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Greek Style Architectural Columns Pair of fluted wood columns having gold-tone and black lacquer finish; made up of glued blocks and turned, leaving the center hollow to reduce weight; resting on square plinths Property from: a Lockport, IL estate Height: 73 1/2 inches, Length: 14 inches, Width: 14 inches, Diameter: 12 inches Condition: Very Good, minor separations along glued up blocks causing cracks to paint surface; overall light wear consistent with normal use Category: Decorative Arts > Objects Estimated Sale Time: 10:47 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 #2

(Manner of) Carolyn Gassan Plochmann (American, 1926-2013) Casein on Board Undated, spurious signature lower right, depicting a male and a female interacting within a compressed architectural space, a prone figure visible at upper right; carved wood frame with linen liner Property from: a Madison, Wisconsin collector Height: 23 1/2 inches, Width: 48 inches (sight)Frame Size: 32 3/4 inches by 56 3/4 inches Condition: Very Good, no damage to artwork noted; light wear to frame Disclaimers: not examined out of frame Category: Fine Art > American Paintings Estimated Sale Time: 11:57 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 #3

ARCHITECTURAL WALL MIRRORS, gilt detail, 114cm x 78cm.

ARCHITECTURAL WALL MIRROR, 1950's Italian style, gilt frame, 121cm x 90cm.

ARCHITECTURAL GARDEN MIRRORS, a pair, gated design, 170cm x 90cm. (2)

ARCHITECTURAL WALL MIRRORS, a pair, 110cm x 70cm, gilt metal frames. (2)

ARCHITECTURAL ACCENT MIRRORS, a set of three, gilt framed, 118cm x 40cm. (3)

Benedict Chukwukadibia Enwonwu M.B.E (Nigeria, 1917-1994)Anyanwu bronze et résine95 x 32 x 19cm (37 3/8 x 12 5/8 x 7 1/2in) sans la base.Footnotes:ProvenanceAcquis directement auprès de l'artiste par le Dr. John Akar (1927–1975), ambassadeur de Sierra Leone aux USA.Vente: Bonhams, 21 mai 2014, lot 47Collection privée, FranceAnyanwu est l'une des œuvres les plus accomplies et les plus reconnaissables de Enwonwu. Le mot Anyanwu (« œil du soleil ») fait référence à la pratique Igbo de saluer le soleil levant en l'honneur de Chukwu, le Grand Esprit. La figure féminine est la puissante déesse de la terre Igbo Ani. Pour Enwonwu, la sculpture était une façon d'exprimer ses espoirs pour une nation en route vers l'indépendance :'Mon objectif était de symboliser notre nation montante. J'ai essayé de combiner matériaux, artisanat et traditions, pour exprimer une conception basée sur la féminité - la femme, la mère et la nourricière de l'homme. Dans notre nation montante, je vois les forces incarnée dans la féminité ; le début, puis le développement et l'épanouissement jusqu'à la stature la plus complète d'une nation - un peuple ! Cette sculpture est de conception spirituelle, rythmique en mouvement et tridimensionnelle dans son cadre architectural - ces qualités sont caractéristiques de la sculpture de mes ancêtres.'-Ben EnwonwuLa représentation de la déesse par Enwonwu, avec son corps allongé et sa tête stylisée, témoigne de son appréciation des traditions artistiques Igbo, en s'appuyant sur d'anciennes sculptures sur bois et des portraits de la reine mère d'Edo. Le père d'Enwonwu était un homme spirituel et avait fréquemment sculpté des images pour les sanctuaires d'Onitsha. Les souvenirs de ces sanctuaires ont laissé une marque indélébile sur le jeune Benoît et ont façonné son point de vue selon lequel l'art et la religion étaient inextricablement liés. Dans la tradition Igbo, les sculpteurs étaient considérés comme des intermédiaires entre le monde des humains et celui des esprits. Ils ont travaillé dans un état de transe, inspiré par des poussées intenses d'énergie mentale.La forme de la sculpture lui est venue dans une vision tôt un matin alors qu'il oscillait entre le rêve et l'éveil :'Une forme féminine souple et gracieuse émergeant du soleil dans une brillante pluie de lumière... elle se dressait vers lui dans un large arc curviligne... à l'horizon, s'effilant jusqu'à un point...'Les circonstances entourant la création d'Anyanwu - l'inspiration spirituelle d'Enwonwu - le relient à la tradition Igbo de l'artiste en tant que médium spirituel. Souvent désigné comme le « père du modernisme africain », Enwonwu était très préoccupé par la forme et l'expérimentation stylistique. Cependant, contrairement à ses contemporains européens, il n'était pas motivé par le principe de « l'art pour l'art ». En s'engageant dans les traditions de ses ancêtres, Enwonwu investit Anywanwu d'une signification sociale plus complexe.La première sculpture Anyanwu (1954-5), réalisée pour le Musée national de Lagos, a reçu un tel succès qu'une autre a été commandée pour le siège des Nations Unies à New York (1966). Cette version apparaît dans plusieurs grandes collections publiques et privées, démontrant souvent une variété de patine et de petites différences dans les bras et la longueur de la coiffure « bec de poulet ».Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

