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Robert E. Wells The Dungeness Lighthouse, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) A Yorkshire born artist, Robert E. Wells is well known for specialising in city and landscape paintings around London and the North Yorkshire Moors. He moved to London in 1988 to study for a Masters Degree entitled The Illustration and Rendering of Architectural Spaces at London University. Prior to that he had studied at Batley Art College and worked for several years as an Architectural Illustrator. More recently he has turned to painting full time. Roberts is now a member of the Royal Federation of British Artists (RBA).Finding inspiration in the towns and cities that he visits, Robert E.Wells seeks out unusual views of familiar landmarks and scenes - encouraging the viewer to see places from a different perspective. He often paints directly from the subject at all times of the year and in all weather. He has regularly exhibited at the Royal Academy Summer Exhibition and the NEAC.

Robert E. Wells Luca & Chiana, Camber Sands, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) A Yorkshire born artist, Robert E. Wells is well known for specialising in city and landscape paintings around London and the North Yorkshire Moors. He moved to London in 1988 to study for a Masters Degree entitled The Illustration and Rendering of Architectural Spaces at London University. Prior to that he had studied at Batley Art College and worked for several years as an Architectural Illustrator. More recently he has turned to painting full time. Roberts is now a member of the Royal Federation of British Artists (RBA).Finding inspiration in the towns and cities that he visits, Robert E.Wells seeks out unusual views of familiar landmarks and scenes - encouraging the viewer to see places from a different perspective. He often paints directly from the subject at all times of the year and in all weather. He has regularly exhibited at the Royal Academy Summer Exhibition and the NEAC.

Young (W.W.) Illustrations of the Great Western & Bristol & Exeter Railways, Part I [all published], the set of 3 lithographed plates by Louis Haghe after W.W.Young, subscriber's copy with proof plates on india paper and mounted, the first two marked 'Proof', tissue guards, prospectus loosely inserted, with the rare original buff wrappers, upper cover with title within decorative architectural border, very slightly soiled and marked, stitching lacking with contents loose, upper cover lacking tips of corners (repaired), preserved in modern cloth portfolio, [Abbey, Life 412], oblong imperial 4to, Bristol, John Wright, [c.1835].⁂ Very rare. "Of considerable rarity: no copy in the British Museum, or Bristol Public Libraries. The Records Office of the Great Western Railway possesses copies of the prints but not the printed wrappers." (Abbey). No copy is listed on Library Hub and WorldCat records only one copy, at Yale.We have been able to trace only two copies of this title at auction, a coloured copy lacking the original wrappers, and a later issue of 1840.

Gardens.- Dezallier d'Argenville (Antoine Joseph) The Theory and Practice of Gardening, translated by John James of Greenwich, first English edition, Royal licence leaf opposite title, title in red and black, 4pp. list of subscribers, 32 engraved plates and diagrams (28 double-page and 4 folding), woodcut diagrams and illustrations in text, errata f. at end, title with small marginal tear, B4 2 small marginal tears, 14 plates and 11ff. water-stained, slightly browned, Gloddaeth Library bookplate on front pastedown, upper hinges weak, contemporary calf, waterstain on upper cover, corners bumped, joints splitting, gilt panelled spine, spine worn with loss at head and tail, red morocco label on spine, [Blanche Henrey III, 1426], 4to, by George James, and sold by Maurice Atkins, 1712.⁂ An important and influential work on French formal garden design, inspired by the work of Le Nôtre, and treating the subject from an architectural perspective. List of subscribers include Joseph Addison, Edward Harley and Nicolas Hawksmoor.

Thomas (William) Principal Rules of Italian Grammar, with a Dictionarie, third edition of the first Italian-English dictionary, largely printed in black letter, title within woodcut architectural border, some woodcut initials, marginal repairs to title and final leaf, a few other minor repairs to corners, generally clean and crisp, modern calf, spine sunned, g.e., [STC 24022], 4to, Henry Wykes, 1567.⁂ A very good copy of the first Italian grammar designed for English readers. Thomas was clerk to the Council of Edward VI and travelled extensively in Italy from 1554-59, doing much to popularise the language and history of Italy with this work and his Historie of Italie. He was later hanged, drawn and quartered for his alleged part in Wyatt's rebellion of 1553-1554.

Pyne (William Henry) The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore, 3 vol., first edition, 100 hand-coloured aquatint plates, many heightened with gum arabic, occasional faint off-setting from plates to text, scattered faint marginal spotting, cracked hinge (vol. 2 only), bookplates, contemporary straight grain morocco, large gilt architectural device to boards, elaborate gilt borders, spines richly gilt in compartments, aeg, gilt dentelles, housed in modern slipcases, all but 1 vol. with accompanying chemise, 4to, [Abbey Scenery 396], 1819.⁂ Provenance. Bookplate of Neil Benjamin Edmonstone (1765-1841), civil servant for the East India Company. William Henry Pyne (1770-1843) was an artist and printmaker, who commissioned the artists and engravers of these plates, to show an exact record of the interiors of royal residences. The illustrations have been consulted by art historians, curators and archivists at the royal collection to research interior schemes and decorative fashions, down to such details as the arrangements of hanging pictures.

Bourne (John C.) Drawings of the London and Birmingham Railway, with An Historical and Descriptive Account by John Britton, first edition, tinted lithographed pictorial title and 34 fine tinted lithographed views and architectural details on 29 sheets, 2 engraved maps on one sheet, paper guards, modern half dark maroon morocco, g.e., spine faded, [Abbey, Life 398; Ottley 6465], folio, Ackermann & Tilt, 1839. ⁂ An excellent copy of one of the great illustrated railway books, showing the construction methods of the railway.

