial signed "Hugh Connell, Oxford Corner, Glasgow", with Roman numerals, the twin train chain movement striking on a bell within a case of architectural form with fruit and floral carved decoration in relief. 51cm by 33cm by 21cm

An Edwardian brass mantel clock, the white enamel dial with Roman numerals, signed with retailer's name "Wm. B. Taylor, Inverness", the eight day French movement striking on a gong, within a cast brass case of architectural form, on flattened bun feet, with key and pendulum. 24cm by 19cm by 14cm

Unusual late 19th/early 20th century mantel clock of architectural form set with Corinthian columns and a pierced brass and white enamel dial with Arabic numerals to a twin train brass movement striking on a coiled gong, 44cm wide

T.A. LODGE (EARLY 20th.C. LONDON ARCHITECT) AN EARLY 20th.C. ARCHITECTURAL DRAWING OF A BLOCK OF FLATS, POSSIBLY IN LONDON. SIGNED AND DATED 1925. WATERCOLOUR, UNFRAMED. 58 x 46cms. TOGETHER WITH A GOTHIC REVIVAL INTERIOR STUDY BY ANOTHER HAND, INSCRIBED THE CHAPEL, ST BARTHOLOMEWS HOSPITAL. 56 x 31cms (2)

A late 18th century silk needlework picture of oval form, depicting a woman holding a bird in tropical and architectural landscape, in oval black and giltwood frame, 32.5 cm high

A Victorian Aesthetic Movement ebonised and enamelled striking mantle clock, of arched architectural form, the enamelled dial painted with blue flowers with Arabic numerals, bearing the name 'HALL', within panelled case mounted with similar enamelled spandrels decorated with blue and white flowers, on ball feet, with pendulum and key, 49.5cm high.

A late Victorian Royal Worcester porcelain twin handled pedestal vase, of tapering ovoid form with architectural moulded scroll handles, the eggshell ivory ground decorated with flowers with acanthus friezes all heightened in gilt, to a long slender fluted neck and flaring rim, puce stamped verso Royal Worcester England circa 1897, Rd number 298130 and shape No.1935, h.33.5cmCondition report: Lacking cover.Very minor gilt wear only.Otherwise no apparent faults.

An architectural limestone block / gargoyle, carved as a "Green Man" type face, probably Medieval, w.31, d.25, h.37cm.

A near-pair of architectural limestone corner blocks, each carved with a wolf like mythical figure, North European Gothic style, w.28, d.41, h.28cm and w.28, d.38, h.28cm (2)Condition report: Two cracks to outside edge of one.Some chips to bases.Weathered as would be expected.Very difficult to determine age, Gothic in style, probably 18th century but possibly earlier.

Vulliamy of London - a Victorian oak bracket clock, numbered 1314, the case of architectural outline, enclosing signed silvered Roman dial with blue steel hands, single winding hole for a brass eight day wire-driven fusee movement with anchor escapement, signed and numbered to the backplate, the brass weighted pendulum further numbered 1314, case h.38.5cmCondition report: Dial with tarnsihing all over.Front door with fine vertical shrinkage splits at 12 and 6 o'clock.Case with some fine paint spots (should be easy to remove).Appears unpolished.Movement appears good and original.Pendulum lacks feather, otherwise good.Back of case with two sections which appear cut out where it has in position on a wall bracket.Back door with small spliced section full length of left hand side.No key for lock.With winding key, which is not numbered.Pendulum numbered 1314.

Victorian Slate Mantle Clock of architectural form, 41cms long x 37cms high

Masterpieces of Architectural on Official Silver-Coin Bars, 999/1000 silver proof, each 2.5g, Solomon Islands Issue

Murray's Buckinghamshire Architectural Guide edited by John Betjeman and John Piper 1948 First Edition Hardback Book published by John Murray some ageing good condition.

Box: Collection various Prints, including French architectural.

A REGENCY PIER MIRROR of architectural form, the pediment with a blue and gilt verre eglomise panel decorated with a fruiting vine, over a rectangular plate flanked by cluster columns with curling acanthus leaf capitals, 101.5cm high x 62cm wideProvenance: Sold at Duke's, Athelhampton House Sale, 9th October 2019, Lot 390, £400.

Silver pocket watch holder in architectural form, hallmarked for Sheffield 1908, h.10.5cm with silver plated pocket watch.

