We found 35023 price guide item(s) matching your search

A Vienna style wall clock with architectural case, pendulum, key

19th Century blue and white architectural pottery, to include a Spode plate from the Carmanian series, another with a lion chasing children near buildings, Towers with figures leading a camel and a Chinese style scene, 25cm diameter (4)

Four Victorian architectural paintings, with description on the reverse stating Stanwell Hall, Middlesex 1870, Lodge at Buntingsdale near Little Drayton 1870, Cottage, Woodbridge, Suffolk 1870 and Little Drayton Church, Shropshire 1871 unsigned watercolour including frames 36.5cm x 30cm (4)

SIX 20TH CENTURY PENCIL SIGNED ETCHINGS OF CONTINENTAL ARCHITECTURAL SCENES AND A FURTHER LANDSCAPE PICTURE (7)

A Chinese famile verte baluster vase decorated with figures in a architectural setting, 44cm (h)

LATE 19TH CENTURY ALABASTER AND CHAMPLEVE ENAMEL MANTEL CLOCK, with two train eight day movement, the silvered chapter ring with Arabic numerals, the architectural case with champleve enamel Corinthian columns and frieze, on a block base, 33.5cm high

VICTORIAN BLACK SLATE AND GRANITE MANTEL CLOCK, with two train eight day movement, visible escapement, the white enamel dial with Roman numerals, the architectural case inlaid with granite and engraved with scrolls and foliage, 49.5cm high

EARLY 20TH CENTURY OAK REPEATER MANTEL CLOCK, two train movement, silvered dial with Roman numerals, the oak architectural case with barley twists pillars, with repeater button to side, 24cm high

A Victorian black slate mantel clock, with marble inlay to the architectural case, the movement stamped Ansonia Clock Co New York, height 12ins

A late 19th Century Gothic Revival oak stick barometer, the architectural pediment above twin dry and wet registers, unnamed, height 109cm and width 17cm.

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Petite place dans le quartier de Keramikos, Athènes signé 'K. GHIKA' (en bas à droite)huile sur toile81 x 100cm (31 7/8 x 39 3/8in).Peint en 1928signed (lower right) oil on canvasFootnotes:ProvenanceG. Pikoulis collection, Athens.I. Nikolaidis collection, Athens.N. Petsalis-Diomidis collection, Athens.Private collection, Athens.ExposéAthens, To Trito Mati gallery, May 1977.LittératureTo Trito Mati magazine, no. 1, May 1977, no. 54 (illustrated).N. Petsalis-Diomidis, Ghika 1921-1940, Athens 1979, no. 58, p. 93 (mentioned), p. 95 (discussed), pp. 69, 132 (illustrated).J.P. de Rycke, N.P. Paissios, Ghika and the Avant-Garde in Interwar Europe, Benaki Museum - N.H. Ghika Gallery, Ephesos editions, Athens 2004, no. 29, pp. 54, 56 (discussed), p. 56 (illustrated).E. Mystakas, Nikos Hadjikyriakos-Ghika and Space in his Painting, doctoral dissertation, Athens, 2005, fig. 30, p. 309 (catalogued), p. 156 (discussed), p. 159 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, doctoral dissertation, Athens, 2006, pp. 72-73 (discussed), fig. 74 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum edition, Athens 2011, fig. 44, p. 54 (discussed), p. 55 (illustrated).'In the delectable The Square, Keramikos, a twilight view of an expanse of gentle topographical curves set within a group of neatly scattered dwellings, Ghika presents the simple, good-natured life of its inhabitants, occupied with their various activities, in a folk vein that harks back to the roots of the Greek artistic tradition. In its tonal sweetness and naiveté of touch, this work also recalls certain paintings by Henri Rousseau.'1 In this panoramic view of the quaint Athenian neighbourhood of Keramikos, the cluster of buildings dominating the centre of the painting, reminiscent of Galanis's or Braque's cube-like structures or even Quattrocento and Byzantine town depictions, is one of the artist's most characteristic iconographical elements from that period. As noted by Professor C. Christou, 'in the 1927-1929 period one of the issues taken up in Ghika's paintings seems to be the organisation of space as indicated by his predilection for architectural themes always treated with a disciplined design, interwoven planes and almost classicist purity of colour.'2 Of particular interest is also the woman leaning out of the window on the left flanked by open shutters, a subject the artist worked on in independent compositions in 1927, and the two figures on the right sitting around the ubiquitous round metal table of the traditional Greek coffee shop, a cornerstone of Athenian urban culture, whose enchanting allure was captured in works by S. Vassiliou, Y. Moralis, N. Ghika and other exponents of the thirties generation. 1 J.P. de Rycke, N.P. Paissios, Ghika and the Avant-Garde in Interwar Europe, Benaki Museum - N.H. Ghika Gallery, Ephesos editions, Athens 2004, p. 54. 2 C. Christou, 'Nikolis Hadjikyriakos-Ghika' [in Greek] in In Memory of N. Hadjikyriakos-Ghika, exhibition catalogue, Academy of Athens, Athens 1995, p. 12.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