Bourne (John C.) The History and Description of the Great Western Railway, including its Geology..., second issue, additional pictorial lithographed title, lithographed dedication leaf and list of plates with vignette, 47 fine lithographed views and architectural details on 33 sheets, most tinted, paper guards, 2 hand-coloured maps and a hand-coloured geological cross-section at end, with lithographed vignettes of Paddington Station at end of Preface and Bathampton church at end of Appendix A, both on india paper and mounted, some foxing, modern half dark maroon morocco, t.e.g., fading to spine and head of upper cover, [Abbey, Life 399; Ottley 5930], folio, Bogue, 1846. ⁂ Second printing of the first edition of 1843. Although the work is commonly known as Bourne's the informative text was actually written by George Thomas Clark, an engineer and respected geologist, who worked with Brunel on two sections of the line and was responsible for the Basildon and Moulsford bridges. Probably the grandest work from the early days of railways, containing many iconic images familiar because of their use in later works.

Two portfolios of watercolours from the archive of architect, artist and poet Gavin Pomeroy. Including architectural drawings, architectural, architectural watercolours, landscape and abstract watercolours, linocuts, prints etc. together with poems, architectural magazines, sketchbooks etc. and two Russell Flint prints.William Gavin Ingram Pomeroy 4 April 1929Born in Newlyn his family moved to Mousehole when his grandfather died. The Pomeroy’s owned many properties in Mousehole and were market gardeners. They owned the meadows flanking Raginnis Hill in Mousehole. His mother Ann nee White’s family were the White’s from Newlyn who built many properties in Newlyn including Eden Terrace.A great all-rounder academically, artistically, musically and also a good sportsman. Gavin played in local teams becoming captain of the junior teams in the 1940’s – football and cricket.His mother was very musically gifted and was the accompanist for Mousehole Male Voice Choir for over 30 years. Ann worked for a local solicitors and also taught the piano and organ. Gavin inherited his mother’s musical talent – he sang his first solo at the age of 14, eventually joined Mousehole Male Voice Choir – still a member (maybe still the vice-chair). And up until his recent ill health was in demand both in Cornwall and around Devon as a soloist. Gavin played the piano and violin.In his primary school, he was awarded a board school scholarship and went to what became Humphry Davy Grammar School for boys.In 1947 he started as an articled architectural student with Geoffrey Bazeley & Associated, Chartered Architects, 15/16 Alverton Street, Penzance.During his time as a student with Bazeley’s, Gavin took a correspondence course all about building, with the International Correspondence Schools Ltd. This involved doing drawings, lettering and answering a comprehensive range of questions covering all trades.In 1951 Gavin travelled to Plymouth to study architecture at the School of Art Department of Architecture in Palace Court. He boarded with a local lady and in later years married his landlady’s daughter Joy Richings, whose family were from Berneray in the Outer Hebrides (his nephew on his wife’s side and family still live there).Around 1955 Gavin was called up for National Service and deployed to Chatham Barracks, Kent where he was taken on as a draughtsman in the Sappers. He designed the gates for the barracks that were built there.He married in 1955 and he joined the choir at Plymouth Methodist Central Hall.Bazeley’s opened a branch in St Austell and later in Plymouth, Gavin headed up both.He became a part-time lecturer for Plymouth School of Architecture in the evenings and in 1964 was offered a full-time position. Gavin’s wife encouraged him to take this change of direction in his architectural career. Whilst working at the Polytechnic, Gavin successfully completed a 2 year Master’s Degree in architecture at Bath University. By the time he retired in 1999, Gavin was the senior lecturer in architecture at what was then Plymouth Polytechnic and is now Plymouth University.Throughout his life, Gavin never stopped sketching, painting (particularly watercolours and pastels that he either kept or gave to family and friends) and writing poetry.The Mousehole Archive has Pomeroy family history and Gavin’s niece has some of his paintings and some recent family history.Sadly, Gavin now has dementia but has clearly lead a very artistic and interesting life.

A German 400 day torsion clock, in a black enamel and brass architectural case with column supports. Height 29cm.

Wine and alehouses.- A Proclamation for the observation of certeine Statutes, with a fourme how the same shal be executed, black letter, title within woodcut architectural border, woodcut initials, title, A2-4 and final f. with margins repaired and restored, just touching corner of woodcut border but not affecting text, damp-staining towards end, a few chips to margins or loss to corners, light soiling, contemporary ink inscriptions to verso of title and final f., bookplate to pastedown, 19th century half calf, spine chipped, upper cover detached, [STC 7954.5], small 4to, [In Povvles Church yarde by Rycharde Iugge and Iohn Cawood, printers to the Quenes Maiestie, [?1562]].⁂ Rare reprint of three proclamations, on subjects including alehouses, archery, plays and games, wine, vagabonds and reporters of slanderous tales and news. ESTC lists 2 copies only (Folger Shakespeare and Henry E. Huntington Libraries).Provenance: ?Will Chrusten (contemporary gift inscription from ?Thomas Buttlish of Sisley, Northampton); M. H. Bloxham (bookplate).