A light mahogany eight-day striking German mantle clock manufactured in the late 19th century by the Hamburg American Clock Company, striking the hours and half-hours on a coiled gong, two-part cream enamel dial with a decorative and gilded center, Arabic numerals, minute track and steel hands, in an architectural designed case with a gable pediment and reeded columns flanking the dial, on a shaped and moulded plinth. With pendulum and key.Dimensions: Height: 30cm  Length/Width: 30cm  Depth/Diameter: 14cm

Engineering and architectural interest: The Orders of Architecture by Arthur Stratton, Stratten's Glasgow and it's Environs, a Civic Survey and Plan for Edinburgh and Drafting Room Practice, Eugene Clute (4)

A pair of early 20thc architectural prints depicting Classically inspired designs, with German text (36cm x 47cm)

19th century Vienna wall clock, the architectural case with eagle mount and glazed door, the dial with Arabic numerals to a brass twin barrel movement, 97cm high

Victorian Slate Mantle Clock of architectural form with brass Corinthian column supports, the ebonised and gilt dial with Roman numerals and marked Joseph Heming, with pendulum and key, 40cms high

An Art Deco architectural shaped Fruit set, preserve jar with Bakelite finial and three piece cruet on metal stand.

A BOX CONTAINING A SELECTION OF PRINTS, blue prints, architectural plans, etc.

An early 20th Century marble and polished black slate architectural mantel clock, bearing a brass plaque with engraved presentation inscription "... to Lieut J H Baker ... in recognition of his conspicuous valour in the Battle of the Somme, July, 1916, when he won the Military Cross", 40 cm x 38 cm

A fine Central Persian silk prayer rug, possibly Tabriz or Heriz, late 19th century, the green mihrab with architectural columns flanking a hanging lantern, within an ivory palmette and curled leaf border, 172cm x 116cm. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A West Anatolian prayer rug, 19th century, the blue mihrab with four architectural columns, within a red shaped gul border, 155cm x 122cm. Provenance: from the estate of a West Sussex collector.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A mid-20th century nickel plate and copper mounted Hindu household shrine of architectural form, fitted with a pair of doors above a stepped drawer, height 77cm, width 33cm, depth 36cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Edwardian golden carved Dumbwaiter: 2 drawer over 2 cupboards with additional side doors & architectural pediment.

Early 20th century brass Carriage clock: Spring driven movement, brass architectural case with bronze figures to column, ornate brass and silvered dial, 16cm x 9cm x 10cm.

A 19th Century mahogany bureau bookcase, the later married upper section with architectural pediment over glazed double doors above the fall front enclosing a fitted interior, further fitted below with four cock-beaded drawers over bracket feet, height 206cm, width 79cm and depth 56cm S/D.

A 19th Century Gothic Revival brass skeleton clock of architectural form, with a 4.5 inch silvered chapter ring and a single fusee movement, mounted to a later turned wooden black painted plinth base beneath a glass dome, overall height including the dome 35cm.

Architecture. Falda (Giovanni Battista), Four Architectural Elevations - Palazzo lo Fece il Fare il Cardinal Dezza, Palazzo Delli Reverendi Monici, Palazzo de Ghigi Alla Lungara [and] Palazzo de Sig. Falconieri, originally published in Giovanni Rossi's 'Palaces of the Most Famous Architects in Rome' [1655], together four uncoloured architectural elevations, each approximately 250 x 410 mm, uniformly mounted,Qty: (4)