NO RESERVE Photography.- Beaton (Cecil) Near East, first edition, 1943 § Korda (T., editor) Photography Year Book, vol.1, original cloth-backed pictorial boards, rubbed and soiled, 1935 § Brandt (Bill) Nudes 1945-1980, 1982 § Duncan (David Douglas) The Silent Studio, [c.1973] § Rosa (J.) A Constructed View: The Architectural Photography of Julius Shulman, New York, 1994 § Elwall (R.) Building with Light: The International History of Architectural Photography, 2004 § Morgan-Griffiths (L.) Ansel Adams: Landscapes of the American West, 2008, illustrations, all but the second original cloth or boards with dust-jackets, some a little rubbed, the first slightly frayed at edges; and c.95 others on photography, v.s. (c.100)

Architecture.- Pozzo (Andrea) Perspectiva Pictorum et Architectorum; Rules and Examples of Perspective Proper for Painters and Architects, first English edition, engraved architectural frontispiece, vignette titles in Latin and English, 101 plates, partly engraved dedication, list of subscribers and full-page illustration of drawing materials to verso of approbation leaf, numerous engraved pictorial initials, text in Latin and English, occasional tears and marginal loss, most neatly restored, occasional marginal damp-staining, spotting and browning, bookplate of William George Bligh, later half calf, rubbed and worn, covers detached, loss to spine extremities, folio, Benj. Motte for John Sturt, 1707.

NO RESERVE Eastern Art & Architecture.- Ball (Katherine M.) Decorative Motives of Oriental Art, London & New York, 1927 § Clark (T.) & others. The Dawn of the Floating World 1650-1765: Early Ukiyo-e Treasures from the Museum of Fine Arts, Boston, 2002 § Zwerger (K.) Wood and Wood Joints: Building Traditions of Europe and Japan, Basel, 1997 § Gretchen (M.) Pastel Portraits: Singapore's Architectural Heritage, Singapore, 1985, illustrations, some colour, original cloth or boards, the first rubbed and stained, the rest with dust-jackets; and c.15 others on Eastern art & architecture, 4to & 8vo (c.20)

NO RESERVE Ornament and Architecture.- Zamperini (Alessandra) Ornament and the Grotesque: Fantastical Decoration from Antiquity to Art Nouveau, 2008 § Bristow (Ian C.) Architectural Colour in British Interiors 1615-1840, New Haven & London, 1996; Interior House-Painting Colours and Technology 1615-1840, New Haven & London, 1996 § Cliff (Stafford) The English Archive of Design and Decoration, 1998 § Harris (John) Sir William Chambers: Knight of the Polar Star, University Park, Pa. & London, 1970 § Harris (J.) & Michael Snodin. Sir William Chambers: Architect to George III, New Haven & London, 1996 § Lees-Milne (James) English Country Houses: Baroque 1685-1715, reprint, Woodbridge, 1986 § Jones (S.) & others. Frederic, Lord Leighton: Eminent Victorian Artist, 1996, illustrations, some colour, original cloth or boards with dust-jackets, the last three spines a little faded; and c.15 others on interior design, architecture, art etc., some pamphlets, 4to & 8vo (c.20)

