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F Berens, a folio of hand coloured architectural drawings, early 20thc. French/Belgian, including interior and exterior drawings, masonry details, ironmongery etc. (32 illustrations) (the majority measuring: 42cm x 60cm)

An Esmond Burton (1886-1964) original plaster Maquette of Jesus on the Cross from the clay model. 190 cm High by 120 cm The original by this famous Architectural Sculptor forms part of a larger commission in St Anne's Church Belfast.

Seltener barocker Elfenbein-Reisealtar Süddeutschland/Österreich, um 1700. Elfenbein, geschnitzt, ebonisiertes Holzgehäuse. Retabelförmiges Triptychon mit feststehendem, von gedrechselten Säulen flankiertem Mittelschrein mit sitzender Muttergottes, die Hände zum Gebet gefaltet, den rechten Fuß auf der Mondsichel, auf ihrem Schoß liegt das Jesuskind, seitlich flankiert von adorierenden Engeln, hinterfangen von Architekturkulisse mit 2 Figurengruppen unter Vorhangdraperie. In den beweglichen Seitenflügeln Darstellungen von König David mit Harfe und Hohepriester mit Begleitern vor Landschaftshintergrund. Auf dem ebonisierten Holzsockel 'vera icon', von Engeln gehalten. Geöffneter Schrein: 34 x 34 cm , Sockel: 15,5 x 37,5 x 24 cm. - A rare Baroque Ivory Triptych Southern Germany/Austria, around 1700. Carved ivory, ebonized wooden cabinet. Fixed main panel, framed by twisted columns, inside the seated the Virgin Mary holding Baby Jesus on her lap, framed by two angels, architectural background with drapery and 2 figure groups. In the movable side wings depictions of King David with harp and a high priest with companions. Ebonized base with 'vera icon' held by two angels. Opened altar: 34 x 34 cm, Base: 15,5 x 37,5 x 24 cm . -

Teekännchen mit feinen Kauffahrteiszenen von C.F. Herold Meissen, um 1735-40. Eiförmiges Kännchen mit Tierkopfausguss und J-Henkel, auf Wandung und Deckel umlaufende Fluß- und Architekturlandschaft mit Kauffahrteiszenen, Segelschiffen und Reiterpaaren. Delikate Goldspitzenbordüre. Schwertermarke, Formerzeichen und Goldmalerziffer '24' (Deckel). H. 10 cm. - A Teapot with Kauffahrtei Scene by C.F. Herold Meissen, around 1735-40. Ovoid pot with animal head spout and J-shaped handle, wall and lid with continous painting of river and architectural landscapes with Kauffahrtei scenes, ships and pairs of riders. Delicate gold tip border. Crossed swords mark, former's mark and gold painter's number '24' (lid). H. 10 cm. -

Wolfgang Joop Wolfgang Joop Wolfgang Joop (1944 Potsdam. Ansässig ebenda) "Hommage à Egon Schiele". Originaltitel Farboffsetlithographie/Velin, 1993. E. A.-Exemplar außerhalb der Auflage von 195. Sign. u. vom Künstler bez. "EA/195 MUSTER". Darstellung 50 cm x 30 cm; Blatt 70 cm x 50 cm. Provenienz: Lt. Informationen des Einlieferers Geschenk des Künstlers an die damalige Chefredakteurin der AD - Architectural Digest. Offset lithograph in colours on wove paper, 1993. "EA" print (trial proof) aside from the edition of 195. Hand-signed.

A pair of framed & glazed architectural prints

Friedl, Theodor Zwei Putten mit Fruchtschale (Wien 1842-1900 Kirchau/Niederösterreich) Auf Natursockel zwei vollrund gestaltete Putten, einer kniend mit nach oben gestreckten Armen, der hintere stehend, ein großes Tablett mit Früchten tragend. Metall, vergoldet. Am Sockel bez. "fecit T. Friedl" und "Gegossen J.C Hennick". H. 92 cm. - Friedl schuf hauptsächlich Skulpturen und Bauplastiken, dazu zählen die Rossebändigergruppe am Maria-Theresien-Platz in Wien und Amor und Psyche im Oberen Belvedere. Engel, Skulptur Friedl, Theodor Two putti with fruit bowl (Vienna 1842-1900 Kirchau/Lower Austria) On a natural base two full-round putti, one kneeling with arms stretched upwards, the one at the back standing, carrying a large tray with fruits. Metal, gilded. On the base inscribed ''fecit T. Friedl'' and ''Cast J.C. Hennick''. H. 92 cm. - Friedl mainly created sculptures and architectural sculptures, including the Horse Tamer Group at Maria-Theresien-Platz in Vienna and Amor and Psyche in the Upper Belvedere. angel, sculpture