Prints & engravings. A mixed collection of approximately 140 prints, 18th & 18th century, engravings, lithographs and prints of architectural views, elevations and prospects, military, topography, juvenile, caricatures and genre, including examples by or after, Kip, Caldicott, Cochin, Knyff, 'St Stephens Review'. John Doyle and R. Cruikshank various sizes and conditionQty: (approx. 140)

Seder (Anton). A collection of 14 lithographs, circa 1886, chromolithographs of fruit, animals and birds, each approximately 500 x 300 mm, 2 mounted, together with Jenny (Heinrich). Seventeen plates and the title page from 'Festalbum der Feier des Eintritts Berns in den Schweizerbund..., begangen im Jahr 1853..., Historischer Zug, Zurich, 1855, lithographs with contemporary hand-colouring showing parading ranks of soldiers, each approximately 310 x 450 mm, with five mid-20th century watercolour designs of a still life, 2 architectural elevations and two interiors (one of a casino), each approximately 420 x 500 mm, 3 mounted, plus Atkinson (T. L.). Jocko, Martin Colnaghi, 1889, hand-coloured mixed-method engraving on India wove after Sir Edwin Landseer of a Terrier and a Hedgehog, trimmed to plate mark, slight water staining, 645 x 760 mm, and two large German chromolithographic educational posters, one of chimpanzees and one of dogs, some marginal fraying, each approximately 840 x 630 mm and one other similarQty: (40)Footnote: Anton Seder was the Director of the Kunsthandwerkschule (School of Decorative Arts) in Strasburg. These Art Noveau designs, which combine design and the natural world are illustrative of the realism school which was fashionable in Europe from the mid-1880s until the outbreak of the First World War.

Boethius. Della consolazione della filosofia [translated by Benedetto Varchi], Florence: [Lorenzo Torrentino], 1551, title within an architectural woodcut border, woodcut initials, with final blank leaf, a few minor stains, previous owner inscription of Giovanni Battista Incontri to title, ownership signature of D.L. Cumming, later vellum, lacking spine label, a little soiled, small 4to, together with Boccaccio (Giovanni). Il Philocopo di Messer Giouanni Boccacio in fino a qui falsamente detto philocolo diligentemente da messer Tizzone Gaetano di posi reuisto, [Venice: Bernadino di Bindoni, 1538], title within woodcut architectural border, woodcut printer's device to final leaf verso, occasional light water stains, printed booklabel of William Reynolds, Streatham and ownership signature of D.L. Cumming, later green vellum, manuscript title to spine, a few light stains, 8vo, plus La Eneide di Virgilio Tradotta in terza rima. Per M. Giovanni Vasio, Venice, 1538 (title defective and lacking leaves e1 & 8 & o8)Qty: (3)Footnote: First work Edit16 6564, second work Adams B2170. First work is one of three Italian translations of Boethius made at this time, the other two written by Cosimo Bartoli and Ludovico Domenichi, supposedly following a request from Charles V to Cosimo de’ Medici for a “Tuscan” version of the text. All three were printed by the ducal printer Torrentino.

Grose (Francis). The Antiquities of Ireland, 2 volumes in 1, 1st edition, London: for S. Hooper, 1791, lacking title & frontispiece to volume 1, lacking frontispiece to volume 2, numerous engraved plates, plates bound out of sequence, front free endpaper detached, later green half morocco, joints rubbed, corners worn, 4to, together with: Winkles (Benjamin). Winkles's Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, 3 volumes, New Edition, London: David Bogue, 1851, numerous engraved plates, some marginal spotting & toning, contemporary green morocco, boards marked & extremities rubbed, 4to, together with 6 other volumes relating to British & Irish Topography & AntiquitiesQty: (10)

Macrobius (Ambrosius Theodosius). In somnium scipionis libri duo; et septem eiusdem libri saturnaliorum, Cologne: Eucharius Cervicornus, 1526, [10], 140 leaves, title with architectural woodcut border & woodcut illustration of the suicide of Cleopatra, title re-inserted on stub, contemporary annotations & marginal damp-stain to title, numerous woodcut illustrations to text, some worming to preliminaries, some damp-mottling to lower blank margin of some leaves, occasional marginal annotations, armorial bookplate to front pastedown, 19th-century limp paper boards, rubbed and spotted, housed in quarter morocco clamshell box, 4toQty: (1)Footnote: Macrobius' commentary on Cicero's Dream of Scipio, which contains much of early astrological interest.

