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Ɵ Prayerbook containing the Fifteen Oes of St. Bridget of Sweden, Litanies of Christ and the Virgin, and prayers to reduce time in purgatory, in Latin and French, illuminated manuscript on parchment [France, c. 1650] To view a video of this lot, click here. 78 leaves, wanting a single leaf from first gathering, perhaps with frontispiece naming original owner, else complete, collation: i5 (wants iii), ii-iii6, iv-xx2, xxi3 (last a singleton to complete text), xxii-xxxiii2, single column of 20 lines in remarkably fine roman and italic hands identified below as those of Nicholas Jarry the royal court scribe, red rubrics, initials in liquid gold, larger initials in silver on gold grounds (silver now oxidised and spread), almost every page with text within thin gold frame, titles of each text in gold ink, frontispieces and openings of each text in softly coloured architectural frames and enclosing scenes of a bee seeking a flower, a pelican stabbing its own breast, doves with olive branches, a sacrificial lamb, a flower opening to the sun and numerous images of finely painted grinning human skulls and flowers, first leaves slightly cockled, occasional spots and small stains, else in excellent condition, 163 by 110mm.; contemporary binding of gilt-tooled red morocco over pasteboards (floral frame on each board, spine with six compartments in same), tooled olive leather doublures, two clasps formed from metal crosses, these clasps having caused boards to indent into text block very slightly at fore-edge, a few of thongs split between boards and textblock, but all held in place by leather and solid in binding The hand here is of the greatest refinement, and is identical in its roman and italic forms, as well as the flowery decoration and the use of gold, with these features in prayerbooks written by the grand scribe Nicholas Jarry (d. before 18 September 1666; see Amiens, Bibliothèque municipale, MS. Lescalopier 25; partly reproduced on Biblissima website; and Lilly Library, Ricketts 155: C. de Hamel, Gilding the Lilly, 2010, no. 99). Unlike many of their neighbours, the French continued to refine the scribal arts following the advent of printing, and perhaps were even spurred on by it. Nicholas Jarry was the zenith of the seventeenth century in this respect, and worked predominantly for Louis XIV and members of his court (on Jarry see, J. Bradley, Dictionary of Miniaturists, Illuminators, Calligraphers and Copyists, London, 1887, II:143-8, and R. Portalis, Nicolas Jarry et la calligraphie au XVIIe siècle, Paris, 1896). His script was described by Meridel Holland as 'if it could have been produced by a little, delicate typewriter' (in Bulletin of the John Rylands Library, 65, 1983, p. 148), and the resulting books were 'as frivolous and costly as Fabergé eggs' (de Hamel, p. 214).

AN EARLY GEORGE III MAHOGANY SECRETAIRE CHEST ON CHEST NORTH COUNTRY, C.1760 the moulded cornice above an archaded frieze, with guttae pendants, above two short and six long drawers, with Rococo brass handles, the upper section with blind fretwork canted angles, with ash banded plinths, the base with fluted split pilasters and architectural quoin detailing, on ogee bracket feet, the secretaire fitted with an arrangement of pigeonholes and eight drawers, flanking an ash banded cupboard with a pair of secret pilaster compartments 178.3cm high, 118.9cm wide, 57cm deep Provenance By family repute, this chest has been in the vendor's family, based in Cumberland, since 1815 when it was gifted to them as a wedding present.

A French Black Slate and Marble Mantle Clock of Architectural Form with Flat Top Ready for Mount, 8 Day Movement But No Pendulum, 39.5cm wide

A Late 19th/Early 20th Century Heavy Black Slate and Marble French Mantle Clock of Architectural Form with Eight Day Movement and Complete with Pendulum, Working Order, 55cm Wide

Five late 19th/early 20th century photographs and prints, comprising two female portraits, a photograph of an elderly woman and two architectural photographs, all framed and glazed

French black slate and marble inset mantel clock of architectural style with presentation inscription to W.S. Hall, by the Easington Colliery Mechanics, 1919; another French black slate marble clock; and a mid 20th Century oak mantel clock. (3)

Japy Freres, French Black Slate Mantel clock late 19th , early 20th century of architectural form.

