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A collection of dolls house plaster architectural mouldings including pillars and columns along with "The Phoenix Kitchener", fireplaces etc.

* Fisher (Thomas, 1782-1836). Mr. Roberts's house, Tebworth, Bedfordshire, watercolour and traces of pencil, depicting a red stone house with mullioned windows, and a thatched timbered barn adjoined on the right with a lattice-paned window, image size 24 x 28.5cm (9.5 x 11.25ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 54. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.

* Fisher (Thomas, 1782-1836). Mrs Sandy's House, Eversholt, Bedfordshire, watercolour and traces of pencil, depicting a large and imposing red brick house with sash windows, a path between lawns leading to the panelled front door, and a door in the garden wall to the left leading into a small dwelling or bothy, image size 24 x 28.5cm (9.5 x 11.25ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 60. The house depicted here is still extant, and now called Linden House, having been known as Linden Farm in the late 18th century, and subsequently as Eversholt House in the 19th century and Eversholt Rectory in the early 1900s. A number of Sandys family members are associated with, or lived in and around, Eversholt from the mid 18th century right up until the late 19th century. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.

* Fisher (Thomas, 1782-1836). Well-head in the parish of Barton, Bedfordshire, watercolour and traces of pencil, depicting a landscape with rolling hills, trees, and a branching stream, some light toning, image size 25.5 x 38cm (10 x 15ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 24. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.

* Fisher (Thomas, 1782-1836). How-green near Ampthill, Bedfordshire, watercolour and traces of pencil, depicting a traveller with a walking stick and a bundle on his back traversing a wide lane lined with trees on the right and piles of bricks beside a double fence on the left, a sign post in the distance, lightly toned, image size 23 x 33cm (9 x 13ins), titled in ink by the artist to lower margin below image, mounted, framed and glazedQty: (1)NOTESProvenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours , 12th June 1980, lot 50. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this field was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire , published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors' prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic fit and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up.

H P BLOOMER; a faceted stoneware footed jug perforated above the handle, impressed HP mark, height 21cm.Bloomer's tableware is influenced by patterning and colours found in fashion, graphic, interior and architectural design.Provenance: Purchased in 2014.Additional InformationAppears good with no obvious signs of faults, damage or restoration. 

ROBERT HARRISON (born 1953); a stoneware wall hanging, incised and painted signatures and dated 2003, height 29cm, mounted on board.Well known for his large scale architectural sculpture, Harrison continues to evolve and exhibit smaller scale studio works.Additional InformationAppears good with no obvious signs of faults, damage or restoration. 

CHINESE REPUBLIC PERIOD VASE, painted with an architectural mountain landscape, boats on the river and with script, six character mark to base, on a wood stand, 22cm high overall

19TH CENTURY JAPANNED WORK TABLE, the lid with borders in red around a (faded) scene of figures and architectural scenery, the underside of the lid with a scene of animals and floral in gilt, the interior fitted with compartments, some lidded, 62cm wide

LARGE MID 20TH CENTURY BURMESE EMBROIDERED PANEL, depicting an archer and group of figures before an architectural feature and with stylised foliate design backdrop, flanked above and below by a row of figures, 121cm x 145cm, framed

INDIAN SILVER THREE PIECE TEA SERVICE, each piece with bands in relief of animals, flowers and architectural features, the handles modelled as snakes and with elephant finial to the tea pot, the pot 23cm long, 632g gross

EARLY 20TH CENTURY CHINESE FAN, the sticks in wood and ivory, carved with figures and architectural scenery, the guards 19cm long

A GILT BRASS CARRIAGE CLOCK in architectural case, the white enamel dial with Roman numerals, two train movement striking on a coiled gong with push repeat, 20cm high

Henry Marc, Paris, a late 19th Century Aesthetic Movement bracket clock, circa 1880, architectural case with gilt and polychrome floral inset panels, matching 12cm dial with Arabic numerals, the mechanism striking on a gong, height 37cm (pendulum and two keys)Condition: generally good overall but two side ebonised strips missing, movement not tested and sold as seen

A Victorian black slate mantle clock, if architectural form, height 11ins

An Edwardian satin walnut dressing table, the rectangular mirror with an architectural pediment, the base with two short and two long drawers on bracket feet