[Savile (Sir Henry)] Rerum Anglicarum scriptores post Bedam praecipuiex vetustissimis codiciibus manuscriptis nunc primum in lucem edit, first edition, general title with woodcut printer's device, 4 divisional titles within attractive woodcut architectural borders, large woodcut historiated and decorative initials and head- and tail-pieces, general title with portion cut away from foot, not affecting imprint, occasional browning, a few ff. closely shaved at head, 2 loose manuscript insertions by Matthew Bloxam, ink inscriptions to endpapers, later reverse calf, upper joint cracked, spine ends chipped, rubbing, [STC 21783], folio, G. Bishop, R. Nuberie, and R. Barker, 1596.⁂ This collection of chronicles and histories includes the text of Æthelweard's Chronicle; the only manuscript of which was almost entirely destroyed in the Cotton Library fire of 1731.Provenance: M. H. Bloxam (ink inscriptions and bookplate).

Lyndewood (William) Provinciale seu Constitutiones Anglie, 2 parts in 1, edited by Josse Badius, woodcut title within architectural border, full-page woodcut on second A1, printed in red and black throughout, 2 leaves torn, lacks 2ff from sig.2I, ink annotations, some contemporary, including ms additional index leaf inserted at end, some soiling, bookplate of M.H. Bloxham, later half calf over marbled boards, rebacked, [STC 17111; Adams L2117], folio, [Antwerp, Christoffel van Ruremund], Venales habe[n]tur London... apud Franciscum Bryckmann, 1525.⁂ Lyndewood's Provinciale "is a collection of the most important ecclesiastical legislation enacted within the province of Canterbury between the Council of Oxford in 1222 and Chichele's archiepiscopate." (ODNB).

Waldensis (Thomas) Sacramentalia...contra Witcleuistas & eorum asseclas Lutheranos, collation: ɫ8 a-z8 A-V8, double column, title in red and black and woodcut printer's device within woodcut architectural border, handsome woodcut criblé initials of differing sizes, unobtrusive worm trace to head of title, a few small wormholes within text, occasional spotting or light marginal staining, later blind-stamped calf, remains of metal clasps, joints split, but holding firm, spine ends worn, rubbed and marked, folio (322 x 208mm.), Paris, [Josse Badius for] François Regnault, 1523.⁂ Thomas Netter, commonly known as Thomas Walden after his birthplace of Saffron Walden, Essex, English scholastic theologian and controversialist. Provenance: Munich Court Library (inscription 'Duplum Bibliothecæ regiæ Monacensis'); M.H. Bloxam (bookplate). Literature: Adams N195.

Use of Sarum.- Portiforium seu breviarium ad insignis Sarisburiensis ecclesiae usum nuper summa diligentia emendatum [pars hyemalis only], double column, printed in red and black, title and woodcut printer's device within woodcut architectural border, full-page woodcut pictorial titles, woodcuts in text, woodcut criblé initials, final f. with colophon and woodcut printer's device verso otherwise blank, title repaired at fore-edge, marginal repairs, some spotting and staining, 19th century blind-stamped calf, rebacked, preserving original backstrip, corners worn, rubbed, [STC 15844], Paris, Guillaume Merlin, 1556 § Sacra institvtio baptizandi: matrimonivm celebrandi: infirmos vngendi: mortvos sepeliendi: ac alii nonnvlli ritvs ecclesiastici: iuxta vsum insignis Ecclesiæ Sarisburienfis [sic.], 2 parts in 1, first part printed in red and black, woodcut head-piece and decorative initial, part 2 (Annotationes) lacking a3 and final index f., water-stained, occasional spotting, lower joint cracked, contemporary limp vellum, [STC 16158], Douai, Laurence Kellam, 1604, small 4to (2)

Chambers (Sir William) A Treatise on Civil Architecture, first edition, list of subscribers, 50 engraved plates, some light browning and offsetting from text to plates, subscriber's copy in handsome contemporary sprinkled calf with gilt floral border and central arms of 1st Duke of Montagu, a little rubbed, a few minor scratches, rebacked, corners repaired, [Fowler p.70; Harris 122], folio, for the author, by J.Haberkorn, 1759.⁂ Influential guide to the classical orders and decoration, published while Chambers was architectural tutor to the future George III. The architects Robert Adam, John Gwynn and William Kent are all listed as subscribers.Provenance: George Montagu, 1st Duke of Montagu, from 1732-66 known as the Earl of Cardigan; his daughter Lady Elizabeth Montagu, who married Henry Scott, 3rd Duke of Buccleuch.

NO RESERVE [Nicholson (Peter)] The New and Improved Practical Builder, 3 vol., engraved portrait, additional vignette title and c.250 plates (erratic numbering but possibly lacking a few plates), some folding, light marginal water-staining to a few plates, Thomas Kelly, 1837 § [Elsam (Richard)] The Practical Builder's Perpetual Price-Book, engraved frontispiece and 7 plates, lacking title, spot to frontispiece and half-title, [c.1834], together 4 vol., uniformly bound in contemporary half russia, rubbed, rebacked § Winkle's Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, 2 vol.., engraved additional titles and plates after R.Garland, some foxing, contemporary half russia, rebacked, 1836-38 § Cockerell (C.R.) Iconography of the West Front of Wells Cathedral, lithographed plates, contemporary calf, Oxford & London, 1851 § Britton (John) The History and Antiquities of the Cathedral Church of Salisbury, additional pictorial title, engraved plates, contemporary half calf, rebacked, 1814, some foxing, rubbed; and 6 others, similar, v.s. (14)

