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Click here to subscribeOriginal artist poster designed by the Vidal Salomon. Great image of two blues musicians playing music on the piano and saxophone with an architectural building design in the background and the text in green and red letters on the side. Good condition, folds, loss on top and bottom right corners. Country of issue: Unknown, designer: Vidal Salomon, size (cm): 50x70, year of printing: 2000s
A Late 19th Century German Mantel Clock, by Winterhalder & Hofmeier, the square brass dial with 4.5ins diameter silvered chapter ring with Roman and Arabic numerals, to the eight day two train movement striking and chiming on two gongs, contained in oak case of architectural design, the scroll front with three turned finials and cant corners, 14.25ins high
A Mid 19th Century French Gilt Brass Cased Mantel Clock of "Louis XV" Design, the 3.5ins diameter white enamel dial with Roman numerals, to the eight day two train movement striking on a bell, contained in drum pattern case in the Rococo manner, surmounted by a fox and stork from Aesop's fable and surrounded by pierced leaf scroll ornament, on conforming shaped base and supports, 17ins high, and a 19th Century French Black and White Veined Marble Cased Mantel Clock, by Jules Rolez of Paris, No. 8447, the 3.75ins diameter cream enamel chapter ring with Arabic numerals, to the eight day two train movement striking on a bell (now missing), contained in case of architectural design with arched top and pilasters to front, on rectangular moulded base, 14ins high
A MID-17TH CENTURY ETCHING of the East Front of "Old St Paul's Cathedral" London, in the style of Wenceslaus Hollar or Daniel King, 25cm x 18cm, close plain mounted, in slender black frame, together with TWO OTHER ARCHITECTURAL PRINTS, to include the Palace and Amphitheatre of "Caesar", and the Temple and Prospect of Balbec
Attributed to William Young Ottley (1771-1836). Sketchbook from the artist's tour of Italy, circa 1791-99, 75 leaves of laid paper (cockerel watermark; countermarked 'D'), unfoliated, leaves [1-2] with pencil annotations in Italian and an architectural pencil sketch (somewhat faded), leaf [3] with annotated bookplate of Thomas Ashby and additional annotation 'Drawings by Wm Young Ottley' probably in Ashby's hand, 4 medial leaves left blank, the remaining 68 leaves containing 25 sketches in pen and brown ink over occasional traces of pencil and approximately 43 pencil sketches, nearly all rectos only (one sketch to a page; one pencil sketch double-page; one on verso), mainly studies after paintings but several apparently from life (including landscapes, clothed figures, and 3 sketches captioned 'Nature' and depicting a boy with a dog, a woman with a child on her back, and a crouching boy), 12 further sketches with legible manuscript captions (see note), tide-mark to upper outer corners gradually fading and receding but touching edges of image in about 10 cases, cords split between penultimate and final quires, first 3 leaves and final quire (6 leaves) with modern clear tape reinforcement in gutter, floral-patterned endpapers, contemporary Italian vellum binding with envelope flap, vellum soiled, tie perished, 4to (18.2 x 13.7 cm)Qty: (1)NOTESProvenance: 1. Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, with manuscript aquisition note 'Wey[?], Charing X Rd, 18/7/6, 2 vols, Vol 2'). 2. Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Ottley, the son of a plantation owner entered the Royal Academy in 1787, studying briefly under John Brown, and was in Italy from 1791 to 1799. After his return to London ' Ottley established himself as a writer, connoisseur, and marchand-amateur . He was elected a fellow of the Society of Antiquaries and, as a leading arbiter of taste, he advised others on the purchase of works of art' (ODNB). He was responsible for a number of ambitious art publications and in 1833 became keeper of prints and drawings at the British Museum. A number of the sketches have manuscript captions in Italian referring to the original work, the artist or its location, the inconsistencies in spelling suggesting a non-native author. These include 'Bologna, Domenchino [sic] in S. Agnese' (after Domenichino, Martyrdom of St Agnes; a section), 'Turino palazo [sic] Reale, Carlo Cignani' (after Cignani, Adonis and his Dog , cf. Palgrave, Hand-book for Travellers in Northern Italy, 1847, p. 20), and 'Tizziano [sic], palazzo Reale a Parigi' (after Titian, Venus Anadyomene ); briefer captions indicate originals by Guercino (the sketch depicting a woman holding a jug), 'Reggio' (presumably Raffaellino da Reggio), and Coreggio ('Coreggio a Parma'); the Palazzo Caprara and the Palazzo Bonfiglioli are cited as locations for originals which are otherwise unidentified.