Birket Foster's Pictures of English Landscape, engraved by The Brothers Dalziel with Pictures in Words by Tom Taylor, 1881, India Proof Edition No.946/1,000, George Routledge & Sons, London, with Jekyll, Gertrude & Weaver, Lawrence, Gardens for Small Country Houses, 1920 fourth edition, Country Life, London, Gardens Old & New, Country Life and Triggs, H. Inigo, Formal Gardens in England and Scotland, Their Planning and Arrangement, Architectural and Ornamental Features, 1988, Antique Collectors' Club (4)

Simpson, F. M. The Architect's Library - A History of Architectural Development, in three volumes, 1905, 1909 and 1911, Longmans, Green & Co, London, in gilt tooled vellum bindings with Wellington College insignia to the covers (3)

Italian School (17th/18th century), Architectural Interior Study, indistinctly signed l.c., pen and ink, 21 by 30cm, unframed and mounted

A late 19th Century Aesthetic Movement mahogany bracket clock, circa 1880, the case of architectural design with ball finials, arched pediment blind fretwork quatrefoil tracery, inset ceramics plaques in the maiolica style, 16cm circular with blue Arabic numerals, Perin movement striking on a single bell, height 47cm, width 29cm, depth 17cm (key and pendulum)

Anglo Indian company school (circa 1850-1870), Architectural Study of the Sikh Golden Temple, watercolour on ivory, oval form, 32 by 21.5cm, unusually large scale painting compared to smaller versions on ivory, framed

A pair of 18th Century architectural limestone pilaster capitals, corinthian order, carved in high relief with acanthus leaves, height 32cm ,width 35cm (2)

A Late XIX Century Slate and Grey Marble Mantle Clock, of architectural form, the black chapter ring with Roman numerals, 40cm high.

An Edwardian oak chiming and striking mantle clock, the gilt dial with silvered chapter ring, the movement by Junghans, striking on five bars, architectural case, pendulum, 43cm.Located in Schramberg, Baden-Württemberg, southwest Germany, Junghans Uhren GmbH had over 3,000 employees in 1903. .

Signed and dated '10, inscribed on the backboard verso, oil on board37cm x 44.5cm (14.5in x 17.5in)Provenance: Acquired from the Artist by Sir Patrick Ford and thence by descent when purchased by the current ownerFootnote: Note: The Giudecca and Redentore, Venice comes from a beautiful series of works which marked Cadell's emergence as one of the most important Scottish artists of the twentieth-century.Cadell trained at the Académie Julian in Paris and at the Akademie der Bildenden Künste in Munich. He had his first solo exhibition in Edinburgh in 1908, which garnered twenty-five sales including to his school friend and future politician Patrick Ford. The following year, Cadell established a studio in George Street, in the heart of Edinburgh's New Town.In 1910, Cadell received a cheque from Ford 'to go to Venice and paint. He to choose equivalent in pictures on return £150' (as recorded by the artist in his Register of Pictures and quoted in Alice Strang, F. C. B. Cadell, Edinburgh 2011, p. 17). It is no wonder that Cadell was attracted to Venice. Its romanticised reputation as an artistic mecca had been cemented in the nineteenth-century, with Lord Byron’s dramatic poetry and J. M. W. Turner’s evocative representations inspiring a generation of artists, each keen to depict the city’s unique vistas. Despite the explosion of tourist activity, Venice never became passé among artists. Manet and Whistler were drawn there, excited by the challenge of creating their own interpretations of lauded Venetian motifs. Though Monet resisted visiting until 1908, he too was stimulated by the beautiful architecture and mercurial light of the Lagoon and produced a series of atmospheric paintings which received wide critical approval upon their exhibition.The bright Mediterranean light shimmering off the canals had a marked effect on Cadell's palette, into which he introduced a much more vibrant colour range. Though it is highly unlikely that he saw Monet’s Venetian cityscapes at first hand, the tonal similarities of their work inspired by the city is striking; both artists punctuating the whites and creams of the sun-drenched architecture with pinks, purples and turquoises. Cadell’s technique became looser and more expressive than ever before. Bold, loaded brushstrokes were layered to convey the rippling surface of the waterways and fleeting impressions of passers-by. He revelled in the beautiful scenes by which he found himself surrounded and painted views as varied as that of a bustling St Mark’s Square to quieter, more contemplative corners of the city and its inhabitants.The present work depicts one of Venice's most celebrated views. Against a backdrop of a vividly-realised sky, Cadell describes the distinctive outline of the Redentore, the Church of the Most Holy Redeemer and its architectural neighbours. He conveys reflected light with swift, delicate lilac flicks of his paint brush. As we lower our eyes and let them drift across the rippling waves of the Giudecca Canal, we meet the thoughtful figures at the water's edge. The surface of the painting is enlivened with rhythmic, distinct brushstrokes, with paint quickly applied 'wet on wet', giving a sense of the speed and confidence with which Cadell worked.The results of Cadell's successful and productive trip were exhibited at The Scottish Gallery in Edinburgh in 1912 and proved to be a watershed in his burgeoning career. Ford selected six from the series for his collection, including The Giudecca and Redentore, Venice, which remained in his family for generations. Three further Venetian paintings were presented in Ford's honour to the National Galleries of Scotland in 2014.

