Albarello mit WappenmotivWohl Ligurien, 1. H. 18. Jh.Schlanke Zylinderform mit leicht eingezogener Wandung, gekehltem Stand und Rand;schauseitig in Blau gemalte Architekturlandschaft, darin zusätzlich mit Gelb gehöhtesWappen in reich ornamentierter Blattkartusche. Weißgrundig glasierte Majolika. H. 25 cm.Apothekergefäß, Arzneigefäß, Arzneimittelbehälter, Italienische Majolika, Keramikgefäß, Norditalien, Pharmaziegeschichte Albarello with coat of armsProbably Liguria, 1st half of the 18th century.Slender cylindrical form with slightly indented wall, fluted stand and rim; on the outsidean architectural landscape painted in blue, with an additional coat of arms heightenedwith yellow in a richly ornamented leaf cartouche. White-ground glazed majolica. H. 25 cm.
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Frankreich - - Dawson Turner. Account of a tour in Normandy, undertaken chiefly for the purpose of investigating the architectural antiquities of the Duchy, with observations on its history, on the country, and its inhabitants. 2 Bde. Mit 50 gestochenen Tafeln u. Textabbildungen. London, John and Arthur Arch, 1820. Gr.-8°. HLdr. d. Zt. mit goldgepr. Rückentitel u. marmoriertem Deckel (berieben). Lowndes 2722. Erste Ausgabe. - Mit Ansichten von u.a. aus Bayeux, Caen, Dieppe, Rouen etc., sowie Antiquitäten u. Skulpturen. - Gelegentlich geringfügig gebräunt bzw. braunfleckig. Innenspiegel u. fliegendes Vorsatz von beiden Bänden mit Wappen-Exlibris. - Wohl erhalten. Normandy - First edition. - With 50 engraved plates and text ill. with views of Bayeux, Caen, Dieppe, Rouen etc. as well as antiquities and sculptures. - Half morocco with gilt title to the spine and marbled boards (rubbed). Occasional slight spotting or browning. With 2 bookplates in each vol. - Well preserved.
Attributed to Vernon de Beauvoir Ward. Approximately 20 watercolours and drawings on paper, including portraits, figurative and architectural studies. Plus one framed and glazed watercolour depicting diners in a restaurant 19 x 29 cm and a framed print depicting Delacroix and friends, all unsigned
Bacon (Sir Francis) The Historie of the Reigne of King Henry the Seventh, engraved frontispiece portrait by William Marshall (trimmed and mounted on later blank leaf facing title), title within elaborate woodcut architectural border, woodcut initials, head- & tail-pieces, lacking initial blank leaf, with contemporary ink signature of W.Bohun at head of title and annotations and underlinings to text, lightly browned, title mounted on stub, later ink ownership inscription and extensive note to front free endpaper, engraved Gilman bookplate, contemporary calf, rebacked, rubbed, upper corners worn, lower repaired, [Pforzheimer 33; Wing B298], folio, by R[obert] Y[oung] and R[ichard] H[odgkinson] and are sold by R. Meighen..., 1641.
Dugdale (Sir William) Monasticon Anglicanum, 3 vol., first editions, additional engraved architectural title to vol. 1, titles printed in red and black, 109 engraved plates only of 120 by Wenceslaus Hollar (some double-page), some plates cut down and mounted, a few ff. with ink marks, 18th century manuscript note on the wooden church at Greensted, new endpapers, modern calf, gilt, vol. 1 lower joints slight splitting, spines a little faded, g.e., [Wing D2483-5-6], folio, Richard Hodgkinsonne, 1655-61-73; sold not subject to return.⁂ The Monasticon Anglicanum revealed the importance of charters as sources for the study of medieval history, and 'established for the first time since the Reformation the importance of monasteries and the scale of their territorial possessions' (ODNB).
