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A Victorian cast iron architectural Royal Coat of Arms, cast in relief with the crowned English lion and Scottish unicorn supporting either side within foliage and above motto 'DIEU ET MON DROIT', w.45cm (paint rubbed)

A Walnut Quarter Striking Bracket Clock with Bracket, signed Lenzkirch, circa 1900, architectural pediment, Doric capped columns, 6-inch brass dial with a silvered Roman numeral chapter ring, matted dial centre with plaque inscribed by retailer G.Kirton Stockton, twin spring barrel movement quarter striking on two gongs, movement backplate stamped Lenzkirch and numbered 779813, 40.5cm high, with matching walnut wall bracket see illustration 10.02.21 Case with minor chips to edges in parts, wall bracket with minor dents, wall bracket with small pieces of beading missing and one vacant hole to the underside area, dial is slightly discoloured, movement looks complete but needs cleaning, with pendulum.

~ A George III Mahogany Linen Press, late 18th century, the architectural and dentil cornice above two moulded cupboard doors enclosing four oak sliding trays, with two short over two long drawers, on bracket feet, 140cm by 67cm by 215cmThe cornice is removable. Cupboard doors are straight and with no splitting. Reasonable condition throughout with the exception of the base section where there is some fading and water damage to the end panels. This is the same to the opposing side where both sections of moulding have been re-glued. Left-hand back panel small section of timber repaired. Cornice has a small split under the dentil section. Cupboard doors around the lock with some deep bruising. The lock on the top drawer has been removed.

A Victorian Overmantel Mirror, mid 19th century, with guilloche decorated columns and an architectural pediment with a stiff leaf carved border above a scrolled and husk decorated frieze, 139cm by 113cmNatural? cracks throughout the gesso, framework and cornice. Small section of gesso missing to the left-hand corner. Mirror plate with some tarnishing to the corners.

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

A FOLDER OF ANTIQUARIAN POTTERY DESIGNS IN WATERCOLOUR, ARCHITECTURAL DESIGNS IN PENCIL AND STENCILS, there are no details as to who did them or if there is any association to a pottery, the illustrations have pencilled notes of the items they were copied off such as "Damascus tile", "Plate Rhodian 16th cent.", "Porcelain Chinese 16th or 17th Century", "Half tile Syrian from Cairo" etc.Condition Report:Some pages are grubby, surface dirt and some staining

~ Manner of Thomas Hudson (1701-1779) Portrait of a gentleman, seated, wearing a dark green frock coat and gold waistcoat before an architectural column and landscape beyond Oil on canvas, 123cm by 96.5cm see illustration

Chassereau (P.) A Plan of the City of York Survey`d by Peter Chassereau, J. Rocque, 1750 [but later reproduction], hand-coloured street plan surrounded by small County map and various architectural views, sheet approx 480mm x 690mm, a little staining to margins, framed and glazed

Mid 19th Century rosewood 'steeple' mantel clock, Rider, Winchester circa 1840, the 3.25-inch ogee-arched Roman dial with engine-turned centre and moon hands, inscribed to the arch 'Rider, Winchester', gut-driven single-fusee movement, in an architectural case, 33cm high Condition: Dial and movement appear in good order, pendulum has been trimmed to lower edge and weight added to reverse. Case has minor loss to rear of pediment and rear door has a vertical crack over glazing plus loss to upper left corner. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms. **Clocks, Watches, Musical boxes and other mechanical items (ie anything with moving parts) - Whilst we endeavour to mention losses or alterations where obvious, we do not guarantee the movement or accuracy of any mechanical items in the sale and our assessment is purely cosmetic.

A Victorian black slate mantel clock, the circular enamelled dial set with Roman numerals, with Japy Frères movement, 26 x 22.5 x 14cm, together with a large architectural Victorian slate and rouge marble mantel clock, height 37cm, length 48cm, depth 16cm, with later movement (af) (2).Additional Informationthe larger clock is heavily af, the joints are loose, replaced movement, numerous chips and losses. The smaller clock with minor chips, old repairs to the dial.

A Victorian slate and rouge marble mantel clock of architectural form, with gilt decoration surrounding circular dial set with Arabic numerals, height 34cm.Additional InformationVery minimal nibbles to the edges and side panels, complete with pendulum, cracks to the dial. We do not guarantee the working order of this timepiece.