Signed, oil on canvas91cm x 71cm (36in x 28in)Provenance: The Collection of the late R. L. MacDonaldFootnote: Note: Crozier's death at the age of thirty-three meant that his career was short and his oeuvre is small. A French Sunlit Market is a rare example of the work with which he nevertheless established a reputation as a key member of the Edinburgh School. This group of artists included William Gillies and William MacTaggart amongst others and rose to prominence during the inter-war period. They met as students at Edinburgh College of Art (ECA) with Crozier eventually sharing a studio with MacTaggart.Following studies under André Lhote in Paris, Crozier and MacTaggart spent several winters together in France during the 1920s. The present work is thought to have been inspired by one such trip. Its low-toned palette and geometrical simplication of form, particularly obvious in architectural terms, shows Crozier's sensitive handling of light and colour, as well as an awareness of Cubism.Crozier died following a fall in his studio. His ECA contemporary, Harold Harvey Wood, later recalled 'Scottish painting suffered a very severe loss in the premature death of Wiliam Crozier, who, quite apart from his considerable gifts as a painter, represented a kind of oasis in the illiterate and philistine deserts of the Scottish studios' (as quoted in Ann Simpson, William Crozier 1893-1930, Edinburgh 1995, p.8).

Signed and dated 1807, oil on canvas56cm x 86.5cm (22in x 34in)Footnote: Note: Alexander Nasmyth is remembered as the father of Scottish landscape painting. This delightful Inverary scene depicts industry and leisure: while figures on both banks enjoy an afternoon of fishing, the mill’s puffing chimney indicates work taking place within. The landscape is rendered with characteristic meticulousness, while retaining an atmosphere of romance and charm, demonstrating Nasmyth’s mastery of the genre.Alexander Nasmyth was born in Edinburgh in 1758, and would go on to become a key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century. Initially apprenticed as a heraldic painter to a coachbuilder, his talent was identified by Allan Ramsay, who employed Nasmyth at his London studio. Here, he honed his painting technique working on minor areas of Ramsay’s compositions, while gaining an invaluable insight into the business of studio commissions.In 1778 Nasmyth returned to Edinburgh, and soon became an in-demand portrait painter. He travelled to Italy in 1782 to further study painting, a venture made possible by a loan from the banker Patrick Miller of Dalswinton. Miller would remain Nasmyth’s patron throughout his career, and as an expression of gratitude Nasmyth named his first son Patrick, who himself would go on to be a significant Scottish artist. Patrick Nasmyth also painted the Miller’s Lynn, Inverary in 1818.Alexander Nasmyth remained in Italy for two years, travelling around the country and developing his skills as a painter of landscapes. Upon his return to Scotland he developed a close friendship with Robert Burns, and the pair would often enjoy long walks together across central and southern Scotland. Nasmyth’s famous portrait of Burns now hangs in the Scottish National Portrait Gallery.From 1792 Nasmyth concentrated on landscape painting in the Dutch style. Architectural structures often feature in his scenes, owing to his enduring interest in building and engineering. Many of his designs for members of the Scottish nobility were realised, including the Dean Bridge in Edinburgh and a temple covering St. Bernard’s Well by the Water of Leith. By 1815 his reputation was such that he was invited to submit a proposal for the expansion of Edinburgh’s New Town.Nasmyth’s influence on Scottish landscape painting cannot be understated. He established a painting school at his home on York Place, Edinburgh, teaching pupils including Sir David Wilkie, David Roberts and Clarkson Stanfield. He insisted that his followers draw with their subject before them, rather than working from existing drawings or paintings. Wilkie would later describe Nasmyth as ‘the founder of landscape painting in Scotland [who] by his taste and talents took the lead for many years in the patriotic aim of enriching his native land with the representations of her romantic scenery’.