Paris.- Lécrivain, publisher. Nouveau plan de Paris, divisé en 12 arrondissements contenant la nomenclature exacte des rues tant anciennesque nouvelles et orné de 30 vues des principaux monuments et edifices publies, detailed plan of Paris, the border decorated with 30 vignette views of architectural monuments and sites of interest, engraving, on two sheets conjoined, with some original outline hand-colouring, 730 x 960 mm (28 3/4 x 37 3/4 in), folding into original boards, some small splitting and perforations to folds, tear into vignette at right of title in upper centre, otherwise some minor browning and surface dirt, contemporary orange boards, rebacked, publisher's printed label to upper cover, very worn, 1819; together with Wyld's Plan of the Fortifications of Paris, lithograph with some hand-colouring, 605 x 840 mm (23 3/4 x 33 in), dissected and mounted on linen, folding with publisher's advertisement as endpaper, original green cloth with publisher's printed label to upper cover, slightly worn, 1870, 8vo (2)
(Edwin John) Victor Pasmore (1908-1998) - "Composition in White, Black and Indian Red executed July - August 1954", signed and inscribed to artist's verso, painted wooden construction, 73.5 x 68.5cms.Provenance: Given by the Artist to Gordon Ryder. NB Gordon Ryder and Peter Yates established the Newcastle based architectural practice of Ryder and Yates in 1953. They had met whilst working in London and came North on the first, abortive, scheme for Peterlee New Town in County Durham, under Berthold Lubetkin. After Lubetkin's team withdrew from the project and Victor Pasmore was appointed in 1954, Gordon Ryder helped Pasmore with many of the more technical points of architecture. This work was created for and given to Gordon Ryder as a 'thank - you' for his help and support by Victor Pasmore who was to become a life-long friend.Purchased by current vendor's father, now deceased, from our Auction Rooms 8th September 2009.Literature: The work is show in its original setting on the dining room wall of "Trees" the Ryder's home near Newcastle on page 140 of "Modern Houses in Town and County", published by Homes & Gardens in 1974. (a copy of this book is available to view at the Sale room)
CMC MODELS 1:18 SCALE MODEL OF THE 1960 MASERATI TIPO 61 BIRDCAGE CHASSIS (reference M060) a faithful recreation of an architectural masterpiece by genius designer Giulio Alferi true to original 200 piece filigrane metal birdcage space frame highly detailed construction comprising over 1100 components
![Gonse (Louis). L'art gothique, 1st edition, Paris: Ancienne Maison Quantin, [1890]. Folio, contemporary quarter vellum, top e](https://cdn.globalauctionplatform.com/64361b91-8ff9-4015-9611-ad160112fc1d/19252e7f-197c-42f8-9e39-ad5701096c56/468x382.jpg)
Gonse (Louis). L'art gothique, 1st edition, Paris: Ancienne Maison Quantin, [1890]. Folio, contemporary quarter vellum, top edge gilt, 28 plates (heliogravure, halftone, chromolithographic or etched), a little spotting - Jekyll (Gertrude, & Christopher Hussey). Garden Ornament, 2nd edition (revised), London: Country Life, 1927. Folio, original green quarter buckram, green linen sides, halftone photographic illustrations throughout - Cook (Sir Theodore Andrea). Twenty-Five Great Houses of France, 1st edition, London: Country Life, [1916]. Folio, original white half cloth, top edge gilt, halftone photographic frontispiece (mounted), halftone photographic illustrations throughout text - Weaver (Lawrence). Houses and Gardens by E. L. Lutyens, 1st edition, London: Country Life, 1913. Folio, original white quarter cloth, halftone photographic frontispiece and text-illustrations - and 2 others similar (Audubon, The Birds of America, 1937, and Bossom, An Architectural Pilgrimage in Old Mexico, 1924) (qty: 6) All with the bookplate of Christopher Hatton Turnor (1873-1940) and associated green morocco shelfmark label to foot of spine.
A NEPALESE CARVED WOOD ARCHITECTURAL FRAGMENT C.12TH CENTURY Worked in relief with a deity standing between two pillars in an archway upon a pedestal with his feet apart and one knee bent, wearing a tall crown, large earrings and a necklace, with an aureola framing his head, all below an elaborate frieze, with traces of blue and red pigment to the surface, 57cm. Provenance: from a Belgian private collection.