Stuart (James & Revett, Nicholas). The Antiquities of Athens, Measured and Delineated, 4 volumes, 1st editions, London: John Haberkora,1762; J. Nichols, 1787, 1794; T. Bensley for J. Taylor, 1816, engraved title-page vignettes, engraved head- and tail-pieces, 319 engraved plates (71+74+86+88) including 2 portrait frontispieces and a folding hand-coloured map of Greece, errata leaf at end of volume 1 (not called for?), 4-page publisher's catalogue tipped in at the end of volumes 2 & 3 and 8-page catalogue at end of volume 4, some spotting and browning throughout, one double-page plate in volume 3 detached, pages uncut, a little worming to lower blank margins of final leaves (Chapter X to end) of volume 3 and worm-tracing to top blank inner margin of portrait frontispiece to volume 4, bookplates and ownership signatures to each volume, contemporary quarter sheep over marbled boards, rubbed, spines worn, folio (550 x 390mm)Qty: (4)Footnote: Blackmer 1617; Cicognara 2713; Fowler 340; Harris 857. Provenance: Denham James Joseph Cookes (1777-1829), rector of Stanford and vicar of Clifton-on-Terne, Worcestershire (bookplates); Margaret Graves (signatures, 1806); Donald Struan Robertson FBA (1885-1961), classical scholar and Regius Professor of Greek at the University of Cambridge (inscriptions by Giles Robertson); Professor Giles Henry Robertson FRSE RSA (Hon) (1913-1987), art historian and expert on the Italian Renaissance (bookplates); Caroline Robertson and Jeremy Gould (gift inscriptions by Giles Robertson). An uncut, first edition of the first accurate survey of the classical buildings of Athens and one of the most important architectural books of the century. Stuart was responsible for the measured drawings and Revett for the topographical views. A fifth supplementary volume was published in 1840.

Sheraton Revival marquetry inlaid mahogany mantel clock, silvered arched dial with Roman numerals, Chime/Silent subsidiary dial and engraved scrolling floral spandrels, the case of architectural form with marquetry inlaid decoration, on plinth base, h41cm w28.5cm d18.5cm

Ansonia mantel clock, the architectural case with gilt metal caryatid mounts flanking Roman dial, h29.5cm w21cm

Large late 19th Century black slate and marble two train architectural mantel clock. 44cm high approx.(B.P. 21% + VAT)

HENRY J. MORGAN (England, 1839-1917)."HMS Duncan at Sheerness," 1891.Oil on canvas.Signed and dated in the lower right corner.Measurements: 50 x 74 cm; 58 x 82 cm (frame).In this occasion we present a magnificent view of the English locality of Sheerness in which it is reproduced, with all detail, a nautical scene that reflects the foreign trade and the English naval fleet. The imposing ship of the Royal Navy crowned by flags, with its sails swollen by the wind, moves away from the dock while it fights against the voracious movement of the tumultuous waves, with the city of Sheerness in the background. It is a scene immersed in the dynamism and movement that characterized this type of marine compositions, in which other smaller vessels appear to complete the careful composition. The scene in general is treated with a descriptive and highly narrative language. This is due to the genre itself, since the main purpose of this painting is to relate a historical fact, and not to capture the beauty of nature. The aforementioned dark sea is joined by the proliferation of characters, such as the crews of nearby ships, perfectly represented leaning over the side. Landscape painting acquired a remarkable importance in Europe from the second half of the 17th century and throughout the 18th and 19th centuries. During this period artists produced both urban views or architectural interiors where the human presence was non-existent or completely secondary, as well as rural or country landscapes and seascapes.

