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A brass fusée eight day mantel clock with glass dome enclosing a pierced brass architectural clock with single fusée movement striking on a bell, on ebonised base, associated pendulum, overall height 50cm.

Dominicus Custos (Flemish, c1560-1612). After Giovanni Battista Fontana. 'Armamentarium Heroicum'. A set of eight hand coloured portrait engravings each depicting a knight within an ornate architectural alcove with a blank title cartouche below. Published c1603. The portraits include Frederick II, King of Denmark and Norway; Louis II, King of Hungary and Bohemia; Giovanni Maria Fregosa and Ferdinandus Consaluus of Cordoba. Each sheet 48.5 x 33.5cm. Framed and glazed (8)

Feininger, Lore -- Portrait of an unidentified dancer. Late1920s. Vintage gelatin silver print. 17 x 12.5 cm. Photographer's stamp and annotated in pencil on the verso. The German portrait and architectural photographer Lore Feininger was the first daughter of the German-American painter Lyonel Feininger. In 1918, Lore Feininger began studying painting at the University for Fine Arts in Berlin. She then apprenticed with the portrait photographer Suse Byk, a family friend in Berlin. After three years of training, she worked in the studio of the fashion and portrait photographer Karl Schenker until 1924. In 1927, she opened her own photo studio for portrait, architectural, and object photography. During this time, she made numerous portrait photographs of artists. Lore Feininger was bombed out twice in Berlin, and her photo lab and negative archive were completely destroyed in 1943. Photographs by Lore Feininger are in the collection of numerous museums, including the Museum Folkwang and the Museum of Modern Art. – Small loss of emulsion in right edge, otherwise a fine tonal print in very good condition.

Kessels, Willy -- Microphone. 1932. Vintage gelatin silver print. 24,8 x 16,8 cm. Photographer's blindstamp in lower right; photographer's stamp and annotated in pencil on the verso. Hinge-mounted in mat.Willy Kessels attended the Ecole des Beaux Arts in Gent and then moved to Brussels, where he worked as a sculptor and architectural draftsman in the 1920s. He began his photographic career in 1929, seeing photography as a modern means of representation. Kessels was very active during the 1920s-1930s, and his photo montages, aerial views, angles and use of light illustrate the modern movement of Belgian photography at the time. His attractive nudes also are a large part of his oeuvre. – A rich beautiful print in near excellent condition.

Schmölz, Hugo -- Architectural views of Düsseldorf and surroundings. 1920s. 9 vintage gelatin silver prints on strong chamois paper. Each circa 22 x 18 cm or reverse. Most with photographer's Hugo Schmölz, U. Sachsenhausen 33, Köln 1925 or H. Schmölz, Köln, Photograph, D.W.B., Unter Sachsenhausen 33 stamp as well as architect's stamp and annotated in ink on the verso.Some oxidation mirroring in edges, a few with creases in corners, three photos with some chemical discoloration, one with retouching for publication, otherwise in very good condition.

Shulman, Julius -- Department of Water & Power, Los Angeles, California. 1965. 2 vintage gelatin silver prints, 1 on RC paper. 27,7 x 21,7 cm and 20,2 x 25,3 cm. Each with photographer's stamp, 1 with credit label on the verso. Julius Shulman's impressive photographs of California architecture are more than just documents of the buildings they depict. They were blueprints for living at the time they were taken and his photos were published in lifestyle magazines such as House and Garden, Good Housekeeping and Life, as well as in the professional press. They reflect the relaxed and cool Californian way of life and remain icons of design and style today.One view shows the Water and Power Office Building standing tall on Bunker Hill, the other is an interior of the building. – First print with a few handling marks, otherwise in very good condition.Lit.: Robert Elwall. Building with Light. The International History of Architectural Photography, London 2004.