A 18th century and later wall clock, the painted 28cm break arch dial embellished with painted architectural columns, enclosing a twin chain driven movement within a later constructed back box, striking on a 10cm external saucer bell, with two weights and pendulum, dial 39cm high, extensive historic worm (at fault)
A mid 20th century limed oak Welsh dresser, the high back with a foliate carved frieze over two enclosed shelves, upon the base with conforming detail above two drawers and two cupboard doors each applied with moulded architectural detail, raised upon stile feet united by runners, 176cm H x 124cm W x 47cm D
A substantial 19th century carved stone architectural figure of Guanyin, modelled in a seated position with legs crossed upon a rectangular plinth base, extending to a high back with carved detail, 90cm H x 71cm w x 36cm DCondition reportGeneral weathering with some worn loss to head dress, right arm missing from elbow down, historic gouge and chip to plinth base
Architecture - Nicholson, Emrich " Contemporary Shops in the Unites States" Jackson " Semi-Detached in London" " Eastern European Modernism" Dean, David " The 30's The English Architectural Scene", Yorke F.R.S. and Gibbard " The Modern Flat" vols relating to Art Deco and other vols ( 3 boxes)
Ca. 1360 BC. 18th dynasty, reign of Amenhotep III. A pair of orange-brown Nile silt funerary cones. They are formed of undecorated, roughly conical forms, each with a flat surface that contains five vertical columns of hieroglyphic text in Middle Egyptian, identical on each cone: imAxy xr Wsir iry-pat Imn-Htp Dd n=f Hwy pn Dar m rk tA irn.n sAb Hpw "The revered one under Osiris, the nobleman Amenhotep who is called Huy, celebrated throughout the land, born of the dignitary Hapu." These come from the façade of Amenhotep's tomb in Qurnet Murai, a necropolis at Thebes. Amenhotep son of Hapu was an exceptionally important figure in Egyptian history and thought; he was a philosopher who became so renowned for his wisdom and teachings that he was posthumously deified, one of very few commoners in all of Egyptian history to receive this honour and one of only two to receive it on a large and enduring scale (the other being the architect of the first pyramid, Imhotep). As a deity he became a god of healing, due to his knowledge and wisdom in life, and he was also prayed to in Thebes as an intermediary with the god Amun, transmitting the prayers of those too lowly to seek an audience with Amun himself. Funerary cones like these were typically made for the Theban necropolises, and they were placed above the entrance to the tomb, although their exact function is still unclear; they may have been used as offerings, spells, architectural features, or even as a sort of passport into the necropolis. Size: L: Set of 2: 140 - 145mm / W:65 - 75mm ; 700g. From a London private family collection; formerly acquired on the UK art market in the 1960s - 1970s; thence by descent.
Ca. 323 BC-200 AD. Ptolemaic Dynasty - Roman Period. A group of 54 small objects including glass inlays, beads, and a seashell. Inlays were common in this era and were made to fit into areas of sunken relief, adding vibrant colour to architectural programs and other artwork. Beads are often found in tombs, having been buried as complete necklaces whose cords deteriorated over the centuries. Jewellery was an important part of life for both men and women who could afford it, so they often wished to take their jewellery with them to the afterlife. Size: L:Set of 30+: 3 - 31mm / W:3 - 21mm ; 35g. From a London private family collection; formerly acquired on the UK art market in the 1960s - 1970s; thence by descent.