Kleiner Walzenkrug Nürnberg, 18. Jh. Stilisiertes Architekturensemble. Monochrome Blaumalerei auf hellkleisterblau glasierter Fayence; Zinnmontierung. H. 18 cm. Deckelhumpen, Deckelkrug, Nürnberger Fayence Small jug Nuremberg, 18th c. Stylized architectural ensemble. Monochrome blue painting on light paste blue glazed faience; tin mounting. H. 18 cm. lid tankard, Nuremberg faience

Enrique Linares, ES Propiedad, No. 52, Gesso Architectural Study Panel, decorated with arabesque and geometric patterns, with calligraphic panels, oak framed, 54 x 43.5cm overall.

A good French black marble architectural mantel clock, with contrasting marble columns, panels and incised gilded decoration, white two-piece enamel dial with Roman numerals, fleur-de-lys hands, visible Brocot escapement, hour and half-past gong-striking movement, with pendulum Est £80 to £120

EARLY 20TH CENTURY GUSTAV BECKER WALNUT VIENNA-TYPE WALL CLOCK with architectural pediment, column-twist pilasters flanking glazed door, two-piece Roman dial, grid iron pendulum striking four gongs, movement model P42, serial number 2002218, circa 1925, 90cms high Condition Report: case with minor restoration

LATE 19TH CENTURY WALNUT CASED ARCHITECTURAL MANTEL CLOCK with cupola and turned finial surmount, 43cms high

SIDNEY FERRIS OF FREEMAN FOX & PARTNERS architectural drawing with watercolour - 'Ogmore Viaduct', signed and with company name, and with consulting architect, dated 1975 (framed and glazed)

Arts & Crafts carved oak architectural centrepiece, possibly from a ceiling with drop finial, 11" square; together with two carved stylised floral finials, 9" and a turned wooden jar with banding decoration and pagoda shape turned cover, 16" high (4)

Black slate two train architectural cased mantel clock, striking on a gong, 16.5" wide, 5.5" deep, 12" high

A late 19th Century photograph album, containing 37 mounted topographical and architectural albumen views of Italy, including Pisa, Baptistery of St. John, and Leaning tower (2); Florence, including Ponte alle Grazie, Pitti Palace, Duomo, general view of city, plus 7 others (11); Siena Duomo; Rome, including Forum, Vatican Gallery, view from Pincio, Temple Vesta, house and bridge of Caligula, Caesar's Palace, etc (9); Bay of Naples; Sorrento; several Pompeii and Venice etc, each with contemporary manuscript pen and ink captions beneath photos to card leaves, oblong 4to, original black leather gilt (slightly scuffed and worn), inner dentelles gilt, all edges gilt, by Parkins & Gotto, Oxford Street

An early 20th Century walnut bracket clock of architectural form with bras dial and silvered Arabic chapter ring, with presentation inscription, 8-day striking and chiming movement by Wurttemberg, key and pendulum, case a/f, 46cm tall

A J DAVIS - Architectural drawing and watercolour - 11" x 8" - inscribed - Print

The Archangel MichaelMoscow, workshop of A.Ya. Vashurov, early 1900sthe Archangel finely painted, in his right hand holding a sword, in his left hand holding a spear, standing on a rock with an architectural background; with scrolling flowering motifs on the borders 31 x 27cm (12 3/16 x 12 3/16in).Footnotes:ProvenancePrincess Irina Obolensky (1917 - 1996)Thence by descentPrivate collection, UKFor further information on this lot please visit Bonhams.com

A late 19th century brass mantle clock, with an architectural pediment, mounted with a copper mask and leaves above leaf capped columns on a stepped base, the circular dial with Arabic numerals, 29cm high

A group of vintage plaster corbels and capitals, and other architectural plaster work

Architectural salvage - a pair of reconstituted stone garden lions, modelled seated, 39cm high (2)

Postcards, Trade cards & Cigarette cards - assorted inc Batman, Man from UNCLE, Thunderbirds, silks inc Regiments, Flags, Tartans, etc; tea cards; topographical, architectural and other postcards etc qty

A contemporary ' architectural' classical bevelled glass mirror, pointed arched frieze, 116cm high, 80cm wide

Architectural salvage - a pair of industrial Revo cast iron and enameled ceiling lights, 46cm diameter (2)

An 18th century style gilt and composition mirror, late 19th / early 20th century, the double c-scroll frame with laurel leaf decoration, centred by acanthus and shells, beneath a floral urn, foliate and shell architectural cresting, 60 x 38in. (152.5 x 96.5cm.), some small losses and repairs.