An arched topped peach and clear glass architectural design wall mirror, 77cm high, 51cm wide; another Art Deco; a circular convex wall mirror. (3)

A good 19th Century French bonbonniere of elaborate rectangular form, the glazed lid with a display of cut paper flowers within floral pressed gilt foil borders, the front and back with coloured architectural prints, the ends with inset mirrors, all raised on an angled mould covered in pressed gilt foil borders of fruiting vines and raised on bun feet, the base with circular printed label 'A La Ville De Grenoble - Bacquoy, Confiseur - Distillateur - Choclatier - Rue due Bac No 17, Fg S-Germain, A Paris', the lid interior with inset mirror over green paper lining, 12 x 7 x 7.5cms.                                                                                                From the collection of Enid Riley Part 1

Pliny (the Elder). The Historie of the World. Commonly called, The Naturall Historie of C. Plinius Secundus. Translated into English by Philemon Holland, Doctor in Physicke, 2 volumes in one, 1st English edition, 2nd issue, London: Impensis G.B. [Tome II: printed by Adam Islip], 1601, general title within elaborate woodcut architectural border and with early ownership signature of John Booker (old worm trails & holes to margins, leaf trimmed at foot and lined to verso), woodcut device to title of second volume, woodcut initials and headpieces, without errata leaf and initial & final blanks (as often), first and last few leaves repaired (the two final index leaves slightly defective, the last crudely lined to verso & repaired), some occasional marginal worming (no loss of text), occasional damp stains mostly at front and rear, endpapers renewed, contemporary panelled calf, rebaked preserving earlier maroon morocco title label, board corners & fore-edges repaired, worn to board edges at head & foot, folio (32.3 x 20.5 cm)Qty: (1)NOTESESTC S94749; STC 20029.5; Pforzheimer 496 - 'this vast labour was the second of Holland's'. This is the second issue (possibly produced a few years later), with the imprint of G[eorge] B[ishop] on the title to volume 1, and is more uncommon than the Islip title. The early ownership signature of John Booker could possibly be that of John Booker (1606-1667) the almanac maker and astrologer.

Storer (James). History and Antiquities of the Cathedral Churches of Great Britain, 4 volumes, 1st edition, London: Rivingtons [et al], 1814-1819, additional engraved title to each volume, 275 engraved plates & plans (correct as list), volume 2 extra-illustrated with a single plate from The Building World 1879 (tipped-in), some spotting, mostly affecting blank margins, letterpress generally toned, contemporary mottled calf gilt, rubbed with some wear to extremities, several spine labels deficient, some cracking to 5 joints, volume 3 front cover & volume 4 rear cover with some surface loss, 8vo, together with: Winkles (H. & B.), Winkles's Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, 3 volumes, new edition with the addition of the Manchester cathedral, London: W. Kent & Co. (late D. Bogue), 1860, additional engraved titles (that to volume 1 spotted), 184 engraved plates and plans (correct as list), scarce spotting, each volume with minor dampstain to upper outer blank corners towards rear (final plate in volume 1 with blank fore-margin affected), bookplates, front hinges cracking, top edges gilt, contemporary maroon half morocco gilt, rubbed with some wear, spines sunned, 4to, and another edition of the same work, 2 volumes only (of 3), London: Tilt and Bogue, c.1845, plus one other similar: French Cathedrals, by B. Winkles ..., London: Charles Tilt, 1837Qty: (10)

Fry (Joseph Storrs). An Essay on the Construction of Wheel-Carriages, as they affect both the Roads and the Horses; with Suggestions relating to the principles on which Tolls ought to be imposed, and a few remarks on the Formation of Roads, London: J. and A. Arch, Baldwin and Co., and Harding, and T. J. Manchee Bristol, 1820, dedication within wood-engraved rural 'wreath', few illustrations to text, scattered spotting and some browning (initial 7 leaves with damp stain), 20th century boards, 8vo, together with: Telford (Thomas), Rules for making and repairing roads, as laid down by the late Thomas Telford, ... Extracted with additions, from a Treatise on the Principles and Practice of Levelling, by F.W. Simms, [London] : John Weale, Architectural Library, 59, High Holborn , [1837?], two folding engraved plates (spotted), 32pp. publisher's catalogue at rear, blind stamp to title and coloured pencil number, modern cloth-backed marbled boards, 8voQty: (2)NOTESKress, C530; cf. Goldsmith, 22936 (first issue with Bristol imprint). Fry was from the well-known family of Bristol carriage-builders and supplied useful detail on the construction of carriages, load-bearing, and weight versus load. There are chapters on stage coaches, and the suspension of carriages.