A French black slate and marble mantel clock, circa 1900, of architectural form.

The Calvary - "Crucified Christ, Our Lady, St. John, St. Mary Magdalene, six Steps of the Passion of Christ and two Angel-sculptures", twelve painted ivory sculptures, darkened marblewood base with an architectural feature with niches, Brazilian rosewood cross with gilt carvings, Indo-Portuguese, 18th C., missing finger in Christ's hand, minor fault on two feet of Christ's small sculptures, missing candles of the Angels, restored base, probably late cross and of Reinol production, Dim. - (Cristo) 34, 8 cm; (São João) 15 cm; (Cristos da Paixão) 6,7 cm; (total) 115 cm

ARCHITECTURAL GARDEN MIRRORS, three, 157.5cm x 66cm, aged metal frames. (3)

ARCHITECTURAL WALL MIRRORS, three, 118cm x 40cm, gilt finish. (3)

ARCHITECTURAL GARDEN SWING, 180cm W.

ARCHITECTURAL STAG FINIALS, a pair, 93cm H. (2)

ARCHITECTURAL GARDEN MIRRORS, four, 77cm x 49cm aged metal frames. (4)

A late Victorian black slate mantel clock of architectural form having a gilt dial with Roman numerals, visible escapement and 8 day movement, width 35cm

A late Victorian onyx cased mantel clock of architectural form having gilt metal figural mounts with enamelled chapter ring, Arabic numerals, and eight day movement, width 31cm

A box of lantern slides, mainly architectural.

"The Architectural Review, a Magazine of Architecture & Decoration", six wartime issues November 1939, December 1940, November 1943, July & September & November 1944, all with John Piper content (6)

A late 19th century Victorian early 20th century walnut mantel clock of architectural form having a white enamel clock face with Arabic numerals, spandrels to the corner raised on a pediment base.

MID 19TH CENTURY GLASS AND GILT METAL SCENT BOTTLE, with hinged cover inset handpainted architectural scene, the square form body mounted in gilt metal with scrolls and further hand-painted architectural scenes to each side, 12cm high

An Arts & Crafts silver mounted cross with enamel decoration in the manner of Edward Spencer for Artificer's Guild, the central roundel decorated with the Lamb of God with three Angels at cross terminals, on central square shaped stem, on raised planished plinth with architectural enamelled section, unmarked, approx 32cm high 

ITALIAN SCHOOL, 19TH CENTURY, A SUITE OF TWENTY VIEWS OF ROME, depicting figures beside various architectural landmarks of the Eternal City, watercolour and gouache over ink, each image approximately 13cm x 18.5cm (20)

A quantity of Church and Architectural drawings/water colours each monogrammed FDC and dated

1930's frameless mirror of architectural form and a modern reproduction gilt framed mirror of 19th century design

A Victorian slate and marble mantle clock of architectural form

A kidney shaped tray, af, together with an architectural folding metal stand

Arts & Crafts oak two train mantel clock, the 4.25" silvered dial with Roman numerals signed Parkinson & Frodsham, London, within an architectural case and carved gothic tracery, Lenzkirch movement striking on a gong, 14.5" high (with pendulum)

Aesthetic oak two train mantel clock, the blue and white foliate dial with Arabic numerals over a triple panelled front inset with further enamelled floral panels within an architectural gallery top case, French Japy Freres & Cie movement striking on a gong, 12.5" high (with pendulum and key)

John Linfield R.W.S., NEAC, (b.1930) -- 'The Tithe Barn, Bradford-on-Avon' signed also extensively inscribed on an exhibition label verso and a further document listing all the artist's exhibitions and shows during his career; together with a short biography on the artist, pencil and watercolour, 12.5" x 18" - ** Exhibited at The Mall Galleries, 17 Carlton House Terrace, London SW1 The artist specialises in pen and ink studies of architectural subjects, his other great interest is portraiture, he has exhibited with the painter's Bernard Dunstan, R.T.Cowern, Tristram Hillier R.A. and the artist Carel Weight, R.A.