A handsome musical gilt-brass mounted ebonised bracket clock, late 19th century, in 18th century style, the architectural case with caddy top enriched with fret-carved decoration, fitted with four gilt-brass urn finials, arched pierced gilt-brass side panels and raised on bracket feet, enclosing a gilt dial with silvered chapter ring signed Brook & Son, Edinburgh, within pierced gilt spandrels decorated with masks and foliage, under an arch with three subsidiary dials, including Westminster chime, the twin-fusee movement striking on eight bells and five gongs. Height including handle 56cm, diameter of dial 18.5cm
* Emanuel (Frank Lewis, 1866-1948). An archive collection of 204 drawings and sketches in England, France, Belgium and the Netherlands, circa 1896-1933, mainly pencil or pen & blank ink on paper or thin card, a few in watercolour, many picturesque street scenes and buildings, coastal views and marine subjects, views of architectural landmarks and old buildings in towns and cities, some country landscapes and rural scenes, studies of figures, etc., many signed or initialled, often titled, some dated, some inscribed to verso by the artist, some mounted on card, largest sheet size approximately 38.0 x 53.5 cm (15 x 21 ins), the smallest approximately 6.7 x 5.0 cm (2.5 x 2 ins), occasional marks or creases (generally in good condition), on or two with some light spotting, plus a further collection of approximately 166 etchings by the same artist, including landscapes, coastal and rural scenes, figure groups, greetings, invitations or similar, a few colour woodcuts, mostly unsigned and with some duplicates and some trials, all unframed except for 10 views and one etching framed and glazed, together with Emanuel (Charles, 1868-1962). A collection of 62 drawings and sketches in England and France, also locations in Scotland, Spain and the Netherlands, pencil and/or colour pastels on paper or thin card, mostly picturesque street scenes and buildings, some country landscapes, many views of architectural landmarks and old buildings in towns and cities, the majority signed, most titled, some mounted on card, largest sheet size approximately 24.5 x 32.0 cm (9.75 x 12.75 ins), the smallest approximately 5.6 x 9.6 cm (2.25 x 3.75 ins), occasional scarce minor marks, all unframed (except 2 framed and glazed)Qty: (Approx. 432)NOTESA collection of over 200 vivid sketches of picturesque street scenes, architectural motifs and figure studies by the important artist and illustrator F. L. Emanuel, who studied at the Slade School of Art under Alphonse Legros (1837-1911), at the Académie Julian in Paris under William-Adolphe Bouguereau (1825-1905) and Tony Robert-Fleury (1837-1911). Emanuel also wrote on art for the Architectural Review and Manchester Guardian and is the author of The Illustrators of Montmartre (1903) and Etching and Etchings (1930). He exhibited at the Paris Salon, the Royal Academy from 1886, the New English Art Club and elsewhere, had a show of his watercolours in the Méryon Galleries in 1912, and taught etching at the Central School of Arts & Crafts from 1918 to 1930. British locations for Frank Emanuel's drawings include: Hoghton Tower, Southwold, Brentford/Kew, Oxford, Hastings, St. Albans, Deptford, Walberswick, Kensington Gardens, Leigh on Sea, Bromley Station, Paddington, Putney, Peveril Point, Hamstead, Penmaenpool, Rickmansworth, Messing, Bloomsbury, King's Lynn, North Shoebury, Bournemouth, New Oxford Street, Cirencester, Basinghall, Tewkesbury, Chepstow Road, Lambeth Palace & Park, Knowsley Hall, Ledbury, Lincoln, Ludlow, Notting Hill Gate, Whidborne Street etc. Foreign views include: La Voulte, La Porcherie, Le Pollet, La Chêne Verte, Paris, Amsterdam, Haarlem, Overschie, Pont St. Esprit, Larchant, La Rochelle, Rue du Pont, Le Chateau, La Grande Rue, St. Omer, Veere, Fécamp, Abbeville, Veere locks, etc. The locations depicted by Charles Emanuel include, British: St. Ives, Cirencester, Stamford, Ledbury, Folkstone, York, King's Lynn, Brixham, Tewkesbury, Whitby, Boston, Wells, Edinburgh, and foreign: Le Puy, Gerona, Honfleur, Granville, Renesse, Tours, Zierikzee, Vire, Larchant, Middleburg, Tréboul, St. Malo, Dinan, Montreuil, etc.
A VICTORIAN WALNUT CASED BRACKET CLOCK BY THWAITES AND REED. A fine Victorian walnut cased bracket clock with a silvered dial signed 'Thwaites and Reed, London' with Roman numerals and slow/fast indicator, with a two train chain link fusee movement, the architectural case with ebonised details, broad moulding and plinth base, 47cm high 36cm wide.
British topography, decorative arts & handicrafts. The library of John Heaton Cope ARPS (1926-2020), comprising 40 boxes of Yorkshire Dales, Lake District (Cumberland and Westmorland) and Warwickshire reference, decorative arts and handicrafts reference (including furniture, pewter, domestic metalwork treen, candlesticks, etc., specific titles including Charles Latham, In Englsih Homes, London: Country Life, 1904, 2 volumes, folio, original pictorial cloth gilt), general literature, a collection of some 30 Batsford titles in good dust jackets, and assorted other material including Mrs Beeton's Book of Household management, new Edition, 1912, and similar (qty: 40 boxes) The lot sold as seen and without reserve. John Heaton Cope ARPS (1926-2020) was a professional photographer with Birmingham City Council for 44 years, latterly working as the chief photographer at Birmingham City Museum and Art Gallery. He lectured on the Midlands circuit of photographic societies for over 30 years and was an active member of the Leica Portfolio Club. He specialised in landscape, architectural and portrait photography. John was a keen collector of antique oak furniture, pewter, copper and brass, rustic lighting, horse brasses, treen, engravings, commemorative china and books, with a particular focus on local history. On retiring to Ravenstonedale near Kirkby Stephen, Cumbria in 1993, John continued to add to his collections and published a short history of the shops in the village.