A BRASS CASED MANTEL CLOCK by Vincenti et Cie, early 20th century, the twin barrel movement striking the half hour on a gong, 3 3/4" gilded dial with Arabic numerals and pierced foliate fascia, the lacquered architectural case with pediment on square pilasters, the sides embossed with flower filled urn, on bracket feet, 8 1/4" wide (Est. plus 21% premium inc. VAT)Some tarnishing to brass of case, movement very good and in working order

Irish Cottages, Maura Shaffrey/Walter Pfeiffer, Weidenfeld & Nicolson, 1990, First Edition, in D/J, very good condition. “Walter Pfeiffer’s photographs capture all the variety and beauty of Irish cottages and their surroundings, while Maura’s text provides a fascinating analysis of this peculiarly evocative architectural idiom.” Heritage of Ireland, Brian de Breffny, Weidenfeld & Nicolson, 1980, First Edition, in D/J, very good condition. Richly illustrated with over 100 photographs in colour and black and white. Father Browne’s Images of Tipperary, E E O’Donnell, Wolfhound Press, 2001, First Edition, in D/J, as new condition. “This volume reflects the photographer’s broad-ranging interests in the people and landscapes he encountered on his many visits to county Tipperary.”

Researches In South Of Ireland, Illustrative Of Scenery, Architectural Remains, and Manners and Superstitions of Peasantry. Narrative Of The Rebellion Of 1798 by Thomas Crofton Croker. 1824. Modern cloth. one plate. 80-160

Tipperary. Siege of Clonmel 1650-1950 Tercentenary Souvenir Record editors O’Connell, Darmody. Bound in cloth; The Heritage of Holy Cross by Geraldine Carville. 1973 in dj. and Clonmel. An Architectural Guide by Shee and Watson. 1975. 3 books

Maurice Craig architectural historian. Collection of approximately 125 postcards addressed to Craig in London and later Dublin from correspondents, 1950-1980 period, much featuring and concerning architectural features and history.

Lichfield. Collection of architectural and topographical prints of Lichfield Cathedral, comprising: seven etchings by Charles Wild, 1813 (four being hand-coloured aquatints, three of which are depicting the cathedral's interior), each sheet measuring 42cm by 33cm; a large uncoloured lithograph by Day & Son, c.1855, 62cm by 43cm; three wood engravings (duplicates) from Illustrated London News, 1880, 54.5cm by 39.5cm, and two steel engravings (duplicates) by S. Nevill, 1832, 22cm by 27cm (13)

Birmingham. Collection of architectural/topographical prints and maps/plans of Birmingham, comprising: lithographic town plan by Cassell, c.1867, 42.5cm by 44.5cm; hand-coloured lithographic plan by Bacon, c1880, 32.5cm by 49.5cm; colour lithographic plan by Bartholomew, c.1885, 34cm by 44.5cm; engraved plan by Henshall, c.1839, 33.5cm by 40.5cm; balloon view, hand-coloured wood engraving, c.1858, 35.5cm by 52.5cm; wood engraving of law courts, c.1887, 34cm by 50cm; wood engraving of Birmingham Onion Fair, 33.5cm by 51.5cm (7)

Records of Buckinghamshire, by the Architectural and Archaeological Society for the County of Buckingham, Vol.VIII to Vol.XXXII in 15 volumes, but lacking Vol.X, 1903-1987, together with an Index for I-X, uniformly bound in half crushed morocco with marbled boards (16)

Vulliamy, Lewis (Illus.); R. Phene Spiers. Examples of Classic Ornament from Greece & Rome, A Series of Twenty Plates with Descriptive Notes, London: B. T. Batsford, 1907. Folio, publisher's quarter-cloth with paper boards, complete with 20 engraved plates. The plates are very good, clean, bright; title and text pages with some pale spotting; endpapers with light foxing; binding tight and square, slight bumping to corners/spine, some light wear to paper on lower board. Very scarce. Together with English Renaissance Woodwork 1660-1730, by Thomas J. Beveridge, London: Batsford, 1921, folio, quarter-cloth, good, clean, bright, some discolouration and light wear to paper boards, and Some Architectural Works of Inigo Jones, by H. Inigo Triggs & Henry Tanner Junior, London: Batsford, 1901, folio, gilt cloth, contents loose with all faults (3)