A French gilt metal and blue ceramic mounted mantel clock, second half 19th century, the eight-day bell striking movement with outside countwheel with Japy Freres 1855 roundel and H MARC PARIS oval serial numbered 39416 to the back plate, the case of architectural form with urn finials and columns flanked by cherubs, 54cm highCondition Report: The case in need of serious restoration, wear, breaks, losses, detached and loose elements, this has been put together for the catalogue image but it is not solid and stable. Dreweatts recommend first hand inspection before bidding. Dreweatts can also give no guarantees if the movement is working or give any comments as to accuracy - there is a bell present but no keys or pendulum.Condition Report Disclaimer

A set of seven architectural prints, various dates, artists and sizes (7)

After Leonard Knyff (Dutch 1650-1721), A set of 10 architectural engravings, each plate 35 x 48cm (13 3/4 x 18 7/8in.) (10)

Bible [Latin]. Biblia ad Vetustissima Exemplaria Nunc recens castigata. In quibus, præterea, quæ subsequens Præfatio indicat, capita singula ita versibus distincta sunt, ut numeri præfixi, lectorem non remorentur, & loca quæsita tanquam digito demonstrent, Venice: Apud Haeredes Nicolai Bevilaquae & socios, 1576, elaborate woodcut architectural title page with vignette of St Jerome and the lion below title (repeated on *4r,) the borders with scroll work and grotesques, woodcut decorative headpieces, large historiated initials & numerous small decorative initials, tailpieces and other decorations, numerous woodcut illustrations throughout including some repetitions (includes some after Holbein, Bernard Salomon and Pierre Eskrich), lacking 1 leaf of OT (from Marks Gospel, pages 655/656) and also lacking 24 leaves of index and final colophon leaf at end, some light toning, occasional dampstains and minor spotting, few small worm trails to upper margins of few leaves, two leaves with repaired closed tears, modern dark blue morocco, title & date in gilt to spine, some darkening and discolouration, folio (385 x 255 mmQty: (1)NOTESRuth Mortimer, Harvard College Library, Italian 16th Century Books, Volume 1, pages 86-88, No. 62. According to Mortimer the xylographic title indicates an earlier setting in which the vertical columns are also transposed, and our copy conforms to all her points for the first issue. "The Old Testament blocks measure 55 x 78 mm (2¼" x 3 1/8") extended to column width by ornamental side-strips, with a few larger blocks, 115 x 73 mm, in Exodus and Kings. The New Testament blocks are 55 x 48 mm. The artist of these illustrations worked from various sources, notably the three sets of woodcuts by Hans Holbein, Bernard Salomon, and Pierre Eskrich, introduced at Lyons from 1538 to 1562 and widely used in Bibles and picture books. This Venetian set also has scenes not usually illustrated". Not listed in Darlow and Moule who only list the Louvain Latin Bible of 1547 (6129) on whose text this Venetian printing is based, and the 1572 Junta Venice edition also based on the Louvain version (6157).

Fashion. La Belle Assemblee, A New and Improved Series, numbers 93-97, London, printed by and for J. Bell, January [-May] 1817, five monthly parts bound in one, each with: 2 hand-coloured engraved fashion plates, one engraved portrait, and one lace pattern, a couple of portraits spotted (one dampstained), one lace pattern with horizontal closed tear and one toned, occasional spotting to text, contemporary cloth, some discolouration or staining, a little wear to extremities, together with The New Monthly Belle Assemblee: A magazine of literature and fashion ..., 5 volumes, London: by Joseph Rogerson, 1843-1846, comprises volumes: XVIII (January-June 1843), XXI (July-December 1944), XXII (January-June 1845), and XXIV & XXV (January-June & July-December 1846), each volume with 12 hand-coloured engraved fashion plates, and 6 engraved portraits, the latter 4 volumes also with 6 engraved plates of architectural views, some spotting and scarce minor dampstaining, a few architectural plates close-trimmed at foot (affecting captions), 2 portraits lacking, 2 plates detached, 3 fashion plates with closed tears (one with associated large loss to lower outer corner), 1 fashion plate with small loss to fore-edge and one close-trimmed at fore-edge (both affecting costume), contemporary green half calf gilt, rubbed with some wear to extremities, some spine labels chipped or deficient, front hinge cracking to one volume, plus 2 others similar: The Lady's Magazine [or Entertaining Companion for the Fair Sex], January-December 1807, with numerous engraved plates, including several hand-coloured fashion plates and The Ladies Cabinet of Fashion, Music & Romance, volume 3 only, 1845, with hand-coloured fashion plates, all 8voQty: (8)