NO RESERVE Italian Art & Architecture.- Anderson (William J.) Architectural Studies in Italy, one of 150 copies, with A.L.s. from the author tipped in, original buckram ruled in gilt, a little rubbed, Glasgow, [c.1890] § d'Onofrio (C.) Le Fontane di Roma, Rome, 1957 § Wittkower (R.) Gian Lorenzo Bernini: The Sculptor of the Roman Baroque, 1955 § Goldscheider (L.) Michelangelo Drawings, 1951 § Letarouilly (Paul) Édifices de Rome Moderne..., 3 vol. in 1, facsimile reprint, 1982 § Martineau (J.) Andrea Mantegna, original wrappers, 1992, plates and illustrations, some colour, all but the last original cloth or boards, most with dust-jackets; and c.75 others on Italian art and architecture, v.s. (c.80)

GROVE L. R. A., of Bolling Hall, Bradford.  East Anglian Notes. Architectural artist's sketch book of East Anglia, c.1940's with 130pp of illustrated notes, map index, etc., much of architectural & antiquarian interest.

J. Beattie Scott (c. 1865-1937) children outside a shop with two other architectural etchings by different hands, two signed in pencil, the first 8.5" x 6.25", the others 10" x 6.5" and 12.25" x 8", (3).

Postcards & Ephemera - Local Interest , Topographical, Architectural, Sporting etc inc Belper Mill & landing stage, old Crich Stand, Solomon's Temple Buxton, Codnor Park cricket team 1913 , Wingfield Manor, Pinxton Colliery No3 Rescue Team, Haddon Hall, Matlock Bath etc other Nottinghamshire, Lincolnshire etc (approx 100)

◆ JOHN WILLIAM GODWARD (BRITISH 1861-1922) POPPIES Signed and dated '98, oil on canvas(76cm x 61cm (30in x 24in))Footnote: Provenance: The Late Dr Helen E C Cargill Thompson Note: The model is Miss Ethel Warwick who was sixteen when she posed for this picture We are grateful to Dr Vern G Swanson for his assistance in cataloguing this entry. It is no.7 in his catalogue raisonne which he has updated. The details of Godward’s personal life are relatively vague. His choice to pursue a career as a painter went against his family wishes and this disapproval was compounded when he left England for Italy with one of his models. It is believed that at this point he became estranged from his relations to such an extent that they removed his likeness from family pictures. He remained in Italy for almost a decade, only returning home in 1921. In 1922 he died by suicide, with notes left by him indicating that he was struggling with his place in an artistic world that was now largely interested in the modern and contemporary. The circumstances of his death were considered a source of great shame to his family and so they destroyed much of his archive and papers; it is believed there remains only one photograph of the artist. There was drama and sadness in his personal life but this never spilled over into Godward’s painting. A loyal follower of Sir Lawrence Alma-Tadema and similarly inspired by classical civilization, particularly Ancient Rome, his works depict elegant women in classical dress, lounging against architectural features. His paintings are characterised by exquisite and meticulous detail. There had been a widespread taste for this style of painting and subject matter in-line with a wider cultural interest in classical study and so to be successful in this style of painting required a high level of accuracy and precision; Godward carefully researched architecture and dress to make sure every detail in his painting was right. He often exhibited at the Royal Academy and as the eminent scholar on Godward’s work, Dr Vern G. Swanson, indicates; he ‘quickly established a reputation for his paintings of young women in a classical setting and his ability to convey with sensitivity and technical mastery the feel of contrasting textures, flesh, marble, fur and fabrics.’ This is evident in the offered work, where Godward beautifully renders the cool, smooth marble framing the figure in marked contrast to the soft fabric folds of her gown while behind her a verdant expanse of overlapping lavender and red poppies unfold before further architectural columns and sculpture appear. The scene is a vision of sumptuousness and beauty, meticulous depicted by a talented hand. Godward’s approach has been referred to as that of a ‘High Victorian Dreamer.’ Technically, he can be considered a Victorian Neo-Classicist, though at times his strong colour and posed subject have seen him be grouped with the Pre-Raphaelites, despite a differing inspiration source. Within his lifetime, this approach fell out of fashion and though Godward remained committed to the art he loved, he did struggle to find his place as taste moved away from his work. Fortunately, his mastery of his craft and the enduring human interest in the beautiful and sumptuous means favour has returned to his work since his death. Fashions evolve but quality and harmony endure and this exquisite work is rich in both.