Architectural Interest. A Chart of The Arts in England from 1660 to 1800, London: Lenygon & Co. Ltd., folio, card covers, chart complete, covers discoloured/worn; L'Architecture et la Decoration Francaises, Premiere Serie, Paris: Librairie Centrale d'Art et d'Architecture, n.d., folio, half crushed morocco lettered in gilt, illustrated with 80 plates, good, clean, bright, some wear to binding; Intime Club, Croquis d'Architecture, Paris: Ducher & Co., 1870s, loose plates in three folio folders; an album of miscellaneous plates from The Builders' Journal and Architectural Record, Building News, The Builder, and similar, 1902-09, in oblong folio buckram lettered 'Details' in gilt, with all faults (6)

Architectural Interest. Miscellaneous plates from The Practical Exemplar of Architecture and Survey of London, uniformly bound in tan buckram with morocco title labels lettered in gilt, quarto and small quarto, each volume with a typewritten index (the plates having been compiled by subject - Doors & Doorways, Windows, Porches, and so on). Well-preserved, clean, bright (10)

Architectural Interest. Collection of 19th- & 20th-century books, various subjects, to include The Italian Orders of Architecture, by Charles Gourlay, London: Edward Arnold, 1917, small folio, cloth; An Architect's Note-Book in Spain, by M. Digby Wyatt, London: Autotype Fine Art Company, 1872, small quarto, gilt cloth, contents loose; The Mansions of England in the Olden Time, by Joseph Nash, London: The Studio, 1906, quarto, gilt cloth; A History of Renaissance Architecture in England 1500-1800, by Reginald Blomfield, in two volumes, London: George Bell and Sons, 1897, quarto, quarter-cloth lettered in gilt, armorial bookplate for Charles Horace Stenning on front pastedown, and others, condition varied, as found with all faults, in two cartons (2)

Architectural Interest. Collection of books, comprising: four Batsford publications by Tunstall Small & Christopher Woodbridge (English Wrought Ironwork; Mouldings of the Tudor Period; Mouldings of the Wren and Georgian Periods; Architectural Turned Woodwork); Details of Elizabethan Architecture, by Henry Shaw, London: William Pickering, 1839; Designs of Buildings and Ornaments, by James Gibbs, being A Collection of the Best Plates from this Work, Washington D.C.: The Reprint Co., 1909; three volumes of miscellaneous plates from Vignole; one volume of miscellaneous plates depicting masonry construction and design, and one volume of assorted lithographic monograms. Quarto, uniformly bound in tan buckram lettered in gilt. Together with two bound extracts from The Architectural Review, 1924, and The Architects' & Builders' Journal, 1911, quarter cloth (13)

A GEORGE III MAHOGANY LONGCASE CLOCK, BARKER, WIGAN CIRCA 1770The arched 14in. dial with moon phase automaton, in a rusticated architectural case of Gillows type261cm highProvenance: Supplied by Robert Kime Catalogue Note: William Barker was a well-known maker working in Wigan, Lancashire, with a whole chapter devoted to him in The Clockmakers and Watchmakers of Wigan by Arthur J. Hawkes published in 1950. A member of the Barker family of clockmakers, William was believed to have come to Wigan with his father Thomas in circa 1737 and established himself as a clockmaker and gunsmith.Condition Report: The movement appears original to the dial and looks fundamentally original but neglectedWith weights, pendulum and key. Key escutcheon of the door is missing, Some of the blocks that hold the back of the case together are missingOne section of the entablature of the right hand column of the hood. A spilt to the pediment above the hood doorSome historic wood worm to the carcass. General knocks and marks The top edges of the cheek uprights of the case have applied horizontal timber 'capping' pieces; this detail coupled with the seatboard perhaps being an older replacement would cause some to suspect that the movement and dial are not original to the case however both sit very well together.   Condition Report Disclaimer

A late-19th century black slate and marble striking mantel clock of architectural form, the black dial with gilt Roman numerals and etched N J Uglow, Paris, 34.5cm high, 32.5cm wide.