JAMES BROWN OF LIVERPOOL; a Georgian inlaid mahogany cased eight day longcase clock, the painted dial with sun and moon phase subsidiary dial above Roman numerals and two further subsidiary dials, inset within inlaid mahogany case, the central architectural door flanked by two turned columns, raised on bracket feet, complete with winding key, pendulum and two weights, height including surmount 240cm.Additional InformationCracking to the case, craquelure to the dial, areas of the dial which have been repainted, minor knocks, scuffs and wear evident to the case.

A Charles Tilt miniature library in an architectural case

Elizabeth II - Excellent Architectural Designed Sterling Silver Sugar Sifter of Pleasing Proportions / Quality. Hallmark London 1965, Makers Mark R.C. 247.7 grams. Height 6.75 Inches - 16.90 cms. Wonderful Condition.

Collection of antique medallions - x2 antique, likely bronze, medallions comprising Society Of Arts Manufactures And Commerce for musical examinations (violin) 1898 and a Royal Academy Of Arts medal for Architectural Design awarded to David Carr 1931. Gross combined weight; 157.9g

Unknown - A late Victorian stained and painted leaded glass window, with central reserve filled with a depiction of two classical maidens playing the lyre before an architectural landscape, each corner with a sepia painted putti, within transverse and geometric panels, further detailed with acanthus, rocaille and satyr mask designs, 97cm x 84.5cm.

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Anyanwu bears the Burleighfield foundry foundry mark 'B' to basebronze91 x 25cm (35 13/16 x 9 13/16in).golden patination.Footnotes:ProvenanceAcquired directly from the artist in the early 1980s;By direct descent to the current owner.LiteratureS. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), version illustrated fig.4.3 and fig.4.4.B. Lawal, 'After an imaginary slumber: visual and verbal imagery of 'awakening' in Africa', Word & Image: A Journal of Verbal/Visual Enquiry, (Volume 26 number 4, 2010), version illustrated p.423.O. Offoedu-Okeke, Artists of Nigeria, (Milan, 2012), version illustrated p.57.Anyanwu is one of the artist's most accomplished and recognizable works. The word Anyanwu ('eye of the sun'), refers to the Igbo practice of saluting the rising sun in honour of Chukwu, the Great Spirit. The female figure is the powerful Igbo earth goddess Ani. For Enwonwu, the sculpture was a way of expressing his hopes for a nation on its way towards independence:'My aim was to symbolise our rising nation. I have tried to combine material, crafts, and traditions, to express a conception that is based on womanhood – woman, the mother and nourisher of man. In our rising nation, I see the forces embodied in womanhood; the beginning, and then, the development and flowering into the fullest stature of a nation – a people! This sculpture is spiritual in conception, rhythmical in movement, and three dimensional in its architectural setting – these qualities are characteristic of the sculpture of my ancestors.'Enwonwu's depiction of the goddess, with her elongated body and stylised head, demonstrates his appreciation for Igbo artistic traditions, drawing on ancient wood carvings and Edo Queen Mother portraits. Enwonwu's father was a spiritual man, and had frequently carved images for the shrines at Onitsha. Memories of these shrines left an indelible mark on the young Benedict, and shaped his view that art and religion were inextricably linked. In Igbo tradition, sculptors were viewed as intermediaries between the human and spirit world. They worked in a trance-like state, inspired by intense surges of mental energy.Enwonwu later claimed that he had entered such a state when he created Anyanwu. The sculpture's form came to him in a vision early one morning as he hovered between dreaming and wakefulness:'A supple graceful female form arising out of the sun in a brilliant shower of light...she loomed towards him in a wide curvilinear arch...the classic Ethiopianized features of the face and the decorative horizontal slats of the lower torso that receded into the horizon, tapering off to a point...'The circumstances surrounding Anyanwu's creation – Enwonwu's spiritual inspiration – connects him with the Igbo tradition of the artist as spirit medium. Often referred to as the 'father of African modernism', Enwonwu was greatly concerned with form and stylistic experimentation. However, unlike his European contemporaries, he was not motivated by the principle of 'art for art's sake'. By engaging with the traditions of his ancestors, Enwonwu invests Anywanwu with a more complex social meaning.The first Anyanwu sculpture (1954-5), made for the National Museum, Lagos, received such acclaim that another was commissioned for the United Nations headquarters in New York (1966). This version appears in several major public and private collections, often demonstrating a variety of patina, and small differences in the arms and length of the 'chicken beak' coiffure.The current work was cast at the Burleighfeild foundry, High Wycombe, UK. They cast many bronze scluptures for the artist from their founding in 1977 until his death in 1994.BibliographyN. Nzegwu, 'Representational Axis: A Cultural Realignment of Enwonwu', Contemporary Textures: Multidimensionality in Nigerian Art, ed. N. Nzegwu (New York, 1999) p.163.S. Ogbechie, Ben Enwonwu: The Making of an African Modernist, (Rochester, 2008), pp.128-131.B. Lawal, 'After an imaginary slumber: visual and verbal imagery of 'awakening' in Africa', Word & Image: A Journal of Verbal/Visual Enquiry, (Volume 26 number 4, 2010), p.422.For further information on this lot please visit Bonhams.com