LOUIS XIV STYLE GILT BRONZE MANTLE CLOCK, BY SUSSE FRERES, PARIS 19TH CENTURY the circular signed white enamel dial with Roman and Arabic chapters and twin winding holes, in an architectural case with lion mask loop handles, acanthus, laurel trails and an urn finial, raised on paw feet on a shaped platform base; the eight day movement striking a bell and stamped 1482(55cm high, 35cm wide, 20cm deep)

A 19th century bird's eye maple toilet mirror with architectural cornice, turned supports and platform base, width 73cm, depth 29cm & height 89cm. Condition - good, general wear.

An architectural oak mantle clock, brass and silvered dial, movement striking on two gongs, height 41cm.

* Adams (Walter, 1842-1934 & Marcus, 1875-1959). A large archive of architectural photographs, mostly early 20th century, the majority church architecture and architectural details, gelatin silver prints and other photographic processes, mostly medium and large format sizes, many mounted and some in modern aperture mountsQty: (4 cartons)NOTESThe Adams family of photographers were based in Reading, and involved in photographing the architecture of churches and the Arts & Crafts movement.

* Early Photography. A group of 19 photographs, circa 1855-60, including early views and portraits (8 salt prints and 3 albumen prints), 20.5 x 15 cm and smaller, plus 8 mostly architectural albumen prints by Bedford & Frith, images 20.5 x 16 cm, original paper mounts with printed credits and titles beneath imagesQty: (19)

* Grand Tour. A collection of 20 photographs of sculptures and architectural design interest from the European Grand Tour, circa 1870s, albumen prints by Alinari and others, approx. 22 x 28 cm and similar sizes, individually framed and glazed in matching framesQty: (20)

* Paris Commune, 1871. A collection of 35 mounted albumen print photographs on rectos and versos of three large album leaves, featuring 28 mostly carte-de-visite size, portrait of the major pickers in France at the time of the commune including Rossel, Manteuffer, Olivier, Emperor Napoleon, McMahon, Bazaine, Favre, Trochu, Joinville, Chambord, Courbet, Grousset, Thiers, Rochefort, Gambetta, Blanc, Dombroski, et al, also a similar size photograph of the Vendome Column in ruins and six architectural photographs mostly showing damage, neatly pasted onto stiff card mounts with extensive manuscript captions in English, each leaf 39 x 30cmQty: (3)

* Spain. A group of 10 photographs of Spain, circa 1860-1880, mostly albumen prints including some by J. Laurent, the largest three of 'La isla de los Faisanes', Behobia, 'El Ayuntamiento', Seville, and an untitled brick viaduct, the first two captioned in lower negative on contemporary mounts, the third with Laurent's inkstamp to verso, 24 x 33 cm and similar, the two smallest architectural cabinet cards by LaurentQty: (10)

* Europe. A group of 13 photograph albums, mostly late 19th century, albumen prints and other processes, including topographical and architectural views, family scenes and genre subjects, etc., various bindings, generally worn, mostly folio and similar large-format sizes, plus 2 small-format albums of albumen print views of RomeQty: (15)