An Edwardian American Black Slate Mantle Clock of Architectural Form, Ansonia Clock Company, 8 Day Movement in Working Order, 35cm Wide

A FAMILLE VERTE ENAMELED PORCELAIN 'KANGXI REVIVAL' DISH, QING DYNASTYChina, Qing dynasty (1644-1912), 19th century. Painted in bright enamels to the interior with a central roundel enclosing a ribboned seashell and encircles by stiff leaves, surrounded by four medallions with alternating depictions of a garden with flowers and lingbi stone and seashells amid crashing waves, further decorated with seashells and architectural designs, all below a band of flowers against a diapered ground, the exterior with evenly spaced flowers on leafy vines, the recessed base with an apocryphal Kangxi-style mark within a double circle.Condition: A segment of the rim has been reattached with hairlines visible, minor fritting to rim, some wear to enamels, firing flaws.Provenance: From an old family collection in Pressburg, Austrian Empire, Slovakia, and thence by descent to the present owner.Weight: 581 gDimensions: Diameter 27.5 cm

A vintage 20th century mantel clock of architectural form having a pediment top with six green Corinthian columns raised on a plinth base. The clock having a white face roman numerals to the chapter ring 

An antique Victorian circa 1900 slate 8 day mantel clock of architectural form having a brass and white enamel clock face with roman numerals to the chapter ring raised on a plinth base. Measures 30cm high.

FRAMED ARCHITECTURAL PRINT "PLAN D'UN CORPS DE GARDE PROJETTE SUR LA PLACE LOUIS XVI", WIDTH APPROX 89CM

FRAMED FRENCH ARCHITECTURAL ILLUSTRATION, "THE MUSEUM D'HISTOIRE NATURELLE" DATED 1855, FRAME SIZE APPROX 77CM

Raffles, Sir Thomas Stamford – Antiquarian, Architectural and Landscape Illustrations of the History of Java,engraved folded map and 92 plates (incl. 10 hand-coloured aquatints of costume); later 19th century gilt-ruled and lettered cloth, folio, Henry G. Bohn

A collection of architectural Staffordshire pottery groups, tallest 22cm

ARCHITECTURAL GARDEN BUDDHAS, a pair, faux stone, 60cm H. (2)

ARCHITECTURAL ACCENT WALL MIRRORS, a pair, gilt frames, 147cm x 14cm.

ARCHITECTURAL GARDEN MIRRORS, a set of three, arched tops, aged metal frames, 160cm x 67cm. (3)

ARCHITECTURAL GARDEN WALL MIRROR, gated design, 180cm x 75cm. (2)

ARCHITECTURAL GARDEN ARMILLARY SPHERES, a set of four, on stakes, coppered finish, 115cm H. (4)

ARCHITECTURAL GARDEN WALL MIRRORS, a set of three, black painted Spanish style, 90cm x 63cm. (3)

ARCHITECTURAL GARDEN MIRRORS, a set of three, Gothic style, aged metal frames, 112cm x 56cm. (3)

ARCHITECTURAL JARDINIERE STAND, faux aged stone with foliate details.

ARCHITECTURAL GARDEN MIRRORS, a pair, gated design, 180cm x 75cm.

With three pillars under as is shade, electrified. Oscar Bruno Bach (German/American, 1884-1957) German born craftsman Oscar Bruno Bach was one of the most technically skilled and commercially successful figures in the field of decorative metalwork during the first half of the 20th century. His design and production ranged from small utilitarian designs for the home to grand-scale architectural elements. His style was as diverse as his use of metals and included Arts & Crafts, Gothic and Tudor Revival, Spanish Baroque, French Directoire, English Chippendale, and American Art Deco. Thematically he was particularly fond of the zodiac, of lush scrolling grapevines, classical masks, mythological symbols and elements of the Italianate and Germanic grotesque. Oscar Bach's work can be found in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House. During his lifetime, Bach was interviewed and featured in numerous magazine articles and trade publications, and was most notably celebrated by renowned art critic and author, Matlack Price, in a publication entitled, "Design & Craftsmanship in Metals: The Creative Art of Oscar Bach." Metal artisan and innovator Oscar Bruno Bach died on May 4th, 1957 at the age of 72. Size: 10 1/2 x 9 1/2 x 33 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Architectural church building, oil on board, signed in the lower right by "Efrain Romero" a Spanish artist. Information verso. Overall size: 35 x 29 1/2 in. Sight size: 28 1/2 x 23 in. Please note that all sales are final. No refunds will be given under any circumstances.

A dark blue ground Old Beluchi rug, decorated with architectural designs, 134 by 82cm.