* India. Five architectural sketches by John Nankivell (1941-), 1971, depicting buildings in Kullu district, Himachal Pradesh, with captions: 1) Kataula, Temple Stores, Mandi State, 2) Saraban, Basleo Pass, 3) Village House, Gareli[?], Kulu Valley, 4) Nither, Bhandar[?], 5) Parvatti Valley, all in pencil on wove paper, signed by the artist lower left or right, numbers 1 and 3 dated May 1971, the rest undated, each tipped along top edge into card window mount, slightly toned, various dimensions (mount apertures 35.5 x 45.5 cm to 39 x 55 cm)Qty: (5)

A 19th century mahogany cased mantle clock, with a brass and silvered dial with black Arabic numerals, in an architectural case, 38cm high, 28 x 15cm.

A modern stained wooden wall mirror with architectural pediment and galleried base, 88 x 61cm and a painted mirror depicting storks and a swift in a river, within a gilt-framed border, 47 x 77cm (2).

P Cortu, Exeter; a George III mahogany banjo barometer with silvered dials architectural pediment, a silvered mercury thermometer, mirror bull's-eye and signature to silvered level, height 100cm. CONDITION REPORT Glass float broken, traces of mercury left, reeded trim to mirror broken and losses. Roundel is bent, various scratches, etc.

A 19th Century French marble mantel clock, of architectural form, the circular white enamel Roman numeral dial with visual escapements supporting an eight day movement striking on a bell, 43.5cm wide x 27cm high

A pair of modern Empire style gilt framed wall mirrors of arched architectural form, each with bevel edge plates, flanked by side column decoration, 62.5 cm wide x 84 cm high and 72.5 cm wide x 95 cm high respectively

A Lenzkirk oak cased mantel clock, domed brass dial with rococo floral and foliate scroll spandrels, silvered chapter ring bearing Roman numerals, eight day movement with coil strike, the case of architectural form, raised on a plinth base, with pendulum and key, 25cm wide, 18.5cm deep, 33.5cm high.

Late 19th century black slate mantel clock of architectural form, gilt dial with Arabic numerals, twin train movement striking the hour and half hour on a gong, movement stamped 'G.B. & E', H33.5 x W36cm

A tall Doulton Lambeth stoneware sundial base, dated 1876, tall, slender cylindrical form with knop, incised with foliate bands and applied beadwork, in shades of green, blue and ochre highlighted with white, a smaller Doulton Lambeth jardiniere stand, and a Doulton architectural base, impressed marks, damages, 103cm. high (3) Provenance The collection of Pam and Mark Taylor.

Mackay Hugh Baillie Scott, manner of Little Thakeham, 1911 watercolour architectural design on paper signed Baillie Scott 1911 in yellow bottom right corner 35.5 x 24cm.

Timothy Richards architectural models of The Victoria & Albert Museum and the Hotel Central Prague (Ht 22cm) with boxes

Large architectural books and atlases inc Victory Atlas of the World, Atlas of Britain, The decorative works of Robert & James Adam and English & Scottish Wrought iron works

Ambrose Heal, London Tradesmen's Cards of the XVIII century, London 1925, from a numbered edition of 100, signed by the author; and Architectural Notices of The Churches of The Archdeaconry of Northampton, London 1849, half calf.

Edwardian slate mantel clock retailed by J Haskell of Ipswich, the architectural case with scrolled pediment, the ebonised dial with gilt Roman numerals, 41cm wide

Small slate desk clock of architectural form, two Post Office savings bank money boxes of book, small inkwell (4)

Edwardian slate mantel clock, of architectural form, with triangular pediment, the white dial with Arabic numerals, flanked by columns and on a plinth base, 42cm wide

A woven paisley shawl with tasselled ends, with central foliate motifs and architectural design border of arches and columns, 210cm x 110cm