* Europe. A group of 25 photograph albums, late 19th and early 20th century, albumen prints and other processes, including topographical and architectural views, family scenes and genre subjects, etc., various bindings, mostly 4to/small folioQty: (25)

* Great Britain. A group of 13 photograph albums, mostly early 20th century, containing over 1000 photographs, various sizes and subjects including topographical and architectural views, family portraits and scenes, pasted in and window-mounted, various bindings, mostly folioQty: (13)

* Great Britain. A group of 20 photograph albums, mostly early 20th century, containing over 1000 photographs, various sizes and subjects including topographical and architectural views, family portraits and scenes, pasted in and window-mounted, various bindings, mostly 4toQty: (20)

A marble effect architectural column table lamp, 20th century, the simulated marble column extending to a gilt metal circular plinth base, embossed with leaf and berry detail, 60cm high excluding fitting Provenance: Ruyton Hall, Shropshire Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.

ARCHITECTURAL INTEREST: A miscellany of books on historic architecture and design, comprising: Harvey (J), THE ENGLISH CATHEDRALS, first edition, photographs by Herbert Felton, red cloth boards, unclipped DJ, B.T. Batsford Ltd, London 1950, Whiffen (M), STUART AND GEORGIAN CHURCHES OUTSIDE LONDON 1603 TO 1837, first edition, red cloth boards, unclipped DJ, B.T. Batsford Ltd, London 1947, Sitwell (S), BRITISH ARCHITECTS & CRAFTSMEN, red cloth boards, unclipped DJ, B.T. Batsford Ltd, London 1946, Jones (B), FOLLIES & GROTTOES, second edition, Constable, London 1974, Nicolson (N), GREAT HOUSES OF BRITAIN, Weidenfeld And Nicolson, London 1965, and Downes (K), ENGLISH BAROQUE ARCHITECTURE, A Zwemmer Ltd, London1966 (6)Provenance: Ruyton Hall, Shropshire

A pair of 19th century carved oak clam shell architectural spandrels, each of typical scalloped form, applied white text to the rear 'No.10 Starside, No.3 Alcove Saloon', the second spandrel with indistinct text, 53cm H x 79cm W

A pair of 19th century carved oak clam shell architectural spandrels, each of typical scalloped form, applied white text to the rear 'No.6 Starside, No.2 Alcove Saloon', the second with 'No.4 Starside, No.1 Alcove Saloon', 53cm H x 79cm W

A George III mahogany stick barometer by J Testi, the broken architectural pediment above an 18cm silvered dial signed with the makers name, the slender case extending to a domed cistern cover, 98cm high (at fault)Condition report; Extensive tarnishing to dial, triangular shaped chip 2cm wide to the cistern cover, mercury tube lacking mercury and loose, possibly damaged behind the cistern cover, hinge detached on the dial door, general overall wear commensurate with age and use 

A 19th century Regency mahogany cased architectural mantel timepiece of ogee form, the 9cm white enamel dial with black Roman numerals, enclosing the single train movement with slow/fast adjuster, below the gilt metal eagle surmount, 39cm HProvenance: Ruyton Hall, Shropshire

A 19th century giltwood and gesso overmantel mirror, with a moulded pediment above applied beaded detail and a frieze moulded in relief with repeating stylised foliate motifs, over the three bevelled mirror plates enclosed by architectural reeded pilasters, 79cm H x 150cm W Provenance: Ruyton Hall, ShropshireCondition report; Later mirrored plates with replaced back boards, see further images, minor damage above LH pilaster, see image, general rubbing to gilt commensurate with age and use.Weight 20kg, width widest point 150cm,width of centre panel 82cmWidth between pilasters 124cm

A late Victorian rosewood mirror back chiffonier, the architectural high back with a broken pediment over an arcaded and spindled gallery, above a central mirror flanked by glazed cabinets, upon a break arch cabinet with conforming bow front shelves and mirrored doors, overall inlaid with scrolling foliate detail, raised upon turned peg feet, 250cm H x 138cm W x 47cm D (at fault)

Architectural: An interesting and unusual early carved marble plaque, 53cm high by 113cm long by 6cm deepProvenance: Ex The Robert Scull Collection, New YorkThis interesting piece which may possibly date to the late Roman period may depict the adoration of the disciples with the figure of Judas on the right hand side slipping through a doorway.