ARR * Paolozzi (Eduardo, 1924-2005). Underground Design, Folio X, Architectural Association, 1986, the complete folio of 18 screenprints (thermographic prints), and one colour lithograph, signed and dated 1985 in pencil, each 305 x 305 mm (12 x 12 ins), all loosely contained in original publisher's black card drop-over bookbox, a few marks, bookbox 320 x 320 mm (12.5 x 12.5 ins)Qty: (1)
Dante.- Microscopic typography.- Cossovel (Francesco) Divina Commedia. Trascritto micro calligrafico a mano libera senza uso di lente, single folio broadside with Dante's full text for The Divine Comedy, presented in three cantica within architectural frame, lithograph, sheet approx. 615 x 430 mm (24 1/4 x 17 in), laid onto card support, old folds and handling creases, some splitting and damage, notably in lower left corner, some even toning and surface dirt, unframed, 1888.⁂ After the pain for the death of his son, as written by Guido Manzini in 1963 on the magazine Studi Goriziani, Cossovel developed the ability to see very small objects: from this moment he made the decision to transcribe the work of Dante on a large vellum leaf - today lost - through a specially designed pen. The title specifies that the text is "composto di 14.233 versi, c.a. 96.000 parole., c.a 400.000 lettere.
Krafft (Jean Charles) Plans, Coupes, elevations des plus belles maisons et des hotels construits a Paris et dans les environs, title in French, German and English, 89 engraved plates only (of 120), 2 double-page and folding, Paris, [1801-02], bound with Grands Prix d'Architecture et Autres Productions de cet Art, 24 engraved plates (?only), Paris, 1806, together 2 works in 1 vol., 6 additional architectural plates on blue paper bound at end, occasional light spotting, a few architectural sketches in pencil on blank leaves at end, index supplied in a contemporary hand, bookplate to pastedown, ownership blindstamp to endpaper, contemporary calf-backed boards, rubbed, extremities a little worn, folio.
Riou (Stephen) The Grecian Orders of Architecture, first edition, engraved title-vignette, 6 vignettes and 28 plates, some folding, some light offsetting, title lightly browned, occasional scattered spotting, later half calf sympathetically rebacked, rubbed, extremities a little worn, [Blackmer 1425; Harris 746], folio, by J. Dixwell, for the Author, 1768.⁂ "Riou was in Athens while Stuart and Revett were working there, and decided to produce an architectural theory for the use of the Greek architectural orders then being described and measured by Stuart and Revett." (Blackmer). The book is dedicated to James Stuart who, along with David Garrick, Soame Jenyns and George Stubbs, is included in the list of subscribers.
Taylor (G. L.) and Edward Cresy. The Architectural Antiquities of Rome, 2 vol., second edition, 129 engraved or lithographed plates and plans (numbered I-CIV & CVI-CXXX, plate CV was never published), some double, occasional foxing, offsetting, browning to text ff., contemporary half calf, rebacked, retaining original backstrip, corners bumped, folio, 1821-22 [actually c. 1836].⁂ The 1836 reissue has a surplus of sheets of the original letterpress and a number of the original lithographs either redrawn or interpreted as etchings and engravings, thus reducing the number of lithographs in the first edition from twenty to thirteen.
˜Property from an Important Private Collection A FINE AND VERY RARE 18 BORE SOUTH GERMAN MATCHLOCK PETRONEL, LAST QUARTER OF THE 16TH CENTURY, THE STOCK SIGNED HP, ALMOST CERTAINLY HANS PAUMGARTNER with tapering barrel swelling at the muzzle and chiselled in relief with a pair of rampant lions supporting an open tome inscribed with the initials ~AB~ above a spray of acanthus foliage, breech chiselled with a frame of foliage enclosing three rounded figurative panels alternating with two octagonal, the latter decorated with a running design of vine fruit and foliage, the uppermost figurative panel with Homer seated playing his violin in a woodland, the middle with the standing figure of Mercury clutching the severed head of Argos within an architectural frame and struck with two marks at the base (Neue Støckel 7029, 7030) and the bottom with Venus bathed by three cupids, integral pan with pivot-cover etched with foliage within a framework of trellis, tang chiselled as an issuant mask, slender flat lock chiselled with three long panels with a foliate terminal at each end, retained by two screws entering from the lock side, fitted with curved serpentine formed as a monsterhead, slender curved faceted trigger with moulded terminal, full stock inlaid with engraved staghorn panels (restorations and small repairs, the butt-cracked through and repaired), comprising addorsed mythical creatures within segmental frames over the fore-end, further foliate monsters about the tang, the figure of Leda with the swan at the end of the ramrod channel, elaborate trigger-plate formed