ALEJANDRO FERRANT Y FISCHERMANS (Madrid, 1843 - 1917)."Young man with parrot", 1854.Oil on canvas.Presents period frame.Signed and dated in the upper right corner.Measurements: 34 x 23 cm; 54 x 46.5 cm (frame).Scene of interior that stands out for its sobriety in the architectural conception, contrasted with the luminosity of the figures that conform the scene. The painting itself has been conceived by the artist as a game of opposites, not only for what has been mentioned, but also for the protagonists themselves; a woman dressed in regionalist clothes that allude to the deepest traditions of the land, and right next to her a parrot, representing a great exoticism. It should be noted that both harmonize in color, the bird thanks to its plumage and the woman due to the skirt, which is somewhat reminiscent of the clothing of the painting "La Ciocciara", painted by Alejandro Ferrant in 1881 and currently belongs to the collection of the Prado Museum.Alejandro Ferrant y Fischermans studied with his uncle, the artist and academic Luis Ferrant y Llausas, at the Royal Academy of Fine Arts of San Fernando. He was a protégé and pensioner of the Infante Don Sebastián. In 1874 he traveled to Rome to reinforce his studies when he was pensioned by the government of Spain in the first promotion of painters of the Spanish Academy of Fine Arts in Rome, together with Francisco Pradilla, Casto Plasencia, Manuel Castellano, Eduardo Sánchez Solá and Jaime Morera. He was director of the Museo de Arte Moderno de Madrid, which became part of the Museo del Prado in 1971. His son Ángel Ferrant was an outstanding sculptor of the Spanish avant-garde. As a decorator it is worth mentioning his ornamental work in the Linares Palace in Madrid and the Miramar Oratory in San Sebastian, among others. His best known work as a decorator was the church of San Francisco el Grande in Madrid, where he worked with Manuel Domínguez and Francisco Pradilla. He excelled in drawing, but also in different painting techniques such as watercolor, oil and fresco. He captured a sober and elegant coloring, which in the case of portraits is linked to the baroque tradition by the use of a varied artistic theme in history, genre, religious and landscapes, as well as in portraits and decorative painting. He presented works and obtained several medals in national and international exhibitions. Among his works are Sibyls and Prophets in the dome of San Francisco el Grande, Madrid, The Last Communion of San Fernando, The Burial of San Sebastian and Cisneros, founder of the hospital of Illescas, the latter painting with which he won the first medal at the National Exhibition of 1892.

A 19th century carved giltwood and gesso full height pier mirror with painted architectural pediment above original plates. H.208 W.90cm (Note the lines in the 2nd, 3rd and 4th photos are reflections of telegraph wires and not flaws in the mirror)

CAREY, Jesse Claude "Carey" (1917-1994). A group of original architectural drawings, blue prints, and plans, comprising drawings and printed plans of:  Himalayan Institute. Chicago, 1970s.  Sunset Hills. Madison, WI, Historic DistrictWeggiford House. Whitefish Bay, WI.  Mr. & Mrs. Shuland House.Charles Cusher House.Mr. & Mrs. Chet Ruedisili House.Goldman House.Trichels.Blue Mounds Shelter. Blue Mounds, WI.  Belair Yacht Club.American Legion.Hutment Theater. 1944.  PreCast Column.Slab Supermarket.Property of the Caraway FamilyFor condition inquiries please contact lesliewinter@hindmanauctions.com

[FRANK LLOYD WRIGHT].  The Architectural Forum. Vol. 68, No. 1. New York: Time, Inc., January 1938.  4to. Numerous illustrations throughout. Original spiral-bound wrappers printed in red and black (some light staining, tiny crease to lower corner).FIRST EDITION of the issue dedicated to the work of Wright, and highlighting his work on Fallingwater, Unity Temple, the S. C. Johnson Company Building, and Usonian House.  Property of the Caraway FamilyFor condition inquiries please contact lesliewinter@hindmanauctions.com

[FRANK LLOYD WRIGHT]. CARAWAY, Jesse "Carey." A group of architectural drawings, renderings, and blueprints relating to the Vigo Sunt House, San Marco in the Desert, and Usonian House. Comprising:    [VIGO SUNDT HOUSE.] Two original perspective drawings of the Vigo Sundt House by Carey Caraway. "House for Mr Vigo Sundt Madison Wis. Taliesin Fellowship Architect Carey Caraway. Approved" in   lower margin. [Ca 1941]. Pencil and color on tracing paper. 2 oblong sheets (522 x 900 mm and 520 x 910 mm). (Second sheet with staining to upper right margin.) 11 original plan drawings in pencil of the Vigo Sundt House, signed "Taliesin Fellowship Architect Carey Caraway. Approved" lower margin, N.p., n.d. [ca. 1941]. Pencil on tracing paper. Including: plot plan (pencil and color), foundation plan, general plan, elevation and section plan, detail sections, roof framing, mill work schedule, diagram of sub-flooring area, glass schedule, roof area, footing and floor framing plan with heating (ink, pencil and color). Oblong sheets (each approximately 620 x 900 mm or smaller). -- 15 sepia diazo prints showing: exterior (3), plot plan, foundation plan, general plan, elevation and section plan, detail sections and roof framing (2), furniture, glass schedule (3). -- Agreement between the Taliesin Fellowship and Vigo Sundt. PLANS FOR WRIGHT'S FINAL (UNBUILT) HOUSE. Plans were delivered to the Van Sundt's just days after Wright's funeral.  [SAN MARCOS IN THE DESERT.] 23 sepia diazo prints "San Marco in the Desert for Alexander Chandler, Arizona, Frank Lloyd Wright, Architect'' in block letters along lower margin, [Ca 1936]. Including: sheet 1-5 legends, 6 and 7 dining room, 8 roof plan, 9 foundation plan west wing, 10-12 terraces, 13 foundation plan east wing, 14-16 terraces, 17 section A-A, 18-21 elevations, 22 dining room detail, 23 lower level plan. Oblong sheets (each approximately 925 x 1800 mm or smaller). Wright's plans for the resort, San Marcos in the Desert, were never realized as the project was halted by the Great Depression.    [USONIAN HOUSE.] 10 sepia diazo prints "Usonian House for Museum of Modern Art, Frank Lloyd Wright Architect.'' N.p. [1940]. Including: sheet 2 general plans, 3 roof plans, 4 elevations, 5 sections, 6-7 schedule of Walls, 8-9 schedule of roof, 10 reflected plan, 11 perforated board. Oblong sheets (each approximately 750 x 950 mm or smaller).  Property of the Caraway FamilyFor condition inquiries please contact lesliewinter@hindmanauctions.com