Architectural: A similar Coade stone boundary marker plaque, circa 1780/90, the underside stamped COADE’S Lithodipyra LONDON, 30cm high by 25cm wideProvenance: St Olave’s school, Tooley Street, London

Architectural: A similar Coade stone boundary marker plaque, lacking Coade stamp, 30cm high by 25cm wideProvenance: St Olave’s school, Tooley Street, London

Architectural: A similar Coade stone boundary marker plaque, lacking Coade stamp, 30cm high by 25cm wideProvenance: St Olave’s school, Tooley Street, London

Architectural: A rare carved white marble basin, Italian, 16th/17th century, 36cm high by 90cm long by 68cm deepAlthough heavily weathered, the carving on this piece with each corner sculpted with a different putto or grotesque head would certainly indicate an early date. These would probably have been designed for the courtyard or loggia of a Renaissance Italian Palazzo.

Architectural: A similar carved white marble basin, 30cm high by 64cm squareSee footnote to lot 3.

Architectural: A rare carved limestone armorial from La Suvera, Siena, country villa of Pope Julius II and the Ricci family carved in high relief with a hedgehog gazing at the sun, Italian, mid 18th century, 68cm high by 44cm wideProvenance: The Ricci family were established in Montepulciano, Southern Tuscany in the 12th century and owned La Suvera in 1123. Riccio de Ricci was an amateur weather forecaster, whose predictions were so accurate, he was believed to be a warlock engaged in the Dark Arts. To deflect the accusations, he claimed to make his predictions by observing the way hedgehogs scanned the sun. Since that time, the Ricci coat of Arms has incorporated a hedgehog gazing at the sun as in this rare Italian 18th century carved stone example. To this day the Italian for hedgehog is Riccio. This armorial which would have adorned another Ricci property was relocated to La Suvera following the repurchase of the villa by the Marquises Ricci who converted La Suvera to a Relais Hotel. Following its recent closure this and the marble baths were removed.See also footnote to lot 5.