A mid-19th century rosewood, ormolu and marquetry portico clock by Leroy of Paris, the signed movement no. 515, with bell strike on the hour and half hour and outside countwheel strike, gilt brass foliate urn pendulum, fronted by a signed, silvered Roman dial with gilt foliate bezel, the architectural case with gilt painted borders, foliate marquetry and boxwood strung columns with ormolu capitals and base, on gilt painted turned wooden feet, 20¼in. (51.5cm.) high.

VICTORIAN ARCHITECTURAL CASED MANTEL CLOCK

A late 19th Century mahogany mantel clock of architectural form, enamelled Roman chapter ring, 8 day HAC (Hamburg American Clock Co.) movement with a single hammer striking a coiled gong, key and pendulum, 38cm high

An early 20th Century German musical/alarm mantel clock with brass Roman dial, architectural form case and cast brass handle and panels (some loose), 25.5cm high including handle

A late 19th Century French brass carriage timepiece with architectural design column and pierced case, Art Nouveau influenced gilt brass dial with enamelled Arabic chapter ring, single train 8 day movement with cylinder escapement to platform, no key, 13cm high excluding handle

American architectural two train mantel clock, together with a mahogany framed toilet or bedroom swivel mirror and a teak travelling tool box the interior revealing collection of nails. (3)(B.P. 21% + VAT)

NEO-CLASSICAL OVERMANTEL, white painted bevelled glass architectural design overmantel, 44" height, 66" width

A Victorian architectural slate-cased mantel clock, with 8-day striking movement, height 29cm, and an Art Deco oak-cased 8-day mantel clock (2)

A Victorian slate-cased architectural mantel clock, height 28cm, and a modern skeleton clock, by Thwaites & Reed, under glass dome, height 21cm (2)

A 19th century slate-cased architectural mantel clock, with bronze Classical frieze, height 31cm, base length 42cm

PLATE BOOKS: 1- [Storer, j & H S]: The portfolio, collection of engravings from antiquarian, architectural, and topographical subjects... 4 vols. Nornaville & Fell, 1823-24. With 203 plates (including vignettes and head & tail pieces). Original covers; damp staining, mainly affecting the margins of the plates; 2- Fashionable guide and Directory to the public places of resort: Collection of plates: 3 part works in one vol. 1- Fashionable.., c1825, 20 Plates; 2- Paris & its environs, 1829. 20 plates on 10 sheets; 3- Switzerland, 1834, 4 plates. 4to. Cont. half leather rubbed; ink stain to foredges affecting the margin of some plates; 3-Chambers Encyclopedia. 10 vols. 1876, revised edn, complete with all 41 double-page colour maps (USA in 2 sheets). Original cloth; rubbed with tears, but holding; 4- The copper plate magazine. DEFECTIVE, ONLY 32 PLATES; 5- Fishers Drawing Room Scrapbook of Princess Victoria. 1832, complete with 35 plate. Original leather backed boards; rubbed, occasional foxing; 6- Trusler, J: Hogarth's Works. 2 vols. Jones, 1833 & nd. 40. Cloth, worn and detached; A/F, and two others.(21)

The complete series of the architectural magazine "Simetria", numbers I-VIII, Bucharest, 1939-1947 The complete series of the architectural magazine "Simetria", numbers I-VIII, Bucharest, 1939-1947 25.5 x 19.5 cm (each)