Dugdale (Sir William) Monasticon Anglicanum, [abridged translation by James Wright],3 parts in 1, title in red and black, 14 engraved portraits only (of 15), extra-illustrated with 13 early 19th century original watercolour drawings on 12 sheets, one in colours signed M.B.Sturges c.235 x 270mm. (folding), the rest pen and ink with grey wash signed M.B.Rouse and smaller, also several additional engravings tipped in or inserted, contemporary ink manuscript notes to front free endpaper, verso of title and bound at end, some soiling, one plate stained, contemporary panelled calf, rubbed, a few scratches, corners worn, rebacked and repaired, [Wing D2487], Sam. Keble, 1693; Monasticon Anglicanum, first edition, engraved additional architectural title by Wenceslaus Hollar, title in red and black, 53 engraved plates by Hollar and others, 2 double-page and/or folding, one with letterpress to verso, one folding plate torn at fold (repaired), a few spots but generally clean, old ink manuscript notes mounted on front pastedown, bookplate of M.H.Bloxam, contemporary mottled calf, a little rubbed and stained, corners worn, rebacked, [Wing D2484], Richard Hodgkinsonne, 1655; and an 1846 edition in 8 volumes, folio; sold not subject to return (10)⁂ The additional watercolours depict mostly ecclesiastical buildings or ruins, the main one being a 'View of the Ruins of Sopewell Nunnery, near St.Alban's in Hertfordshire'.

World.- Heylyn (Peter) Mikrokosmos [graece] a little description of the great world, fourth edition, title within architectural woodcut border, woodcut initials, head- and tail-pieces, title detached, with margins a little chipped and browned, folding table partially backed with short repaired tear, light soiling, occasional foxing or browning, bookplates, 19th century half calf, upper cover detached, upper joint split, spine lacking upper portion, rubbed and scuffed, [Sabin 31656; STC 13279], small 4to, Oxford, by W. T[urner]. for William Turner, and Thomas Huggins, 1629.

AN EBONISED AND FAUX MARBLE MANTLE CLOCK IN ARCHITECTURAL STYLE CASE, 34CM H, LATE 19TH C, A FRAMED  SAMPLER, ETC. Case of clock worn, movement working order

A GERMAN OAK ARCHITECTURAL CASED BRACKET CLOCK AND A BRACKET, LATE 19TH C, HAVING BRASS DIAL WITH MATTED CENTRE, SILVERED CHAPTER RING AND WINTERHALDER AND HOFFMEIER MOVEMENT, WITH FIVE COILED WIRE GONGS AND PULL REPEAT, CASE WITH TRIANGULAR PEDIMENT AND FLUTED PILASTERS ON STEPPED RECTANGULAR BASE, 54.5CM H EXCLUDING BRACKET, PENDULUM Silver ring discoloured / worn, shrinkage crack and fading on top of pediment and requiring some light general cosmetic restoration. Movement a little oily

Suckling (Alfred) The History and Antiquities of The County of Suffolk: with Genealogical and Architectural Notices of its Several Towns and Villages, John Weale, 1846, two volumes, quarto, plates as called for (several hand-coloured), with the addition of the three cancelled plates in volume I, subscriber's order form bound in with postmarks (including Wangford 1848), top edge gilt, contemporary half morocco (binding rubbed, water-staining to plates in volume II)

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

Morris Singer Company Architectural Metalwork, no date, folio, 51 pages, original cloth [Morris Singer was a branch of William Morris & Co.]; Copper and Brass Extended Uses Council, Copper in Architecture, A Treatise for the Information of Architects, Builders & Lovers of Good Building, 1927, proof copy with amendments in pencil, brochure loosely inserted, original quarter cloth; with three others (5)

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)

SWEDISH BIEDERMEIER SATIN BIRCH LONGCASE CLOCK, JOHAN LANGSTROM, SKELLEFTEA MID 19TH CENTURY the white enamel Arabic numeral dial with two winding holes and signed 'Joh. Langstrom/ Skelleftea 1834', in a tall architectural case with a glazed trunk door(45cm wide, 239cm high, 22cm deep)

VIENNA MAHOGANY WALL REGULATOR LATE 19TH CENTURY the white enamel dial with Roman numbers and two winding holes, in an architectural case(126cm high, 43cm wide, 20cm deep)

Five pairs of 19th Century animal and architectural steel scissors, comprising a pair in the form of a tower, 9cms, another pair the arms as a hare, 10cms, another the arms as a swan, 7cms, another the arms as an owl, stamped ‘Mullenberg, Germany’, 9cms, and another pair each arm as a bird, 9cms.     (5)                                                                                                                     From a European Collection

Architectural salvage - a 19th century curved oak beam. 142cm long

Architectural Salvage - 18th century and later carved wood panelling, etc, qty

33 TEILE AUS EINEM SERVICE MIT ARCHITEKTURLANDSCHAFTEN. 33 TEILE AUS EINEM SERVICE MIT ARCHITEKTURLANDSCHAFTEN. Fürstenberg. Datierung: Um 1770/80. Technik: Porzellan, farbig und gold dekoriert. Beschreibung: Bestehend aus Kaffeekanne, Heißmilchkanne, Teekanne, Kumme, Zuckerdose, 5 Kaffeetassen, 6 Teetassen, 3 kleinen Teetassen, 14 Untertassen. Maße: Höhe der Kaffeekanne 25cm. Marke: F-Marke in Blau, 5 x mit Beizeichen, diverse Präge- und Ritzzeichen. Kaffeekanne mit Monogramm JH (?) in Gold. Deckel der Teekanne spätere Ergänzung. Erläuterungen zum Katalog Fürstenberg Deutschland Porzellan 18. Jahrhundert Service 33 TEILE AUS EINEM SERVICE MIT ARCHITEKTURLANDSCHAFTEN. 33 PIECES FROM A PORCELAIN SERVICE WITH ARCHITECTURAL LANDSCAPES. Fürstenberg. Date: Around 1770/80. Technique: Porcelain, enriched in colours and gold. Description: Consisting of coffeepot, milk jug, teapot, bowl, sugar bowl, 5 coffee cups, 6 teacups, 3 small teacups and 14 saucers. Measurement: Height of the coffeepot 25cm. Mark: F-mark in blue, 5 x with addition-mark, different stamped or carved signs. Coffeepot with monogram JH (?) in gold. Lid of the teapot added. Explanations to the Catalogue Fürstenberg Germany Porcelain 18th century Dinnerware