Architectural: A pair of important carved Rosso Verona marble baths from La Suvera, Siena, country villa of Pope Julius II and latterly the Ricci family, Italian Renaissance, 16th century, of tapering form with drilled drainage hole, 74cm high by 172cm longProvenance: Removed from La Suvera, the country villa of Pope Julius II. Pope Julius II born Giuliano della Rovere; (1443 -1513) was head of the Catholic Church and ruler of the Papal States from 1503 to his death in 1513. Nicknamed the Warrior Pope or the Fearsome Pope, he chose his papal name not in honour of Pope Julius Ibut in emulation of Julius Caesar. One of the most powerful and influential popes, Julius II was a central figure of the High Renaissance and left a significant cultural and political legacy. As a result of his policies during the Italian Wars, the Papal States remained independent and centralised, and the office of the papacy continued to be crucial, diplomatically and politically, during the entirety of the 16th century in Italy and Europe.In 1506, Julius II established the Vatican Museums and initiated the rebuilding of the St. Peter’s Basilica. The same year he organized the famous Swiss Guards for his personal protection and commanded a successful campaign in Romagna against local lords. In 1508, he commissioned the Raphael Rooms and Michelangelo’s paintings in the Sistine Chapel. Julius II was described by Machiavelli in his works as an ideal prince. Pope Julius II allowed people seeking indulgences to donate money to the Church which would be used for the construction of Saint Peter’s Basilica.After Pope Julius acquired La Suvera in 1508, the name deriving from the French word “Souveraine”, meaning Sovereign, he entrusted the famous Siennese architect and genius Petruzzi with the task of mitigating the severe Medieval style of the ancient fortress with sumptuous Renaissance taste. Petruzzi refined the building, joining the two original towers by means of a transept. The addition of a double portico and loggia completed his work, turning it into an imposing Renaissance villa.La Suvera was not simply one of the personal properties of the Pope, it was also the place Julius II retired to every now and again for a little rest far from Rome. La Suvera passed down the line from Julius II to his descendants, the Della Rovere family. From Julius’ nephew, Niccolò della Rovere, it then returned to the Sienna banking family, the Chigis. Marriage, inheritance, and acquisition caused it to pass through the hands of a number of prestigious Siennese and Roman families until it reached the current owners, the Marquises Ricci, whose family had already owned La Suvera in 1123. In recent times Marquis Giuseppe Ricci Paracciani and his wife Princess Eleonora Massimo adapted La Suvera into a Relais where guests could enjoy the sumptuous state rooms and extensive gardens. Following the closure of the Relais, the villa is now for sale.These baths, which are of typically tapering form with a drainage hole, would originally have been incorporated into the villa before being moved to one of the courtyard gardens and planted out with flowers, probably sometime in the late 19th or early 20th century with the advent of modern plumbing and copper or cast iron baths. Although Rosso Verona marble is normally a deep pink in colour, over the centuries it mellows and becomes a lighter yellowy pink as in these baths which is a good indication that these date to the Renaissance period or shortly thereafter.

Architectural: John Cheere: A rare lead figure of a fruit seller, mid 18th century, on later stone base and on stoneware pedestal, the figure 130cm high, the pedestal 63cm high; 193cm high overallJohn Cheere was first in partnership with his brother Sir Henry Cheere, but took over John Nost’s yard and his moulds for lead figures in about 1739.Until his death in 1787 he was the leading producer of lead statuary as well as working in plaster. Contemporary accounts of his yard, which was situated on Hyde Park Corner indicate that his oeuvre was very varied and included rustic figures as well as classical statues and busts from antiquity., During the 18th century, masked balls or fete champetres set in Arcadian settings of country houses or in London’s Ranelagh and Vauxhall pleasure gardens, were immensely popular. These were attended by fashionable society dressed as milkmaids, fruit and flower girls or in the costume of the commedia dell’arte.This fascination with Arcadia was reflected in many art forms - for instance porcelain figures, but also in lead statuary in which numerous models were produced. Unlike porcelain however, the depredations of the weather and the intrinsic value of the material have resulted in very few period lead figures from the 18th century surviving.

Architectural: A similar boundary marker plaque, lacking Coade stamp, 30cm high by 25cm wideProvenance: St Olave’s school, Tooley Street, London

A pair of Chinese blue and white porcelain Vases and Covers (one as is), 15" (38cms); together with a small Architectural slate Clock, early 20th Century. (3)

ARCHITECTURAL TYPE PRINTS (4), 45 x 34cms

A Late 19th/Early 20th Century American Mantle Clock of Architectural Form, 38.5cm high

Percy Goddard Stone - 'The Architectural Antiquities of The Isle of Wight' - rebound in four full calf volumes

Two framed Architectural book plates and 1883 photograph taken in Richmond Park

ARCHITECTURAL PERFORATED SCREEN, Balinese style, limed finish, 121cm x 121cm.

ARCHITECTURAL WALL MIRROR, segmented plate, aged metal frame, 136cm x 110cm.

ARCHITECTURAL GARDEN MIRROR, Gothic style, arch top design, 132cm x 66cm.

ARCHITECTURAL GARDEN WALL MIRRORS, a set of three, bronzed arch top frames, 107cm x 56cm. (3)

ARCHITECTURAL GARDEN MIRRORS, a set of four, aged metal frames, 78cm x 49cm. (4)