PLAYERS, large, complete (6), inc. A Nature Calendar, Aviary & Cage Birds, British Butterflies, Architectural Beauties, Aquarium Studies, British Naval Craft, G to EX, 149

An early 20th century chest of two short over two long drawers, 75.5cm high, 91.5cm wide, 45.5cm deep; another, similar, 77.5cm high, 98.5cm wide, 48cm deep; an architectural dressing mirror (3)

An oak bureau, architectural fall front enclosing a writing surface and pigeonholes above a long drawer and a pair of panel doors enclosing a shelf, 100cm high, 80.5cm wide, 44cm deep; an oak linen-fold blanket chest, 46.5cm high, 76.5cm wide, 43cm deep (2)

An early 20th century architectural mantel alarm clock, 46cm high; an oak cased mantel timepiece, 10.5cm circular enamel dial with Arabic numerals, flanked by inset spirally turned pillars, 24cm high overall (2)

A large walnut and mahogany Vienna type wall clock, 19th/20th centuryAttributed to Gustav Becker, the typical rectangular case with architectural cresting surmounted by a horse, the door fully glazed and flanked by canted corners having acanthus spandrels, an ogee base below, the enamel dial having black Roman numerals, the weight-driven movement striking on a gong.128cm high, 39cm wideCondition report: Case has some minor cosmetic marks consistent with age. Bead at top of glazed door possibly replaced. Cresting possibly a marriage but contemporary and well matched if so.  Movement winds, runs and strikes.

Two stone human skulls, approx 18 l x 13 h cms, previously mounted for architectural purposes. 

An Edwardian walnut architectural cased mantel clock, the German movement with silvered chapter ring and pierced gilt spandrels, striking on a coiled gong, retailed by Bowman Ltd, 68 & 70 Goswell road London, height 48.5cm.

A 19th century mahogany dressing table mirror of architectural form with classical pediment and brass capped column supports, the rectangular base fitted a single drawer. Height 78cm, width 50cm, depth 28cm.

Architectural Salvage - A box of assorted door handles. Largest 35cm tall.

A Victorian silver mounted glass scent bottle, hallmark for Birmingham 1900, a brass mounted glass scent bottle applied with five painted miniature plaque architectural studies, together with six other glass scent bottles (one tray)

Box of assorted vintage and other clocks to include; a postman's wall clock, hat shaped mantel clock, architectural mantel clock, small aneroid wall barometer etc. Together with a oriental cloisonne bowl decorated with birds amongst foliage. (B.P. 21% + VAT)

Pair of wooden painted architectural cylinder pillars, 225cm high approx. (B.P. 21% + VAT)  Wear and tear. Loss to paintwork.

19th Century oak walnut and mixed woods longcase clock by D.D Evans, Carmarthen, the face with Roman numerals and painted with continental architectural scenes with figures. (B.P. 21% + VAT) Clock is not running to time. 30 hour clock. Loss of veneer to body.

Her Majesty's Steam Vessel of War, 'Medea', architectural etching after S. Bellin, framed and glazed. (B.P. 24% incl. VAT)

A framed and glazed 19th century ink and watercolour architectural drawings for Livia's tomb in Villa di Livia in Rome with Roman measurement scales together with a framed and glazed ink and watercolour architectural study close-up detail of the sarcophagus where Livia lies. 52x40cm

Two unframed oils on board and five unframed watercolours, various signatures, of architectural interest. 56x45cm (largest)

A framed and glazed lithograph, architectural design, indistinctly signed and a gilt framed similar, bandstand, signed and numbered, John Harris. 56x76cm

A 19th century miniature specimen Wellington chest of six drawers flanked by locking stiles in the form of architectural columns on a plinth base. H.42 W.28 D.35cm

A rose quartz set ring and pendant suite, 1930s-50s, each set with a pale pink rose quartz cabochon, within an architectural scrolled mount in yellow and rose precious metal, the pendant to reeded bale stamped ‘585’, pendant length, including bale 36mm, ring size M. £400-£600

Victorian slate mantel clock, architectural case with metal mounts, circular dial, German cylinder movement striking on a gong, with pendulum, 34cm.