DÉJEUNER MIT ARCHITEKTURLANDSCHAFTEN. DÉJEUNER MIT ARCHITEKTURLANDSCHAFTEN. Fürstenberg. Datierung: Um 1770. Technik: Porzellan, farbig und gold dekoriert. Beschreibung: Insgesamt 8 Teile, bestehend aus Teekanne, Heißmilchkännchen, Zuckerdose, 2 Teetassen und 2 Untertassen sowie einem ovalen Tablett. Maße: Höhe der Teekanne 11,5cm / Tablett 46 x 32cm. Marke: F-Marke in Blau, 2 x mit Beizeichen, diverse Präge- und Ritzzeichen. Erläuterungen zum Katalog Fürstenberg Deutschland Porzellan 18. Jahrhundert Service DÉJEUNER MIT ARCHITEKTURLANDSCHAFTEN. PORCELAIN DÉJEUNER WITH ARCHITECTURAL LANDSCAPES. Fürstenberg. Date: Around 1770. Technique: Porcelain, enriched in colours and gold. Description: Consisting of 8 pieces, consisting of teapot, milk jug, sugar bowl, 2 tea cups and 2 saucers as well as an oval tray. Measurement: Height of the teapot 11,5cm / tray 46 x 32cm. Mark: F-Mark in blue, 2 x with addition-mark, different stamped and carved signs. Explanations to the Catalogue Fürstenberg Germany Porcelain 18th century Dinnerware

12 TEILE AUS EINEM SERVICE MIT ARCHITEKTURLANDSCHAFTEN. 12 TEILE AUS EINEM SERVICE MIT ARCHITEKTURLANDSCHAFTEN. Fürstenberg. Datierung: Um 1770. Technik: Porzellan, farbig und gold dekoriert. Beschreibung: Bestehend aus Kaffeekanne, 5 Tassen mit 5 Untertassen & achteckigem Schälchen. Maße: Höhe der Kanne 24,5cm. Marke: F-Marke in Blau, verschiedene Ritz- und Prägezeichen. Erläuterungen zum Katalog Fürstenberg Deutschland Porzellan 18. Jahrhundert Service 12 TEILE AUS EINEM SERVICE MIT ARCHITEKTURLANDSCHAFTEN. 12 PIECES FROM A PORCELAIN SERVICE WITH ARCHITECTURAL LANDSCAPES. Fürstenberg. Date: Around 1770. Technique: Porcelain, enriched in colours and gold. Description: Consisting of coffeepot, 5 cups with 5 saucers and small octogonal bowl. Measurement: Height of the coffeepot 24,5cm. Mark: F-marke in blue, different carved and stamped marks. Explanations to the Catalogue Fürstenberg Germany Porcelain 18th century Dinnerware

ZWEI DECKELGEFÄßE MIT WIDDERZIER UND ARCHITEKTURLANDSCHAFTEN. ZWEI DECKELGEFÄßE MIT WIDDERZIER UND ARCHITEKTURLANDSCHAFTEN. Meissen. Datierung: 19. Jh. Technik: Porzellan, farbig und gold staffiert. Beschreibung: Runde Form auf niedrigem Fuß, mit leicht gewölbtem Deckel mit Zapfenknauf. Deckel und Seitenwandung mit feinen, umlaufenden Architekturlandschaften mit Staffagefiguren und ländlichen Szenen. Seitliche Widderköpfe mit in den Hörnern verschlungenen Lorbeergirlanden. Maße: Höhe ca. 16cm. Marke: Marcolinimarke, einmal mit Modellnr. F42, beide Bossierernr. 20. Erläuterungen zum Katalog Meissen Deutschland Porzellan 19. Jahrhundert Terrine ZWEI DECKELGEFÄßE MIT WIDDERZIER UND ARCHITEKTURLANDSCHAFTEN. TWO LIDDED PORCELAIN VESSELS WITH RAM DECOR AND ARCHITECTURAL LANDSCAPES. Meissen. Date: 19th century. Technique: Porcelain, enriched in colours and gold. Description: Round shape on a narrow foot, with slightly curved lid with pine cone-knob. Lid and sides with fine, circumferential architectural landscapes with staffage figures and rural scenes. Lateral ram heads with laurel garlands entwined in their horns. Measurement: Height approx. 16cm. Mark: Marcolini-mark, once with model no. F42, both with porcelain former's no. 20. Explanations to the Catalogue Meissen Germany Porcelain 19th century Tureen