Donald Moss (1920 - 2010) "Palace of Fine Arts". Signed lower right. Original Oil on board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood First Day Cover for the U.S. 18 Palace of Fine Arts stamp issued August 28, 1981. In spite of his classical training, architect Bernard Maybeck was a romantic at heart. His grand Palace of Fine Arts, depicted on this artwork, exemplifies all the splendor of his extraordinary creations. An arc-shaped gallery, elliptical colonnade and circular rotunda each were part of the original structure erected for the Panama-Pacific International Exposition of 1915. As the fair got underway, some Easterners drove clear across the continent just to see the spectacular Palace of Fine Arts. Unfortunately, the awe-inspiring edifice -- like many at the fair -- was constructed of plaster of Paris and hemp fiber over a wooden frame, so that it could be easily demolished after the exposition. But, no one could foresee how dear the imposing structure would become to San Franciscan hearts. As early as October, 1915, a movement to preserve the Palace was underway. 350,000 dollars were raised to duplicate the building in lasting materials. When the fair was destroyed and the ashes cleared, all that remained standing was the grand Palace of Fine Arts. Despite efforts at restoration over the years, the Palace became unsafe to enter and was fenced off as a public hazard. However, in 1959, philanthropist Walter S. Johnson came to the landmarks rescue by donating two million dollars to rebuild the Palace. Today, the Palace of Fine Arts is again in use, an architectural marvel today just as it was over sixty years ago. Overall Size: 24 x 20 in. Unframed. (B07352)

HENRY MOORE 'Eight Reclining Figures with Architectural Background', 1963, lithograph in colours, signed, dated and annotated H.C. (hors de commerce) in pencil, 89cm x 64cm, framed and glazed. (Subject to ARR - please see Buyers Conditions)

ARCHITECTURAL GARDEN GATE, French style, 180cm W.

DAVID STEVEN 'A Roman Study - Architectural Drawing', watercolour and pencil, signed and dated 1932, framed.

Vintage Painted Wood and Metal Bird Cage of architectural form

A French architectural mantle clock, surmounted by eagle and flaming torches, twin train movement with white enamel dial and Roman numerals

An interesting folio of unframed mostly hand-coloured prints including architectural, botanical, birds and other miscellaneous subjects

EYRE CROWE A.R.A. (1884-1910) 'A Worthy Procession', clerical figures in an architectural scape, Oil painting on canvas, signed, 33cm x 52cm, in ornate gilt frame

PAIR OF WATERCOLOURS DEPICTING ARCHITECTURAL SCENES, each mounted, framed and under glass, along with a print, depicting a map of the Cotswolds (3)

A Victorian cast iron framed mirror in architectural style, with Reg. No.

Dated 1928, a framed Royal Architectural Hall London Certificate Bronze Medal Award for Wheat Flour

An album of sundry watercolours, prints etc including an architectural study of St Cuthberts Vicarage, Copnor Portsmouth by Edwin Stanley Hall MA PPRIBA (1881-1940)

A 19th century mahogany linen press, the architectural pediment above a pair of panel doors, the base with two short and two graduated long drawers below, on leaf carved sabre front legs, 128 cm wideReport by RBLacks sliding trays, lock replaced, panel doors slightly warped, a few splits, water damage and splashes, a few old worm holes, generally needing some restoration

Early 19th Century mahogany secretaire bookcase, the upper section having architectural pediment by a pair of doors enclosing three adjustable shelves, the base with secretaire above three long drawers, on bracket feet, 98cm wide x 217.5cm high

Postcards - Selection of UK topographical to include; Scotland, Kent, Dorset, churches and cathedrals, other architectural buildings, Chester, Cotswolds, etc

ANN ORAM RSW (Scottish b 1956) Architectural view Signed and dated ?89, watercolour and ink, 54cm x 80cm

ANN ORAM RSW (Scottish b 1956) Architectural view Signed and dated 2003, watercolour, 38cm x 29cm

Large antique black slate mantle clock of architectural form, the works stamped for Samuel Marti and retailer Muirhead Glasgow, 58cm tall Nibbles to slate at edges, Chunk missing at front right edge (bottom).

Portrait of Lieutenant General John Robinson (1757?-1819) half-length, in red uniform, wearing the insignia of the Order of the Bath, an architectural drawing in his right hand oil on canvas 75 x 63cmFootnote: The sitter married the Hon. Rebecca Clive (d. 1795) daughter of Robert, 1st Lord Clive, "Clive of India". He entered Parliament in 1802 where in general he was against Catholic Emancipation. He died disillusioned in Paris in 1819. Provenance: By descent from the sitter at Denston, until sold circa 1900 with other contents to the tenant, Mrs Benyon, until purchased by Algernon Dunn Gardner (1853-1929) when he moved back into Denston, circa 1908.Condition report: Oil on canvas which is unlined, the canvas tension is slack. Old damages have been repaired from the reverse with canvas patches, there are deformations in these areas and associated paint loss. There are a few small scattered losses and the some of the age craquelure is slightly raised. The varnish is matte and dull with surface dust. The frame is in a good condition with some wear and small losses to the gilding.