A Victorian slate mantle clock, late 19th century, of architectural temple form, with black and brass dial, engraved and gilt with flowers, with orange marble column supports, on stepped plinth, 32.5 cm high x 46 cvm wide

Architectural & Salvage Interest, Antique Wrought Iron Scrolled Gate, 210cm high, 106cm wide, With original Iron frame, Overall 280cm high, 123cm wide

Architectural & Salvage Interest, Antique Wrought Iron Gate, Decorated with a shield shaped cartouche to the top above allover leafs and vines, 193cm high, 120cm wide

Architectural & Salvage Interest, Antique Wrought Iron Scrolled Gate, 182cm high, 134cm wide

Three Brass-Mounted Velvet Purses, two cartouche shaped and with tassels, one stitched with foliage the other with a bone panel applied with a central portrait flanked by two circular architectural views, the third in the form of a suitcase (3) . Purse one: stained and loose internal elements, worn to the external, scuffs and scratches to the ivory mounts. Purse two: The clasp in working order, but the two halves of the purse are slightly askew as do not meet, the internal silk work is lightly stained, the outer velvet work is worn. Purse three: Inside appears in reasonable condition, generally good condition throughout

Three interesting vintage architectural books including 'Everyman His Own Cattle Doctor' by George Armitage, 1882, a/f, Board of Agriculture and Fisheries Leaflets 101 - 200 dated 1921 and 'The Beekeepers Manual of Practical Hints' and the management and complete preservation of the Honeybee' by Taylor dated 1850.

A large quantity of cigarette and trade cards including cinema personalities, topographical, architectural, sporting personalities and other related cards.

THE ARCHITECTURAL WORK OF GRAHAM ANDERSON, PROBST & WHITE, CHICAGO AND PREDECESSORS: D. H. BURNHAM & CO AND GRAHAM BURNHAM & CO.', one Vol. only no title pages, publishing details or binder's label, contains 186 photogravure plates of the firm's works, first plate is "Field Museum of Natural History, Chicago 1911-1919" and the last "Pittsfield Building, Chicago 1927"¦Condition Report:Leather on spine is worn, wear and light scratching on board surfaces, inside very good¦

LATE VICTORIAN WALNUT MIRROR BACK SIDEBOARD, label for P E Gane, Cardiff, architectural top on Corinthian column supports, carved cupboard doors, four drawers, bun feet. 182 x 84 x 210cms Condition Report: top with cigarette burn front right, other minor water stains, scuff and scratches.

A pair of 19th century brass table lamps, of architectural form, with a fluted column, with mask decoration58cm highCondition report: Both appear to be solid and usable. Each has a thread on the top, but no fitting to go onto it. They have a hole to run a wire, but are currently not wired. No obvious damage or repairs, but they are tarnished and dirty.

A Victorian black slate and marble mantel clock, of architectural form36cm high

DAVID ROBERTS R.A. (BRITISH 1796-1864) ST ANDREWS CATHEDRAL - THE EAST END WALL Oil on panel(41cm x 30.5cm (16in x 12in))Provenance: Probably the artist's sale; Christie's London, 16 May 1865. lot124 as 'Ruins of part of St Andrews Cathedral' to James Nasmyth His sale; Christie's London, 25 July 1894, lot77 as 'Elgin Cathedral' to Leggatt's Presumably with Leggatt's where possibly purchased by Gilbert Leigh Marks, London and thence by family descent Note: Although Roberts left Scotland for London in 1823, he would often return to visit and record sites of architectural interest, a number of which he later intended to reproduce in etching as 'The monastic antiquities of Scotland'. During an early visit to St Andrews in 1829, he painted around six works of different views, the majority of which relate, though not exclusively to the cathedral and its grounds. Roberts shows here that he absorbed from the very beginning of his career, a scholarly interest in antiquities that he retained all his life. The composition is imbued with a wonderfully moody atmosphere as the decaying maginificence of the towering ruins of the east gable are contrasted against the menacing prescence of a leaden sky. Interestingly, a watercolour of this same composition dated 1828 is recorded in a private collection. The work also corresponds to a thumbnail sketch from Robert's 'Record Books' numbered 50 under the year 1831 that was purchased by the Duke of Bedford at the Sopciety of British Artists in 1831, no. 137 (RB50) as 'Ruins of the Cathedral of St Rule, St Andrews' but this version is more probably one of two other oils of St Andrews Cathedral that were among the pictures in Robert's studio when he died and included in his posthumous studio sale at Christie's London in 1865 We are grateful to Krystyna Matyjaszkiewicz for confirming the authenticity from photograps and for her assistance in preparing this catalogue entry Literature: Robert's Record Book, vol. 1, folio 53r, no.50, Yale Center for British Art, New Haven, Conneticut