Mohamed Melehi (Moroccan, 1936-2020)Yellow Flame Between Black and Brown oil on canvas, framed executed circa 2007120 x 110cm (47 1/4 x 43 5/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the artist by the present ownerBonhams is delighted to present this magnificent painting by the leading Moroccan modernist Mohammed Melehi. Melehi studied at the École des Beaux-Arts in Tetouan, Morocco before going to study abroad at the Ecole superieure des Beaux-Arts Isabel de Hungria in Seville; the École supérieure des Beaux-Arts San Fernando in Madrid; the Academie des Beaux-Arts and the Istituto Statale d'Arte in Italy and the Ecole nationale des Beaux-Arts in Paris. In 1964, Melehi returned to Morocco and became a professor of painting, sculpture and photography at the Ecole des Beaux-Arts of Casablanca from 1964 up until 1969 which was directed by Farid Belkahia. Melehi, Belkhahia and Chebaa formed the Casablanca group with an exhibition in Rabat in 1966. In addition to new modernist style in their personal work was also known for a pedagogy that focused on rooting modernism in local visual culture.Since the 1960s his body of work has been based around the recurrent motif of waves; the canvases are consistently hard-edged and optic abstractions. His lines are clean, the colours are clearly delineated and the brushstrokes and movements of his paintbrush are not visible. The waves themselves are often reconfigured, turned vertically to become flames, or cutting across the canvas on angle. The waves in his oeuvre have been linked to the waves on the beaches of Melehi's hometown Asilah. He has stayed consistent but reconfiguring similar elements in his research into colour and form, while continually varying small details, orientation, and the colour combinations, as well as adding other abstract shapes or symbols. He has re-worked his waves in other mediums, such as a sculpture in Mexico in 1968 for the International Meeting of Sculptors, in posters and murals or integrated into architectural projects.For further information on this lot please visit Bonhams.com

Ayman Baalbaki (Lebanon, born 1975)Untitled (Loss and Destruction) acrylic and mixed media on canvas, framedsigned in Arabic and dated '2010' on the verso, executed in 2010200 x 150cm (78 3/4 x 59 1/16in).Footnotes:Provenance:Property from a private collection, DubaiChristie's, Modern & Contemporary Art, October 2015, lot 107Luce Gallery, Ciel Chargé de Fleurs, Turin, 2010Rose Issa Projects, Ciel Chargé de Fleurs, London, 2009'I have a temper. It doesn't always show but in some situations my temper flares up. It was war and displacement that made me tough. I developed an aggressive and defensive force in me... but the violence I have witnessed was translated into painting,' – Ayman BaalbakiAyman Baalbaki's inimitable depictions of war-torn Beirut are a visceral, aesthetically overpowering testament to the destructive power of conflict, a destruction whose genesis, whilst physical, infiltrates, scars and distorts the collective consciousness of its sufferers.Baalbaki's fixation with conflict is manifest throughout his life and work. Born in 1975, the year of the outbreak of the Lebanese Civil War, his family were forced to flee Rass-el Dikweneh when he was only a few months old. When it came to approaching his work as a painter Baalbaki naturally drew from the deep reservoir of memory formed by these disturbing experiences.Concerned with the link between imagery and memory, Baalbaki uses his art as a haunting aide-memoire to the conflict that has plagued Beirut, reminding people that even in times of relative piece, they should not disregard the deep systemic divisions that gave rise to conflict in the first place. Baalbaki explains that this conceptual initiative is 'based on what Nietzsche called the 'imposition of memory. After the war, whoever had experienced it, tried to erase its effects and impact from his/her memory and surroundings, although the causes of war and its essence [were] still present in the city'.In light of this overarching agenda, Baalbaki's works accordingly focus on the aftermath of conflict, and the remnants of its destructive influence. The gap between the act of destruction and the time of depiction, which Baalbaki's works occupy, is part of a concerted effort to place a reflective emphasis on the theme of war; it is seldom in the eye of the storm where one can truly measure, discern and recognize the effects of destruction, it is only when the impact of war breaches the heat of the battle, permeating into the visual, emotional and psychological landscape that its true imprint becomes manifest.The medium through which this imprint is made palpable by Baalbaki, is through the depiction of Beirut's war torn buildings; these buildings, like the individuals they contained, are perhaps some of the city's most important inhabitants, they are the edifices that signify identity, civilization, the existence of families and homes, they are the structures which give shelter, congregation, life, and industry to a population, they are the building blocks of the communities they house, and it is through their facades that the culture, history and collective narrative of their inhabitants are most immediately recognized.It is these buildings which therefore wear most overtly the wounds of war, and whilst the human impact of conflict lives within the hearts of those who have survived it, and through the memories of those who have the fallen, the visual insignia of conflict is most tangible in the fragmentation of the civic space.It is this fragmentation which Baalbaki seeks to document, reflect on, and ultimately immortalise in his canvases. Executed in a scale which captures both the architectural enormity of the buildings depicted, and the severity of the damage they have suffered, Baalbaki's paintings are striking vignettes of a city whose urban fabric has been punctured and mutilated.Monumental yet deeply personal, vigorous yet unsettlingly brooding, Baalbaki's building is rendered with both a stark brutality and delicate pathos, harnessing both its nurturing and destructive qualities, pointing to its emotionally paradoxical role in Lebanese life; as both part of the city built as a place of shelter, yet at the same time a scene of its greatest tragedies. The tension between these two elements, rendered as it is in monumental format, make this one of Baalbakis most emotive and compelling artworksThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A trio of 19th century Continental pencil and gouache roundel drawings framed as one. Two extensive landscapes and one architectural. Named to the reverse in pencil, 16cm diameter.