A PAIR OF GEORGE III COADE STONE STOUPS, early 19th century, of urn form, and oval section with everted rims and fluted bodies, the fronts each modelled with a swagged armorial shield bearing a cross potent, the reverses each with a rectangular attachment lug, on waisted socles, the rectangular bases each inscribed COADE. LONDON at one end, 26cm high x 33cm wide x 27cm deepNote: Eleanor Coade was born in Exeter in 1733, the daughter of a wool merchant. By the 1760s she was living in London and in 1769 she went into partnership with Daniel Pincot, who was already involved in producing artificial stone in south London. The pair soon fell out, and in 1771 Coade partnered instead with the sculptor John Bacon, whose accomplished designs and workmanship helped to establish the Coade Artificial Stone Company as the leading firm in its field. In an era when architectural embellishment was at its height and when Neoclassicism was the vogue, Coadestone became the must have dressing for the great houses of the land, and can still be seen in-situ at many sites
JOHN BLUCK (FL, 1791-1819) 'Belfield House, Weymouth' a view from the sweeping drive looking toward the country house, with sheep in parkland to the foreground and the Isle of Portland to the distance, signed and dated 1818 lower left, oil on canvas, 28cm x 39cmBelfield House is an 18th-century country house, located in Wyke Regis, Weymouth, Dorset. Built around 1775-80 for Isaac Buxton and designed by John Crunden in a late classical design with four Ionic columns at its entrance. It originally had its own extensive parkland of thirteen acres, as shown in the painting offered here. The house remained in the ownership of the Buxton family until the middle of the 19th century. In 2005 the house was subject to a major restoration project, which upon completion in 2010 received the Civic Society Award and was described as being "probably Weymouth's finest and most important Georgian house"An outstanding early aquatint engraver, John Bluck exhibited his art at the Royal Academy, London, from 1791 to 1819. As well as illustrating a number of fine books, John Bluck became famous for his full colour aquatints of topographical views, marine, sporting and architectural subjects. Among his best known works of art are the twenty-four engravings for Picturesque Illustrations of Buenos Aires and Monte Video (1820), Six Views of Derbyshire (1805) and Views of Weymouth (1813). John Bluck also engraved now coveted plates after Reinagle, T. H. Shepherd and Thomas Rowlandson. For Rowlandson, one of England's premier satirical artists, John Bluck was entrusted with engraving such great plates as A Bird's Eye View of Covent Garden Market, A Bird's Eye View of Smithfield Market and the engravings for the Microcosm of London.
*ARTHUR BELL (1897-1995) 'St. Alban's Street, Weymouth' etching, 16.5cm x 10.75cm; and three similar works by the same artist "Trinity Street, Weymouth" and two views of Market Street, Poole (4)Provenance: The two Weymouth views formerly in the collection of Roger Neville Russ PeersLiterature: Arthur Bell was a landscape watercolourist, draughtsman, printmaker and teacher who worked in a meticulous style, born in Kettering, Northamptonshire. Showed an early talent for drawing, but poor health restricted him to elementary schooling, then in 1913 he joined the architectural practice of Marriott, Cooper and Williams. During World War I he held an Army commission, being wounded in France. Studied at Bournemouth Municipal School of Art, 1919–21, under Geoffrey Baker, Henry Crocket and Leslie Ward. A fellow-student was Bertha Beal, whom Bell married in 1922, their son being the teacher and artist John Bell. Arthur and Bertha Bell were prolific between the two world wars, having work selected for the RA Summer Exhibition, being members of the Poole and East Dorset Art Society and Bournemouth Arts Club and having joint exhibitions. (Buckman, David 'Artists in Britain Since 1945')
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