ANCELL STRONACH (SCOTTISH 1901-1981) WHERE SINKS THE VOICE OF MUSIC INTO SILENCE Signed and dated 1924, oil on canvas(127cm x 102cm (50in x 40in))Provenance: Purchased by John W.D. Thomson in 1980. Exhibited: The Royal Glasgow Institute of Fine Arts, 1924; ‘Ten Years of The Fine Art Society in Glasgow’ exhibition, 1989.Footnote: Note: Ancell Stronach is generally an unfamiliar name, even to Scottish Art enthusiasts, but in his day he was a significant figure in the Scottish art scene. Born in Dundee, he trained at the Glasgow School of Art, winning many awards and a travelling scholarship during his studentship. Following his studies, he worked professionally as an artist; designing stained glass, painting murals, decorating churches and establishing a reputation as a portrait artist. Alongside his own painting, he also taught, rising to the position of Professor of Mural Painting at Glasgow School of Art. He was elected a member of the R.S.A. in 1934, and exhibited internationally; at the R.S.A., R.A., Paris Salon and in exhibitions in Canada, New Zealand and America. All the markers of a significant and accomplished career. ‘Where Sinks the Voice of Music Into Silence’ is bold and decorative, with the vibrant colour and ecclesiastical details that were the signature of his painting at this time. Stronach pulls detail, poetry and inspiration together masterfully in this work, with areas of rich, flat colour interspersed with delicate patterning and design. A strikingly decorative piece on first glance, close attention reveals generously considered details in aspects as diverse as the tendrils of the male figures beard, the curling waves at the bottom corner and the snow-topped hills in the distance. The composition is accomplished: the delicately delineated angelic wings are centred in the canvas, with the figures placed in a ‘V’ around them, maintaining balance and visual interest as every inch of canvas is utilised. The result is a richly rewarding viewing experience. Stronach’s poetic title does little to reveal the meaning or moment that this work depicts but it assists in evoking the atmosphere that the painting itself conveys. The feeling is symbolic and meaningful with a sense of mysticism, creativity and spirituality. Artistically, Stronach was inspired by early Italian fresco painters and the Pre-Raphaelites, though his commitment to mural painting and stained glass design also shines through in this significant work. His chosen style and subject reflects the wider Celtic Revival movement prevalent in Scotland’s arts scene at this time and visible in the work of other artists such as John Duncan and Phoebe Anna Traquair. The Celtic Revival and the Pre-Raphaelites were concerned with looking to a distant past for inspiration and Stronach strives for that here. The ensuing melding of historic and modern lends the painting an essential timelessness in its beauty. At the outbreak of war in 1939, Stronach felt his opportunities as an artist were greatly reduced by the extenuating circumstances and took the opportunity to change direction, pursuing a long-standing interest in animals and the circus. He married a professional acrobat and they toured together with his show, entitled ‘Ancell and his 40 Painted Pigeons.’ He did not engage with the art world over the course of the rest of his life though it is believed he continued to paint for personal pleasure. It is for this reason that his name remains relatively unknown and the appearance of his works on the market so rare; ultimately his professional painting career only lasted for a very limited period, despite his talent and success. ‘Where Sinks the Voice of Music into Silence’ was first exhibited at The Royal Glasgow Institute of Fine Arts in 1924. More recently it was purchased by the current vendor’s late husband at the Fine Art Society in 1980. The vendor remembers the dramatic moment of seeing this work for the first time, and the immediate decision to purchase. In the forty years since, it has hung in just two locations, his architectural practice in the West End of Glasgow and their home in Stirlingshire. A rare opportunity now presents itself for this richly dramatic and decorative work to find a new home.

An architectural double-sided desk top pocket watch stand, as a pair of columns, rectangular marble base, 17cm high