The Bloody Shouldered Arabian, with an Arab attendant, within classical architecture, a landscape beyond oil on canvas 82 x 120cmFootnote: Provenance: Almost certainly painted for Edward Harley, 2nd Earl of Oxford (1689-1741) in or after 1724 when he succeeded to the earldom, Thereafter at Wimpole Hall, Cambridgeshire, until the estate was sold in 1740 to Philip, 1st Earl of Hardwicke, 2nd Earl of Oxford's deceased sale, London, Mr Cock, 8th March 1741/2 and the five following days, Third Day's Sale, March 10th, lot 15, as "A white horfe, by Mr. Wooton"; Acquired by Algernon Dunn Gardner (1853-1929) probably from Fores of Piccadilly, Thence by descent Literature: Walter Shaw Sparrow, British Sporting Artists , London: John Lane, 1922, p. 110 According to Sparrow (see Literature) there were some nine or ten versions of this painting, which is not surprising since the Bloody Shouldered Arabian is considered one of the most important stallions in English racing bloodlines and since the horse had at least 3 owners in its lifetime. The present version however can reasonably claim to be the prime original since it bears the coat of arms of its first owner, Edward, 2nd Earl of Oxford, who was given it by his uncle, also Edward to whom it had been sent from Aleppo in January 1720 by his brother Nathaniel Harley, who resided there. The Harley family themselves had one other version of the painting which being today at Welbeck Abbey, must have descended through the 2nd Earl of Oxford’s only child Margaret who married in 1734 the 2nd Duke of Portland. That version where the coat of arms is replaced by sculpted relief figures, is signed and dated 1724. Yet another version, signed and dated 1723 was acquired by a later Duke of Portland for Welbeck in 1914 and this has since been sold from there. Unlike both those Welbeck versions, the present painting is unusual – as other versions included it – for having no dog in the foreground. The horse was named after the blood coloured birthmark down its right shoulder and foreleg, to which is ascribed a romantic legend (see Literature, Sparrow, p. 110). The Bloody Shouldered Arabian along with the Darley Arabian, the Godolphin Arabian and the Byerley Turk was, as a true Arab horse, considered at the time a great status symbol, through the considerable problems and costs associated in bringing them to England where at stud they all unquestionably improved the bloodlines of subsequent thoroughbreds. For example, the Bloody Shouldered Arabian was the maternal great-grandsire of Whistlejacket, whose outstanding physical beauty was so famously captured by Stubbs’ portrait of him now in the National Gallery.Condition report: Oil on canvas which has been lined. The original canvas has been extended at a later date to include some of the architectural elements in the painting. The canvas is stable and in plane. There are some cracks in the upper left corner with raised and lifting areas of paint. The original paint layers are thinly applied in many areas and have suffered from wear and abrasion, resulting in different campaigns of overpaint. The varnish is slightly yellowed but even and semi-matte. The frame is intact but the gilding is suffering from flaking with scattered losses.

The Bull and Mouth Inn, St Martin's Le Grand, City of London signed lower left with a monogram 'CHC' on a fish basket oil on canvas 52 x75cmmFootnote: Provenance: Acquired by John Dunn Gardner (1811-1908) from Fores of Piccadilly on 24th December 1849 Exhibited: London, 144 Piccadilly, 'In Aid of the London Foot Hospital, The Loan Exhibition of Sporting Pictures held at 144 Piccadilly, W.I., by kind permission of Viscount Allendale', 6th Feb to 20th Feb 1931Condition report: Oil on canvas which is unlined. The canvas tension is slack but the painting is in plane and stable. There is extensive, wholesale overpaint in the background and foreground of the painting. The original paint layers are thinly applied and have suffered from wear and abrasion. The overpaint 'crisps' up the architectural detail and cobbles but largely covers original paint. The varnish is clear, even and very glossy. The frame is in a good condition.

'Post 97 Public Architecture in Hong Kong', 2006, by Architectural Services Department, Hong Kong, lavishly illustrated