A 19th century French walnut pier mirror of architectural form with original bevelled plate flanked by turned and fluted pilasters. H.92 W.63

Lynn Chadwick R.A. (British, 1914-2003)Winged Figures signed and numbered 'CHADWICK 85/737S 8/9' and stamped with the foundry mark (on the leg of the male figure)bronze with a grey patina and polished faces61.5 cm. (24 1/4 in.) highConceived in 1976Footnotes:ProvenanceThe Artist, thence by family descentExhibitedCaracas, Galeria Freites, September 1981 (another cast)LiteratureDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-1996, Lypiatt Studio, Stroud, 1997, p.306, cat.no.737SDennis Farr & Éva Chadwick, Lynn Chadwick, Sculptor, With a Complete Illustrated Catalogue 1947-2005, Lund Humphries, Aldershot, 2006, p.314 cat.no.737SDennis Farr & Éva Chadwick, Lynn Chadwick Sculptor, With a Complete Illustrated Catalogue 1947-2003, Lund Humphries, Farnham, 2014, p.321, cat.no.737SThe artist's formative years were spent as a draughtsman working with several architectural firms in London and later as a pilot in the Second World War. The influence of both these ventures is clear in Winged Figures, from the angularity of the figures with strong line used to delineate clothing to the projecting flat plains, would-be arms that have stretched into wings ready for flight. Esteemed critic Herbert Read said of Chadwick's work ''He is preoccupied with states of attention or alertness... his aim is to incorporate a moment of maximum intensity...' and certainly here, there is a palpable tension and sense of dynamism as the couple's courtship plays out. Each figure stands as proud as the other, confident in their self-contained energy and with a sure stance and steady gaze that is tangible in 360 degrees.The origins of the present work can be traced back to pivotal pieces such as Conjunction (1953, Tate, London), one of Chadwick's first sculptures of the human couple. Even then, in that first early exploration, the two forms were joined very literally at the hip and faced one another, caught in a sensual dance. In Conjunction though, the figures are still hybrid – part reptile, part bird, part insect – in Winged Figures however, the couple have developed into a fully formed male and female, the former with a larger head, the latter with breasts, both distinctly human. We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ⓦ A FINE PAIR OF 28 BORE DANISH SILVER-MOUNTED FLINTLOCK HOLSTER PISTOLS BY VALENTIN MARR^ COPENHAGEN^ CIRCA 1740-50¦with tapering swamped barrels each formed with a long flat^ silver fore-sights^ finely chiselled with rococo scrolls^ shell ornament and an architectural feature involving an urn against a finely matted gilt ground over the breech sections and with a raised moulding cut for sighting behind^ engraved tangs decorated with further scrolls and foliage^ rounded locks with moulded borders^ chiselled en rocaille on the tails^ signed on a scroll beneath the pans and ~A Copenhagen~ beneath the steel springs^ fitted with rounded cocks and steels each chiselled en suite^ moulded full stocks carved in relief with scrolling foliage and a rococo flowerhead behind the rear ramrod-pipes and further designs including a rococo shell about the tangs^ slender butts of characteristic form (one repaired)^ silver mounts cast and chased with rococo designs in low relief against a finely matted ground^ comprising trigger-guards with bows en suite with the breeches and foliate terminals^ solid side-plates with scrolls^ shell ornament and foliage^ spurred pommels^ escutcheons with the owner~s crested coat-of-arms^ and a pair of ramrod-pipes^ horn fore-end caps (one cracked)^ and horn ramrods (one replaced^ the steel parts with small areas of very light pitting^ the stocks with some very small dents) ¦28.0 cm; 11in barrels¦(2)¦¦Part proceeds to benefit The Wallace Collection¦¦Provenance¦The property of a Lady^ sold Bonhams^ 30th April 2014^ lot 343¦¦The arms are perhaps those of the Swedish noble family Björnefelt^ see Rietstap 1967^ pl. CCXXI. ¦¦Valentin Marr (1696-1786) is considered Denmark~s leading gunmaker of the mid-18th century. Born in Zella^ Thuringia he apparently apprenticed in Germany before working as a journeyman in Stockholm with David Bars 1727-29. He returned briefly to Zella before settling in Copenhagen in 1732 where he remained for the rest of his life. The following year he presented a pair of pistols mounted with mother-of-pearl to Christian VI. The use of this material for gun mounts appears to have been a novel one and impressed the king who promised the gunmaker 100 Rix-dollars^ as well as winning him patronage at court for the rest of his life. A number of firearms by him remain in the Royal collections Rosenborg Castle and the Tøjhusmuseet. The decoration on the present pistols^ as with a number of his other works^ follow the style of the Stockmar workshop at Heidersbach near Suhl in Thuringia.¦¦A similar silver-mounted pistol by this maker^ formerly in the collections of Stephen Grancsay and Clay Bedford^ was sold Christie~s South Kensington^ Antique Arms and Armour^ 15 July 1998^ lot 249. A sporting rifle by Marr was sold in this room^ 27th June 2012^ lot 467. ¦¦See Askgaard 1988^ p. 13^ 17 and 320^ Hayward 1963^ pp. 171-172^ Hoff^ Schepelern and Boesen 1955^ pp. 165-6^ 168-171^ 174-180^ 182 and 210.