Gilt framed watercolour, architectural study. Gatehouse and figure, signed indistinct and dated 1915, 32 x 26cm.

A Victorian mahogany pier mirror of architectural form, 56 x 133cm

3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of a Danubian cult: on three plaques the god Sol and the goddess Luna are depicted in profile on the right and the left side of the upper part; on one plaque the sun at the top section driving the sun-chariot with four-horse (quadriga); at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on two plaques both the riders advancing, holding the draco standard of the Roman legions; a soldier armed like a third century legionary is following the left cavalryman; two plaques with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the divine power and the offerings to the gods on the fields, with scene of banquets; the eagle of Zeus at the top of three plaques; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 367 grams total, 79-94mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); all acquired from A. G. & S. Gillis, Barnsley, UK, in 2001; accompanied by a copy of the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on one plaque the god Sol and the goddess Luna are depicted on the right and the left side of the upper part, on another one only the facing solar bust at the centre of the upper section; at the centre of three plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on three plaques cavalrymen, advancing, holding the draco standard of the Roman legions; on one plaque Helen is alone on the left side of the section, welcoming one of her brothers who advances with a vexillum on his shoulders; one plaque with a cockerel, the sacred animal of the sun, vegetation and animal symbols representing the offerings to the gods on the field; the eagle of Zeus at the top of three plaques; architectural elements on the background of three plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 433 grams total, 79-94mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); two acquired from A. G. & S. Gillis, Barnsley, UK, in 2002; and two from John Cummings Ltd, Grantham, UK; accompanied by the original invoices for the four plaques. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on two plaques the god Sol and the goddess Luna are depicted in profile on the right and the left side of the upper part of the section; on the two other plaques the sun at the top section driving the sun-chariot with four-horse (quadriga); at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on one plaque both the riders advancing, holding the draco standard of the Roman legions; a soldier armed like a third century legionary is following the left cavalryman; one plaque with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the divine power and the offerings to the gods on the fields, with scene of banquets; the eagle of Zeus at the top of two plaques; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 557 grams total, 77-97mm (3 - 3 3/4"). From the private collection of Antony John Scammell (1937-2019); one acquired from A. G. & S. Gillis, Barnsley, UK, in 2000; and one acquired from Zeus Antiquities, Beverley Hills, USA, in 2005; both accompanied by original invoices and certificate of authenticity from Zeus Antiquities. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

3rd century AD. A group of four lead votive trapezoidal and square plaques showing scenes of Danubian cult: on one plaque the god Sol and the goddess Luna are depicted respectively on the left and the right side of the upper part, on another plaque the sun is facing represented driving the sun-chariot with four-horse (quadriga); at the centre or upper section of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider, followed in three cases by an armed Roman legionary; on one plaque the left cavalryman is advancing, holding the draco standard of the Roman legions; vegetation and animal symbols representing the offerings to the gods and scenes of sacrifice on the fields; the eagle of Zeus at the top of one plaque; architectural elements on the background of all plaques. See Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum, 2 vols., Leiden 1969-1976; V. Vasilev, 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 822 grams total, 9.1-12.3cm (3 1/2 - 5"). From the private collection of Antony John Scammell (1937-2019); one acquired from Dr. Bron Lipkin, Collector Antiquities, London, UK, in 2009; accompanied by the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