STANGENBECHER MIT FEINSTEM GRAVURDEKOR. STANGENBECHER MIT FEINSTEM GRAVURDEKOR. Augsburg. Datierung: 1685-87. Meister/Entwerfer: Cornelius Poppe. Technik: Silber mit Innen- und Teilvergoldung. Beschreibung: Gekehlter und mehrfach profilierter Standring, darüber glatte, konische Wandung. In zwei großen, gegenständigen Kartuschen weitläufige Architekturlandschaften. In den Zwischenfeldern feinst gravierte Früchte sowie ornamental verschlungene Akanthusranken. Gewicht: 408g. Maße: Höhe 18cm. Marke: BZ Augsburg 1685-87 (Seling Nr.860), MZ Cornelius Poppe (1685-1723, ebd. Nr.1815), Tremolierstrich. Marke: Moskauer BZ mit Jahr 177(?) (vgl. Goldberg Nr.493), 76, Tremolierstrich. Unten in Wandung reparierter Riss. Provenienz: Süddeutsche Privatsammlung. Wie aus der Werkliste Poppes bei Seling hervorgeht, haben mehrere seiner Arbeiten ihren Weg nach Moskau gefunden und werden dort in verschiedenen Museumssammlungen verwahrt. Erläuterungen zum Katalog Augsburg Deutschland Silber 17. Jahrhundert Becher Poppe, Cornelius STANGENBECHER MIT FEINSTEM GRAVURDEKOR. PARTIALLY GILT SILVER BEAKER WITH FINE ENGRAVINGS. Augsburg. Date: 1685-87. Maker/Designer: Cornelius Poppe. Technique: Partially gilt silver with gilt interior. Description: Grooved and multi-profiled foot ring under smooth, conical body. Vast architectural landscapes in two large, opposing cartouches. Finely engraved fruits and ornamentally entwined acanthus tendrils in between. Weight: 408g. Measurement: Height 18cm. Mark: Inspection mark Augsburg 1685-87 (Seling no.860), maker's mark Cornelius Poppe (1685-1723, ibid. no.1815), testing mark. Inspection mark Moskow with year 177(?) (compare Goldberg no.493), 76, testing mark. On the bottom of the wall, repaired crack. Provenance: Private collection southern Germany. As can be seen in the list of Poppes' works by Seling, several of his works have found their way to Moscow and are kept there in various museum collections. Explanations to the Catalogue Augsburg Germany Silver 17th century Beaker Poppe, Cornelius

WALZENKRUG MIT ARCHITEKTURLANDSCHAFT. WALZENKRUG MIT ARCHITEKTURLANDSCHAFT. Berlin. Datierung: 1730-40. Meister/Entwerfer: Manufaktur Cornelius Funcke. Technik: Beiger Scherben mit weißer Glasur und farbigem Dekor. Zinnmontierung. Maße: Höhe 28cm. Marke: Zinndeckel gemarkt. Krug mit Bodenmarke F in Blau. Provenienz: Privatsammlung Berlin, erworben bei Seidel u. Sohn, Berlin. Erläuterungen zum Katalog Berlin Deutschland Keramik 18. Jahrhundert Walzenkrug Funcke, Cornelius WALZENKRUG MIT ARCHITEKTURLANDSCHAFT. CERAMIC TANKARD WITH ARCHITECTURAL LANDSCAPE. Berlin. Date: Around 1720/30. Maker/Designer: Manufactury of Cornelius Funcke. Technique: Beige body with white glaze and coloured decor. Tin mounting. Measurement: Height 28cm. Mark: Tin lid marked. Tankard marked F in blue on the bottom. Provenance: Private collection Berlin, purchased at Seidel u. Sohn, Berlin. Explanations to the Catalogue Berlin Germany Ceramics 18th century Funkce, Cornelius

WALZENKRUG MIT ARCHITEKTURLANDSCHAFT. WALZENKRUG MIT ARCHITEKTURLANDSCHAFT. Berlin. Datierung: Um 1730-40. Meister/Entwerfer: Manufaktur Cornelius Funcke. Technik: Beiger Scherben mit farbigem Dekor. Zinnmontierung. Maße: Höhe 25,5cm. Marke: Zinndeckel gemarkt. Provenienz: Privatsammlung Berlin. Erläuterungen zum Katalog Berlin Deutschland Keramik 18. Jahrhundert Walzenkrug Funcke, Cornelius WALZENKRUG MIT ARCHITEKTURLANDSCHAFT. CERAMIC TANKARD WITH ARCHITECTURAL LANDSCAPE. Berlin. Date: Around 1730-40. Maker/Designer: Manufactury of Cornelius Funcke. Technique: Beige body with coloured decor. Tin mounting. Measurement: Height 25,5cm. Mark: Tin lid marked. Provenance: Private collection Berlin. Explanations to the Catalogue Berlin Germany Ceramics 18th century Funkce, Cornelius

PLAYERS, part sets with duplication, inc. Allied Cavalry, A Nature Calendar, Aquarium Studies, Architectural Beauties, Artillery in Action, Aviary & Cage Birds, British Livestock, British Naval Craft, British Pedigree Stock, British Regalia, Bygone Beauties, British Butterflies, Cats, Championship Golf Courses, Characters from Dickens, Characters from Fictions, Clocks - Old & New, Country Sports, Cries of London, Dandies etc., in modern album, cv approx. £684, G to EX, 707*

A Victorian slate and marble mantel clock, architectural case, circular dial with visible escapement, French cylinder movement striking on a gong, 39cm.

Victorian slate mantel clock, architectural case, circular dial, German cylinder movement, 31cm.

Victorian mahogany barometer, architectural pediment, the case with boxwood and ebony stringing, silvered dials, signed J Verga, St Ives, 106cm.