ALDINUS, Tobias (1570-1662) and Pietro CASTELLI (c. 1575-1656). Exactissima descriptio rariorum quarundam plantarum, que continentur Rome in horto Farnesiano, Rome, 1625, engraved plates, modern calf. FIRST EDITION.ALDINUS, Tobias (1570-1662) and Pietro CASTELLI (c. 1575-1656).  Exactissima descriptio rariorum quarundam plantarum, que continentur Rome in horto Farnesiano. Rome: Typis Iacobi Mascardi, 1625. Folio (340 x 230mm). Fine engraved architectural title with seated figures of Theophrastus and Dioscorides surmounted by the coat-of-arms of the Farnese family in a baroque cartouche, foliate initials and typographical ornaments, text within ruled borders throughout, 22 fine full-page engraved botanical illustrations (lacks all before title [i.e. blanks], marginal repair to title and third leaf and a few leaves at the end, including index, H1 torn and repaired without loss, a few leaves with holes affecting ruled borders, a few leaves very lightly browned, some light mainly marginal spotting and staining). Modern half calf and marbled boards, new endpapers (spine lightly rubbed). FIRST EDITION of this rare catalogue and description of the plants in the garden of Cardinal Farnese on the Palatine Hill in Rome. Both Hunt and Nissen assign the work solely to Aldini; others, however, including the Greek scholar and keeper of the Vatican library Leone Allacci, attribute it to Pietro Castelli, whose name appears in a laudatory poem at the beginning as "Castello-Petrus" and also, in acrostic form in the same poem, spelling out "Petrus Castellus Romanus". Not in Brunet; Graesse I, 65; Hunt 208; Nissen BBI 13; Pritzel 1590; Seguier p. 34.

MARTYN [or MARTIN], William (1562-1617). The Historie and Lives of the Kings of England, London, 1638, contemporary calf.MARTYN [or MARTIN], William (1562-1617).  The Historie and Lives of the Kings of England, from William the Conquerour to the end of the reigne of King Henry the VIII ... Whereunto is now added the Historie of King Ed. VI, of Queen Mary, and Q. Elizabeth. London: "Printed by R. Young, for himselfe and others," 1638 [with, at the end, as usual in this edition: The Successions of the Dukes and Earles. London: Printed for Robert Young, 1638]. Small folio (258 x 175mm). Elaborate engraved architectural title, 20 engraved portraits after Renold Elstracke, headpieces and initials (engraved title torn with loss at edges and laid down, one portrait torn without loss, a few leaves torn or frayed with minor loss, some light spotting and staining, lacks all after Hhhh of The Succession). Contemporary calf gilt (heavily rubbed). Provenance: John Elliott [followed by illegible place name] (old signature at head of dedication). The third, much expanded, edition of a work that was first printed in 1615. Brunet III, 312: "Ce livre est peu de chose en lui-même, mais les portraits grav. par Elstracke, dont il orné, lui donnent quelque prix ... L' édit. de 1638, continuée jusqu'à la mort de la reine Elizabeth, ne renferme que des épreuves usées ..."; STC 17527 (1615 edition). Sold not subject to return.

An oak cased mantle clock of architectural form, two train movement, silvered chapter ring with Roman numerals on raised rectangular plinth, to include pendulum, 41 x 31 x 18.5cm

An oak cased mantle clock two train movement in architectural wooden frame, column supports and urn finials, Arabic numerals to white enamel dial on raised stepped base with bun feet to include key and pendulum, 46 x 26.5 x 15.5cm

λ Paul Benney (British b. 1959) Architectural study Etching Plate: 53.5 x 39.5cm (21 x 15½ in.) Overall: 78 x 61.5cm (30 3/4 x 24 2/8in.) Inspired by Piranesi's Carceri series. Condition Report: Under glass, unexamined out of frame. Glass and mount grubby would benefit from reframing. Condition Report Disclaimer

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

Nine oak architectural garden railing supports, each 55cmH including tenons

A Regency gilt gesso wall mirror with architectural break front top over column detail sides, ebonised inner frame, bevelled glass. Monks Hall Estate

A Victorian walnut architectural form wall mirror, the broken pediment over a foliate and mask relief frame, enriched with gilt, bevelled glass, 134cm x 89cm

A 19th century French Palais Royale shaped oval purse, apllied with architectural miniatures of Paris landmarks, in watercolour and gouache on ivory, 8.5cm wide, c.1870

A North European oak carved sculptural architectural fragment, depicting Faust, bust-length, 23.5cm high, 19th century

A pair of 19th century brass saucer shaped pedestal mantel tazzas, acanthus scroll handles, architectural black marble bases, 25cm high, c.1880

A Gothic Revival oak and mahogany table-top collector's cabinet, shaped three-quarter gallery centred by a draught-turned roundel, rectangular top with 'gilt' metal balustrade above a pair of panel doors applied with architectural fretwork, enclosing a shelf and an arrangement of six drawers, skirted base, 62cm high, 39.5cm wide, 17.5cm deep