George III mahogany stick barometer, architectural pediment, boxwood and ebony outlines, turned cistern cover, engraved brass dial signed Corti & Co Fecit, 98cm.

A Victorian mahogany serving table of architectural design, the raised back set with three roundels, above two moulded drawers and raised on turned tapering supports, 120cm wide, 48cm deep, 106cm highCondition report: General knocks, surface wear and scratches. Central roundel broken and repaired. Joints solid. Some fading and discolouration. Knocks and general wear to supports.

Ususual Victorian school board listing head girls, in carved architectural frame with gilt heightened and calligraphy, inscription below attesting to the history of the board, 164cm wide x 148cm high

AN EDWARDIAN OAK MANTEL CLOCK OF ARCHITECTURAL FORM with brass and silvered dial with ' W&H' movement, striking on two gongs, 42 cm high

Late Victorian walnut bracket clock by Dent, London, the architectural case with an arched door and fretwork side panels, the engraved silvered dial with Roman numerals, slow fast and chime silent selectors, signed Dent, 4 Royal Exchange, Cornhill and 61 Strand, London, No. 42930, the three train fusee movement chiming on bells and striking on a gong, 50cms high

A late Victorian walnut cased mantel clock of architectural form having a circular dial with raised enamelled Roman numerals and eight day cylinder movement striking on a bell, height 29cmCondition report: Dial has a crack and there are marks around winding holes.Case good.Sold as not working.No key.

A late Victorian oak cased mantel clock, of architectural form, having enamelled chapter ring with Roman numerals and eight day movement, w.33cm

A late Victorian black slate cased mantel clock of architectural form, having a gilt dial with Roman numerals and eight day movement, the whole flanked by lion mask handles, height 28cm

A circa 1900 Sheraton Revival mahogany, floral satinwood inlaid and further cross banded bureau bookcase, having broken architectural pediment over twin astragal glazed upper doors and four graduated lower drawers, width 98cm

A quantity of drawings, watercolours and engravings to include Clements, an architectural drawing and others, all unframed.

Monuments of Egypt. The Napoleonic Edition. 1927 Princeton Architectural Press facsimile of the 1809 edition, with dustjacket; Davidson D.: A Connected History of Early Egypt, Babylonia and Central Asia. 1927; Ellerbeck J.: Eastern Rambles and Reminiscences. 1909; Fraser John Foster: The Real SiberiClick here to view further images, condition reports, sale times & delivery costs for this lot.

λ Michael Ayrton (British 1921-1975) Pale Landscape, 1969 Oil on collage on board Signed to label verso 18.5 x 29cm (7¼ x 11¼ in.) Provenance: Sale, Salisbury, Woolley & Wallis, 10 March 2010, Lot 434 Private Collection, Keith William Sleeman (1941-2020) Part of a collection of works assembled by Keith William Sleeman (1941-2020). Keith was a founding partner of the architectural firm Lyons + Sleeman + Hoare, retiring in 1980. Following his retirement Keith amassed nearly 200 paintings and sculptures focused primarily on British artists who were either born or lived in the 20th Century. Condition Report: Light surface dirt throughout. Otherwise no significant condition issues. Condition Report Disclaimer

BEVERIDGE, Thomas J - English Renaissance Woodwork 1660-1730: 80 plates, cloth backed boards, folio, Batsford, (1921). With - Cescinsky, Herbert and Gribble, Ernest - Early English Furniture and Woodwork - two volumes, 1922. Fifty Years of Art Fabrics by Lisio, 1956. R W Symonds, R.W - English Furniture from Charles 11 to George 11, (damp stained)1929. Small, Tunstall & Woodbridge, Christopher - Mouldings of the Tudor Period, Architectural Press, n.d. Shapland, H.P - The Practical Decoration of Furniture, 2 vols, volumes one and three only, 4to, 1926-27.(8)

EATES, Margot - Paul Nash The Master of the Image 1889-1946, org. cloth in d/w, 4to, John Murray, first ed. 1973. With - Binyon, Helen, Eric Ravilious Memoir of an Artist, illust, 4to, Lutterworth Press, 1983. With - Lewis, John, John Nash the painter as illustrator, illust, org. cloth in d/w, folio, Pendomer Press, 1978. With - Piper, John, Buildings and Prospects, org. cloth in d/w, 4to, Architectural Press,1948. with 4 other art books including 2 first in d/w by Julian Trevelyan.(8) NOTE - SHOULD READ 7 NOT 8 IN THE LOT

Doulton Burslem Spanish ware large architectural clock: Similar to Londons Big Ben, decorated with flowers, height 50cm. (Later replacement clock movement and some good restoration to lower top finals).