Fourteen architectural style prints of columns, urns, each framed and glazed, various sizes

A group of Timothy Richards plaster architectural models of Georgian buildings to include Langley Park Slough, Reddish House, Broad Chalk Salisbury, and others A/F Location: RWB

Timothy Richards plaster architectural models to include The Radcliffe Camera, together with a signed model dated 1989 A/F Location: RWB

A 19th century cast iron architectural applique, cast as a spread eagle crest, 51cm wide

A 19th century Louis XV Revival gilt metal mounted rosewood, kingwood and marquetry bombe shaped secrétaire à abattant, rouge marble top, fall front inlaid with an architectural vignette, flowers and scrolling leaves, enclosing an inset writing surface, pigeonholes and drawers, above a pair of cupboard doors, cabriole legs, 143cm high, 59cm wide, c.1860

A Gothic Revival oak side cabinet or chiffonier, the superstructure with a pierced three-quarter gallery moulded with swags, above two open bookcase shelves, foliate capped cylindrical columnar supports, the projecting base with quarter-veneered top and foliate edge above a pair of frieze drawers applied with tracery mouldings and a pair of architectural panel doors with scroll and leaf capitalled pillars enclosing an adjustable shelf, plinth base, 158cm high, 122cm wide, 56cm deep, c.1880

A 19th century alabster drum head library timepiece, 8.5cm circular clock dial inscribed with Roman numerals, eight-day movement, the architectural case set with a frieze of verde and rosso antico marble panels, 30cm high, 33.5cm wide, c.1860

A Black Forest mantel cuckoo clock, 11cm dial applied with Roman numerals, eight-day movement, the architectural 'chalet' case carved and applied with leafy branches, 34cm high, 24.5cm wide, c.1900 (for restoration)

A late Victorian Renaissance Revival oak cabinet on stand, architectural upper stage with an arrangement of doors and drawers, carved throughout with masks, flowerhead bosses, historicist devices and 17th century inspired motifs, the projecting base with an arrangement of five further drawers, brass drop handles, ring-turned H-stretcher, ball feet, 216cm high, 140cm wide, 87.5cm wide, c.1890

A pair of late Victorian Gothic Revival oak hall chairs, each with an architectural back, stuffed-over seat, quatrefoil capped tapered square forelegs, spade forefeet, 89cm high, 48cm wide, the seat 39cm deep, c.1890 (2)