[FRANK LLOYD WRIGHT]. A collection of 15 carbon typescripts of lectures and speeches, 1929 or later, comprising:  "The City." Taliesin. 29 September 1929. 14pp., clipped upper left corner. -- "The Profession." Taliesin. 1 July 1930. 9pp., clipped upper left corner. -- "Opinion in American Architecture. I - Architecture of individualism." Taliesin. 22 January 1934. 3pp. -- "Architectural Education: Professor Heinrick de Fries. 'The Architect I Now Present Begins his Work where God Left Off.'" 11 September, 1934. 8pp., pinned upper left corner. -- "Broadacre City. A New success Ideal." Chandler Arizona, 5 March 1935. 7pp., pinned upper left corner. -- "An Architect Speaking for Culture." In Arizona Camp. 26 January 1936. 12pp., pinned upper left corner. -- "A Modern House Built for Herbert Jacobs, Madison, Wisconsin." Taliesin. 5 November 1937. 6pp., stapled top center margin. -- "Twentieth Century Architecture." N.p., n.d. 42pp. -- "The Nature of Architecture." 38pp., clipped upper left corner. -- "Frank Lloyd Wright Principles of Design." N.p., n.d. 3pp. -- "The Hillside Home School of the Allied Arts. Why we want this School." Taliesin, n.d. 27pp., clipped upper left corner. -- "To Arizona." Taliesin, n.d. 5pp., clipped upper left corner. -- "In the Cause of Architecture. 'In Labour'." N.p., n.d. 10pp. -- "Who Said 'Conservative'?" N.p., n.d., 3pp. -- Untitled. ["Broadacre City comes as a natural sequence after the disappearing of the modern city..."]. N.p., n.d. 6pp, pinned upper left corner. --  Untitled. ["The Wisconsin red barn was knee-deep in glistening white snow as we, the Fellowship...left the Taliesin valley..."]. N.p., n.d. 4pp, pinned upper left corner.Property of the Caraway FamilyFor condition inquiries please contact lesliewinter@hindmanauctions.com

MAGNI, Pietro Paolo (b. 1525). Discorsi intorno al sanguinar i corpi humani il modo di ataccare le sanguisuche e ventose a far frittioni e vesicatorii. Rome: Bartolomeo Bonfadion e Tito Diani, 1584.4to (226 x 164 mm). Engraved title within architectural border, 11 engraved plates. (Engraved title bound in on a stub, some minor spotting or staining.) Later mottled calf (neatly rebacked). Provenance: Robert J. Moes (bookplate).FIRST EDITION of Magni's treatise on the art of bleeding and the use of leeches in therapeutic medicine.   Magni, an Italian surgeon in Piacenza, was a practitioner of phlebotomy, and also wrote a treatise on cautery. The fine engravings are by Adamo Ghisi,   and depict the methods that can be used for bloodletting on various places on the body. VERY RARE: according to American Book Prices Current, only one complete copy of this edition of this work has sold at auction in the last 40 years. Mortimer Italian II, 267; Wellcome I, 3959.  Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com