A folio of prints to include, after John Hood, A naval engagement near the Rock of Lisbon, and after P Osbridge, The breach of Moro castle, to be sold with various architectural and topographical engravings, (unframed)

Nicole Coson Untitled, 2021 Oil and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Born in 1992 in Manila, Philippines, Filipino artist Nicole Coson has recently completed an MA in Painting from the Royal College of Art. She has been selected as part of Bloomberg New Contemporaries 2020. She currently lives and works in London, UK.   I am interested in exploring the concepts of visibility and disappearance, with reference to camouflage and concealment in nature as well as in human applications as tactical countermeasures. I am in search of a productive position within invisibility that lends artists the opportunity in which we are able to negotiate the terms of our visibility. To vanish and reappear as we please and as necessary to our own personal and artistic objectives. My work operates between the anonymous and deeply personal, between a specific place in the Philippines and anywhere at all.   I create works that seek to stretch and skew the viewers ability to detect cultural precursors as memories, identity and location blend into seamlessness constructing a space which is both familiar and alien, escapist and entrapping. I wish to create an imagined safe space to run away to, a place which stems from a point of personal history, a moment intricately and preciously encased in layers of fleeting apparitions and tropical childhood flashbacks. An instance I can step into, beyond the dimensions of the living, a place of perfect dislocation. I make works that function as architectural interventions of physical space piercing walls with flourishing green windows inviting the viewer to get lost in misty tropical landscapes and into the stage of a memory accessed countless times.   Education MA Painting, Royal College of Art, London, UK BA Fine Art, Central Saint Martins, London, UK   Exhibitions Solo: 2021 Exoskeleton, Silverlens Galleries, Manila 2020 Exeunt, Annka Kultys Gallery, London 2019 Deflect, Gallerie Untilthen, Paris 2017 Camouflage, Silverlens Gallery, Manila   Group: 2021 Bloomberg New Contemporaries, South London Gallery, London 2021 Tonight, the Air is Warm, Kristin Hjellegjerde Gallery, London 2020 50/50, Fold Gallery, London 2020 London Grads Now, Saatchi Gallery, London 2020 Painting Differently, Silverlens Gallery, London 2020 Cacotopia 04, Annka Kultys, London   About the postcard artwork Some memories cling to the body like a thin layer of sweat. A particular moisture that rests sheer on the skin on warm humid nights that never dries."

An architectural overmantel mirror 148 x 123cm

A walnut wall clock, architectural pediment, brass dial, enamelled chapter ring, Roman numerals.

Jonson (Benjamin). The Workes, [volume 1 of 3], London: printed by Richard Bishop and are sold by Andrew Crooke, 1640, [12], 668; 228 pp., engraved portrait frontispiece (repaired, re-margined to gutter & lower margin), engraved title with elaborate architectural border, A3 with strengthening repair to upper outer blank corner, occasional light dust-soiling, slight damp staining to some fore-edge margins, contemporary calf, old reback, boards detached, folioQty: (1)NOTESSTC 14753; ESTC S112456. The first volume, printed by Richard Bishop for Andrew Crooke, was a 1640 reprint of the 1616 folio with corrections; it has sometimes been termed "the second edition of the first folio." The second & third volumes were printed by James Dawson for Thomas Walkley in 1641.

Architecture. A Large Collection of Architecture reference and related, including American Architecture 1607-1976 by Marcus Whiffen, 1981, Historical Architecture by Hugh Braun, 1953, Victorian Architectural Competitions by Roger H. Harper, 1983, G/VG, large 8vo/8voQty: (5 shelves )

Hope (W. H. St. John). Windsor Castle, An Architectural History, 2 volumes (& portfolio of plans), London: Country Life, 1913, photogravure colour frontispiece to each volume, and numerous monochrome plates (some double-page), upper pastedowns with presentation bookplate from Lt. Col. Sir Arthur Leetham to the Royal United Service Institution, cloth hinges, top edge gilt, remainder untrimmed, original quarter vellum, later blue paper cloth sidings, folio, together with portfolio of eight folding lithograph plans, some damp stains to cloth covers of portfolioQty: (3)NOTESLimited edition 112/1050.

ANTIQUE OAK ONE PIECE STANDING CORNER CUPBOARD, twin upper and lower doors with chamfered panels, flanked by architectural type reeded decoration, the top interior with shaped shelves, 206cms H, 115cms max W