A large collection of postcards dating from the 20th century. To include humour, topographical, architectural being presented loose and within good presentation albums

Four various implements with polished stone terminals, possibly onyx / agate, these are possibly architectural stone/plaster masons' tools-London architects in the 1840's needed to show they could design in small scale columns/statues-decorative frieses etc in plaster, these same models were like display pieces which complement his architectural property designs/plans 

SET OF SIX MODERN ARCHITECTURAL PRINTS

 A retro gold amethyst and diamond ring. The ring set with an octagon step cut amethyst 12.2 x 16.8mm flanked by eight diamonds in an architectural mount. Partial sponsor mark B.F tests indicate 18ct gold. Weight 10.7g. Size K.

Original etching by A E Howarth titled “Rose Window, Rouen”. Howarth was a Britishartist known for his beautiful church etchings and architectural drawings. Born inDurham and living in Watford, he was self-taught and produced his first etchings in1898; he also worked as an illustrator for newspapers and periodicals, and he workedwidely in England, France and Italy. It is titled on the mat in the lower left and signed inthe margin on the lower right. The overall size is 20 x 32 in. wide and the sight size is 24x 11 3/4 in. wide.

“Arch of the Conca, Perugia” by John Taylor Arms, signed and dated in the margin in thelower right. Arms was noted for his unsurpassed attention to architectural detail, oftenachieved with a magnifying glass and sewing needle in the etching ground. He studiedarchitecture at MIT in Boston, served in the Navy, then devoted himself to etching. Hisinitial subject was the Brooklyn Bridge. Then he worked on images of Gothic churchesand cathedrals in France and Italy. He also made a series of prints of American cities.The etching is titled in the mat on the lower left and signed in the margin on the lowerright. The overall size is 14 1/4 x 19 in. wide and the sight size is 11 1/4 x 15 1/2 in.wide.

Porticus of Octavia, Rome 1928. Drypoint, signed in pencil lower right, initialed and dated in plate lower left: LCR 28. An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology. He then enrolled at the Royal College of Art, London, to study etching techniques under Malcolm Osborne. Rosenberg concluded his education in Rome at the American Academy. During his career Rosenberg etched and engraved many architectural views throughout both Europe and the United States. Of major interest however were the buildings of Rome, Venice and Constantinople, and he created an impressive collection of views of these three cities over of period of more than twenty years. Overall size: 19 x 14 in. Sight size: 7 1/2 x 5 1/2 in.

Architectural print stamped LBA. Sight: 17 3/4 x 12 3/4 in. Overall: 22 1/2 x 18 in. Please note that all sales are final. No refunds will be given under any circumstances.

Style Louis XVI architectural print framed. Overall: 35 x 35Sight: 25 1/2 x 19 3/4

Signed architectural print.Overall: 28 1/4 x 38 1/2Sight: 14 1/225 1/2

Portrait of a Balinese young woman, texturized and impasto oil on board, signed upper left: Wolff Sch. Lot includes book on the life and work of C.P. Wolff Schoemaker, entitled Tropical Modernity, by C.J. Van Dullemen. Charles Prosper Wolff Schoemaker was a Dutch architect who designed several distinguished Art Deco buildings in Bandung, Indonesia, including the Villa Isola and Hotel Preanger. He has been described as "the Frank Lloyd Wright of Indonesia," and Wright had a considerable influence on Schoemaker's modernist designs. Although he was primarily known as an architect, he was also a painter and sculptor. Schoemaker was born on Java in a Catholic military family. After training in the Netherlands at the Royal Military Academy, he returned to the Dutch East Indies in 1905, where he worked his way up from officer in the Royal Dutch East Indies Army to director of municipal public works in Batavia. He was converted to Islam and set up an architectural and engineering practice with his brother. After the closing down of the firm he rose to become a valued professor at the Technical University and a famous artist. Schoemaker’s love life with five successive marriages was as non-conformist as that of his student and lifelong friend, Sukarno, the first president of Indonesia. This friendship led to Schoemakers later exclusion by the Indo-European community after the Japanese occupation. He died in the year of Indonesia‘s independence. Overall size: 21 x 15 in. Sight size: 14 1/2 x9 1/4 in.

Serene view of an Indonesian/Polynesian temple with architectural details, set amongst the trees, with three religious sculptural figures in the shaded foreground. Appears to be canvas mounted on board. Signed indistinctly lower left. ‘Mooi Indie’ (Beautiful Indies) was a genre of painting that occurred during the colonial East Indies that captured the romantic depictions of the Indies as the main themes; mostly natural scenes of mountains, volcanoes, rice paddies, river valleys, villages, with scenes of native servants, nobles, and sometimes bare-chested native women. Some of the notable Mooi Indie painters are European artists: F.J. du Chattel, Manus Bauer, Nieuwkamp, Isaac Israel, PAJ Moojen, Carel Dake and Romualdo Locatelli; East Indies-born Dutch painters: Henry van Velthuijzen, Charles Sayers, Ernest Dezentje, Leonard Eland and Jan Frank. Overall size: 22 12 x 17 in. Sight size: 19 x 13 1/2 in.

Pair of substantial historic architectural elements of a classic dolphin design, crafted in bronze, circa 19th century. Each antique dolphin is currently mounted on a solid wood base and capped with wood. These architectural elements had most recently been incorporated into a local home as part of the majestic fireplace.The HMS Dolphin (1882) was a screw sloop launched in 1882. In 1884-85 she took part in military operations in eastern Sudan. In 1893, while under the command of Lieutenant Christopher Cradock, she rescued the crew of the Brazilian Navy corvette, Almirante Barroso, which had wrecked on the coast of the Red Sea near Ras Zeith in January 1893 during an around-the-world cadet cruise.By 1900, Dolphin had become a seagoing training brig under the command of Lieutenant John Luce. She took part in the fleet review held at Spithead in August 1902 for the coronation of King Edward VII. She served as a submarine depot ship in World War I. She foundered in 1925 but was beached and used as a school ship. She was broken up in 1977. Overall size each: 48 x 7 3/4 x 17 in.Dolphin size each: 34 x 5 x 17 in.