3rd century AD. A group of four lead votive trapezoidal, round and square plaques showing scenes of Danubian cult: on all the plaques the god Sol and the goddess Luna are depicted respectively on the right and the left side of the upper part, sometimes in profile sometimes facing; at the centre of all plaques facing Helen of Sparta, the divine daughter of Leda and Zeus, welcoming her divine brothers, the twins Castor and Pollux, both personifying the Danubian rider; on three plaques the left cavalryman is advancing, holding the draco standard of the Roman legions; two plaques with a cockerel, the sacred animal of the sun, foliage and animal symbols representing the offerings to the gods; the eagle of Zeus at the top of three plaques; architectural elements on the background of all plaques. See Vasilev, V., 'Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine' in Ancient Civilizations from Scythia to Siberia 10,1-2, 2004, pp.67-76; Beutler, F., Farka C., Gugl C., Humer F., Kremer, G. and Pollhammer, E.(ed.), Der Adler Roms, Carnuntum und die Armee der Caesaren, Bad Voslau, 2017, cat.67, for a similar plaque in bronze. 301 grams total, 71-86mm (2 3/4 - 3 1/2"). From the private collection of Antony John Scammell (1937-2019); two acquired from A. G. & S. Gillis, Barnsley, UK, in 2001; accompanied by a copy of the original invoice. The plaques contain a complex iconography of divine figures and symbols, probably to be associated with Thracian or Dacian beliefs of the Lower Danube region, but also with the Greek Myth of the divine twins Castor and Pollux (the Dioskouroi), an important element of the Roman religion too. Presiding over the whole scene is usually the Sol Invictus (the unconquered sun-god) and his sister the Moon (Selene"). His cult originated in the Near East and gained increasing influence under imperial patronage during the third century AD. The state worship of Sol (Greek Elios) was slowly substituted by Constantine's favour towards Christianity since AD 312. Antony John Scammell (1937-2019) was born, and lived his entire life, in the city of Bristol, England. Already from an early age he was enthralled by history and the heroes that it created. While serving overseas with the British Army, Antony began collecting coins and banknotes and this led to collecting a variety of different items throughout his life. From the early 1960s onward, Antony invested in acquiring ancient artefacts. Antony's vast collections started with Egyptian antiquities, but soon branched into Greek and Roman civilisations. The Roman civilisation fascinated him most and, when family commitments allowed, archaeological digs were coordinated in the west of England. These digs uncovered numerous artefacts, many of which were donated to local museums. In retirement, the collecting continued apace, branching into UK coins, British Empire banknotes and fossils. [4] Fine condition.

A collection of various architectural fragments and Roman plainware potteryIncluding a carved stone capital with egg and dart decoration, a barnacle encrusted pot, a similar pot fragment, a stone corbel carved as a man's head, a stone basin with one rounded corner, a fossil fragment with an ammonite impression, a severely weathered fragment of a man's head and two sections with bore hole through the centre, The basin, 64cm x 55cm x 12cm (10)Footnotes:Collected by the vendor in the 1970's.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Valerie Thornton (1931 - 1989) - pencil and watercolour in glazed frame - architectural study of a church interior, title verso 'Dennington', signed and dated 1979, 77cm x 56cmCondition report: Overall very good condition. The only possible defect are the pin holes where it has been attached to a board at the point of its creation. Provenance: a private client

INDIAN ARCHITECTURAL GRILLS, a set of two, carved wood, 232cm x 66cm x 5cm approx at largest. (slight faults)(2)

Three boxes of books on architecture including ‘In Troubadour-land’ by S. Baring-Gould 1891, ‘Gothic Architecture’ by John Henry Parker vol 1-3 1847, ‘Academy Architecture and Architectural Review’ vol. 54-62 1922, etc. IMPORTANT: Online viewing and bidding only. Collection by appointment via our website or arrange with Mail Boxes Etc couriers ONLY.

A grey painted bookcase cabinet, with architectural cornice fitted with novelty chimney pots over four glazed doors and four panelled cupboards on a plinth base, 271cm wide x 263cm high. Condition Report The cornice is later and can be unscrewed. The paint is dripped all over, otherwise in good condition. It is 216.5cm high without the cornice.

A collection of four Italian printed silk scarves, each designed with mirrored architectural motifs each approximately 85cm x 85cm (4)

LATE 19TH CENTURY BRASS & CHAMPLEVE ENAMEL MANTEL CLOCK, the two train movement by A.D. Mougin, the brass dial with Arabic numerals, contained in a pillared architectural case, on four beaded bun feet, 34cm high

LATE VICTORIAN GILT AND ONYX MANTEL CLOCK, with two train movement, the gilded dual with white enamel Roman chapter markers, the case of architectural form, 39cm wide

EARLY 20TH CENTURY GILT METAL MANTEL CLOCK, with two train movement, white enamel Arabic numeral chapter ring, the architectural brass case with twin handles and urn finial, on bracket feet, 40cm high

Cathy Tabbakh Stripes, Enamel and Monstera, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators.   In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March.   Condition Report:   Condition Report Disclaimer

Cathy Tabbakh Gracious Monstera Bouquet, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators.   In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March.

Cathy Tabbakh Tormented Shadow, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators.   In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March.