A FINE CHARLES II CEDAR AND SNAKEWOOD ENCLOSED CHEST C.1670 of architectural form, in three sections, the boarded top with a moulded edge above a dentil cornice, the geometric panelled front with ebony panels and fitted with a frieze drawer, above a deep drawer and a pair of shallow drawers and a pair of cupboard doors enclosing three oak drawers, the sides with arched panels, with a key 140cm high, 128cm wide, 65.5cm deep Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller. Catalogue Note This fine enclosed chest illustrates the development of the chest of drawers in the second-half of the 17th century, when cabinet makers started to combine moulded architectural decoration and imported exotic veneers to maximum effect. A similar example is illustrated in Victor Chinnery, 'Oak Furniture: The British Tradition', p.371, fig.3:406.

A Late 19th Century American Mantle Clock of Architectural Form, Working Order, 33cm high

Hubert Williams (1905-1989), Hubert Williams was a portrait, landscape and architectural painter, etcher and illustrator. He studied at the Royal Academy Schools where he was awarded the Landseer Scholarship for 1928, also attending the St Martins School of Art and the LCC Schools. He exhibited widely and was a member of the Pastel Group and the Society of Graphic Artists. Williams illustrated many London views and examples of his work can be found at the Imperial War Museum; Museum of London; Ferens Art Gallery, Hull; Southampton Art Gallery; Towner Art Gallery, Eastbourne and Bath. *HUBERT WILLIAMS (1905-1989)TRAFALGAR SQUARESigned with initials l.r., pencil42 x 28cm,together with a quantity of further sketches of London views and a photograph of the artist. Subjects include Horseguards, Downing Street, Hyde Park Corner, the Embankment, Greenwich, Somerset House, Parliament Street, National Gallery, various sizes (qty.)*Artist's Resale Right may apply to this lot.

Four Ann Richards architectural miniature models, boxed; together with two wall mirrors; a carved wooden plaque; two large blocks; etc.

A 19th century black & white printed portrait study of “Louis Joseph de Bourbon”, 18¼” x 14¼”; together with a similar portrait study; & five black & white architectural prints, each in glazed frame.

Box of various 19th century wooden architectural elements and carvings

VICTORIAN MANTEL CLOCK IN ARCHITECTURAL BLACK SLATE CASE

An Edwardian mahogany cabinet, the lower section enclosed by two serpentine drawer with blind fret detail, over an open framework raised on four square tapered legs with spade feet, the raised back enclosed by two astragal glazed panelled doors, with further blind fret frieze and pierced architectural pediment, 80cm wide

Eight lengths/strips of architectural repeating Greek key pattern moulding

A pair of unusual salt glazed stoneware architectural bricks with lions mask water spouts, 30cm high x 14cm square approx (af)

A mid 20th century architectural longcase clock, dial marked, 'Urgos', height 248cm

ARCHITECTURAL PIER MIRRORS, a pair, 185cm x 45cm. (2)

ARCHITECTURAL HALL MIRRORS, a pair, 180cm x 63cm, Regency style. (2)

A late 19th century striking Bracket Clock, in architectural oak case with brass mounts, the 6in (15cm) square brass dial with silver chapter ring, black Roman and Arabic numerals and brass spandrels, retailer?s mark for John B. Jackson, Southsea, the 8-day two-barrel movement with two-tone strike on coiled gongs, the case with finials and carved decoration, with pendulum and key, 19in (48cm) high x 11in (29cm) wide x 8in (20.25cm) deep.

An early 20th century Junghans chiming Mantel Clock, the brass ached dial with silvered chapter ring and Arabic numerals, chime/silent and fast/slow dials to the arch, the brass 8-day B08 movement chiming on four gongs and striking on a coiled gong, in an architectural mahogany case with pilasters and scrolled inlays, 17in (43cm) high x 13in (33cm) wide x 9in (23cm) deep.

A set of three pencil and watercolour Italian titled architectural studies, 20th century, two titled lower right, framed, 31.5 cm x 24 cm

A late Victorian black slate mantel clock, of architectural form, having an enamelled dial with Arabic numerals and eight day movement, w.42cm; together with one other late Victorian black slate and marble cased mantel clock (2)

A late Victorian black slate mantel clock, of architectural form, having circular enamelled dial with Roman numerals, visible anchor escapement, w.40cm

A SELECTION OF ARCHITECTURAL LED PRINTS