Terracotta bust of a young girl with brown patina. Original brown marble base. Signed and dated 1783 on underside. Slight flake to the back of the sculpture. Prominent in France during the Enlightenment period of the late 18th and early 19th centuries, Jean-Antoine Houdon was a neo-classical sculptor, especially noted for his marble portrait busts and statues. His subjects included Americans Benjamin Franklin, George Washington, Thomas Jefferson, and Robert Fulton, and among his French subjects were Denis Diderot, Jean-Jacques Rousseau, Louis XVI and Napoléon Bonaparte. For King Louis, he did numerous statues for the gardens of Versailles. Houdon was a continuous exhibitor at the French Salon, and works included many of the above mentioned personages as well as Prince Henry of Prussia, Catharine of Russia, Voltaire, the playwright Moliere and Marshal de Tourville. Houdon was born in Versailles in 1714. His artistic talent was apparent from the time he was young, and at age 12, he enrolled in the Ecole Royale de Sculpture where he was a student of sculptor Michel Ange Slodtz (1705-1764). In 1761, at the age of 20, Houdon received a Prix de Rome, which was a scholarship sponsored and paid for by the King of France for art students to study at The Academy of France in Rome. He stayed in Italy for ten years, and there much delighted Pope Clement XIV and many other people with his statue of St. Bruno, which Houdon did for the church of St. Maria degli Angeli. Although receiving the Prix de Rome brought him public recognition and the duration provided some excellent exposure to Italian art, scholars indicate that he was not particularly influenced by either the Renaissance or Classical works. However, tangible evidence of some of that influence was the sculpture he titled Morpheus that he sent to the French Salon in 1771. That same year, because of the skill he had shown with Morpheus, and with entries two years earlier that were busts of Catharine II, Diderot and Prince Galitzin, Houdon was elected to the Académie des Beaux-Arts (painting and sculpture), one of the five academies of the Institute de France, a society of learned persons who set aesthetic standards. In 1778, he became a Professor at the Académie and has been described as being a very active teacher. During the French Revolution, he was censored as a 'bourgeois' because of his association with Louis XVI, but he was not imprisoned. Under the French Consulate, the government between 1799 and 1804, and the French Empire, 1804-1814, when Napoléon took over, Houdon regained his former stature. He executed architectural reliefs, did a statue of Cicero for the Senate, did portrait busts of Napoleon and his wife Josephine, and received the Legion of Honour. In 1785, at the invitation of Benjamin Franklin, America's Minister to France, Houdon traveled with Franklin to America to Virginia, where he visited Mount Vernon to model George Washington, who four years later would be elected President of the United States. From sittings, Houdon made wet-clay life models and a plaster life mask, which later were used, not only by Houdon in Paris for his portrait bust of Washington but for many sculpture works of Washington. Among these Washington subjects are the standing figure statue in the state capitol building in Richmond commissioned by the Virginia General Assembly; many variations of a portrait busts, and a statue in the Vermont State House depicting him in a toga as the Roman Consul Lucius Quinctius Cincinnatus. Jean-Antoine Houdon died in Paris July 16, 1828, and is buried in Montparnasse Cemetery. From November 4, 2003 to January 25, 2004, an exhibition of Houdon's sculpture was held at the J. Paul Getty Museum in Los Angeles. Size: 18 x 12 x 6 in.

An Arts & Crafts oak side table in the manner of Edwin Lutyens, of refectory table form, the solid two plank top raised on turned legs with projecting dowel joints and joined by stretchers. 82cm by 137cm by 60cm Note: Lutyens used projecting dowels on numerous architectural commissions as well as his furniture - notably at Castle Drogo and Lindisfarne Castle.

Italian School (17th century) Noli me Tangere Bears signature P del Vaga, mixed media, 27.5cm by 20cm Contained in an architectural Renaissance style stained wood frame See illustration . Images of frame and verso will be uploaded in due course.

A Mahogany Eight Day Longcase Clock, signed Joshua Harrocks, Lancaster, circa 1770, architectural broken arch pediment, wavy shaped trunk door, stop wooden fluted pilasters, plinth with canted corners, 13-inch arch brass dial, finely engraved scroll and floral decorated dial centre, seconds dial and date aperture, arch with moonphase aperture and signed above on a silvered plaque, four pillar movement with an anchor escapement and rack striking on a bell, 231cm high see illustration Joshua Horrocks is recorded as working for Robert Parkinson in Lancaster by 1746. He became a Freeman of Lancaster in 1749. In 1766 he was working in Pudding Lane, Lancaster before moving to Ermont Bridge in 1771. He housed his finest clocks in Gillows mahogany cases. Case with small scratches in parts, pediment with small chips to the mouldings, hood door lock is later, plinth with dents in parts, later added feet, back feet are missing, dial slightly discoloured in parts, movement is complete and in going order, with two weights and a pendulum.

FOUR FRAMED ARCHITECTURAL PICTURES, comprising of two photographs and two prints, the largest 26cm x 39cm, all mounted, framed and under glass (4)

GLASGOW UNIVERSITY 500 YEAR ANNIVERSARY MEDAL, along with a book on the architectural history of Glasgow University, and a silk scarf depicting NTS properties in Glasgow with key card