A set of six oak Charles II style 'Derbyshire' side chairs, each with an architectural back, boarded seat, bobbin-and-reel turned forelegs, rectangular stretchers, turned forefeet, 107cm high, 47cm wide, the seat 33cm deep (6)

An ecclesiastical Gothic Revival prie-dieu, architectural superstructure, slope top above a panel door enclosing a shelf, 152cm high, 50cm wide, 29cm deep

A Victorian oak Admiral Fitzroy barometer, architectural case, 104cm long, c.1890

A substantial late 19th century gilt brass repeater carriage clock, 7cm rectangular enamel dial inscribed with Roman and subsidiary Arabic numerals, the repeating movement with platform escapement striking on a gong, the five glass architectural case with bevelled panes, acanthus bud finials and fluted Corinthian pillars to angles, carrying handle, stepped base, shallow bracket feet, 18cm high, c.1900

A basketPortuguese silverPierced and raised of architectural and foliage motifs and beaded friezes decorationArticulated undulating handle of applied element of identical decorationOn a circular footBoar hallmark 833/1000 (1887-1938) and same date maker's mark(minor dent)Diam.: 35 cm723 g

George V silver sugar basket featuring a panelled fluted pierced architectural border, swing handle on a spreading stepped foot with blue glass liner, 10cm tall, Birmingham 1925, maker,s mark Mappin & Webb Ltd, silver weight 90gms

A large hour repeating architectural cased carriage clock, late 19th centurythe white enamelled dial with black Roman and Arabic numerals, within an engine-turned plate, flanked by pilasters above a pediment and hinged handle.25cm high

A late 17th century Portuguese ebony and tortoiseshell table cabinet,of breakfront rectangular form and architectural design, fitted with a deep drawer over a central drawer enclosing drawers, surrounded by nine further geometric panelled drawers, on turned feet,W.128cm D.39cm H.85cm

A late 17th century Portuguese ormolu mounted ebony and red tortoiseshell cabinet on stand,of architectural form, with two central doors opening to reveal a nonsuch faux architectural interior, with bone and tortoiseshell 'tiled' floor, mirrored panels and hand painted back panel depicting a fountain in a garden, surrounded by ten further drawers over a brushing slide and standing upon spiral fluted columns with bun feet,W.124cm D.46cm H.187cm

A late 16th century Anglo-German ‘Nonesuch’ chest,The facade profusely inlaid with towers and other architectural features, the hinged cover locking with original key, with inlaid borders to the sides and cover, flanked with iron handles, raised on shaped bracket supports.95cm wide, 49cm deep, 65cm high

Architectural interest. A carved stone head

Victorian black slate and specimen architectural mantel clock with twin train movement, 31cm high, pendulum

A quantity of pictures and prints on a landscape and architectural theme artists include Desmond Knight, Clark Hancock, Maggie Coffin, Betty Martin, Hazel M Watson, Adam Green, etc, various sizes, max 52 x 32cm, all framed (17)

A cream painted architectural broken arched pediment with dentil and further moulded detail, 168cm long x 16cm wide x 26cm high

A collection of miscellaneous books about English furniture and related subjects and including a publication entitled Designs of Settees, Chairs and Tables 1913, Mouldings of the Wren and Georgian Periods - A Portfolio of Full size Sections published by the Architectural Press, London, etc (18)

Scottish Woodwork of the 16th and 17th centuries, measured and drawn for The Stone by John William Small, Architect, published David Douglas, Edinburgh, limited 221/200, The Architectural Association Sketch Book, (third series, volume six) 1902, a portfolio containing a collection of designs entitled Oriental Treasures, together with three albums containing sepia photographs of various house interiors and furniture (9)

Architectural printed patterns and designs

A sculpted stone pot labelled This Stone came from The Houses of Parliament, 15 x 15cm 19cm high, a teak architectural support, 18th century