of a vertical arrangement of foliage, a winged lion opposite the lock, and elaborate herms on each side of the butt, the spine of the butt inlaid with further engraved staghorn comprising a unicorn horn top and bottom, the latter with the stockmaker~s initials ~HP~ in a frame (Neue Støckel 8025), ivory butt-cap, and associated ramrod 91.5 cm; 36 in barrel Decorated petronels are rarely offered for sale, the majority remaining in public collections, such as the Royal Armouries, Leeds (inv. no. XII.1548), the Metropolitan Museum of Art, New York (acc. No. 32.75.111), the Musée Royal de l~Armée et d~Histoire, Brussels (inv. no. IX/6); the Kunsthistorisches Museum, Vienna (inv. no D271); the Kienbusch Collection, The Philadelphia Museum of Art (acc. No. 635) and the Musée Rath, Geneva (inv. no. K182). For an extensive list of known examples see Godoy, 1993, cat. No. 8, p. 27 and 143. Hans Paumgartner is recorded circa 1540-90 in Graz and worked at the court of Charles II, Archduke of Styria. Two highly decorated firearms by this maker are preserved in the Kunsthistorisches Museum, Vienna (inv. no. A2305) and the Art Institute of Chicago (acc. no. 1982.2266) respectively, the latter being made for Archduke Charles II. An apparently unsigned wheel-lock rifle in Vienna (inv. no. D272) is decorated with inlay of the same unusual design, notably the unicorn horns, monsters and foliage. See Schedelman 1972, pp. 8-9 and 24-25 and Karcheski Jr. 1995, p. 75. The barrelsmith is possibly Antonio Ferrari who, along with his brother Paolo, is mentioned as archibusari in the Brescian tax lists of 1588, 1590 and 1606. An alternative candidate is Antonio Carrara, a merchant who was entrusted, with Apollonio Chinell, in 1591 with the fontego of military barrels in Brescia and, in 1594, supplying guns to local troops in the Venetian region. Both attributions might be considered tenuous in light of the exuberant decoration of the barrel, perhaps the work of a specialist iron chiseller rather than a barrelsmith. See di Carpegna 1997, p. 44 and 116.
A French Empire ormolu mantel clock, early 19th century, the eight-day countwheel bell striking movement with silk pendulum suspension and circular white enamel Roman numeral dial with blued steel moon hands within a leaf milled bezel, the rectangular architectural case with surmount cast as Amor seated bathing his feet next to a cheval mirror over foliate fluted pilasters flanking dial with applied foliate scroll infill to upper quadrants and conforming relief-cast figural panel, on leaf cast skirt base with disk feet, 46cm high, 25cm wideCondition Report: Movement is complete and in working condition although a service/clean is advised. The dial has restoration to the enamel (around the winding holes) but presents with no visible damage. case has slight patchy tarnishing/discolouration/wear but generally is in sound original condition.Clock is complete with pendulum and winding key.Condition Report Disclaimer
A Flemish mythological tapestry with Eurydice bitten by a snake, early 18th century, probably Antwerp, the three maidens in the foreground portrayed gathering flowers in a landscape before a distant architectural background, the border woven with foliage, trophies, lambrequin, exotic birds and fleur-de-lys, 304 x 229cmFor a highly comparable though shorter panel of the same scene, see Sotheby's Amsterdam, European Furniture and Good Decorations, 05 April 2005, lot 242Condition Report: The tapestry is well-preserved and in stable condition overall, though the colours to the central field are a little more faded.The borders may have been adjusted at some point, and there is some stitching and colour variegation throughout. The top border may have been shortened. Some minor tears, repairs and areas of reweaving overall, and usual loosening of the colour joins resulting in tiny apertures overall, as is commensurate with age.Condition Report Disclaimer
An Aubusson verdure tapestry with Orpheus enchanting the animals, early 18th century, the draped male figure portrayed playing the lyre in an abundant landscape with exotic birds, a vista of a formal garden beyond, 238 by 160cmCondition Report: The colours are quite well-preserved overall, and especially the dark blues and greens retain their rich tones.There are areas of reweaving to the birds' feathers and faces as well as the architectural background, and other small patches to the foliage where there are also strengthening stitches between colour joins. There are two longer seams of stitching to the right hand side above Orpheus' face. The margins may be associated.The tapestry was later backed and the textile feels sturdy and stable overall.Condition Report Disclaimer
* Buttons. A framed set of engraved button covers, French, circa 1770s/80s, 8 circular hand-coloured stipple engravings, each depicting a head-and-shoulders portrait of a lady wearing an elaborate hat, diameter 37 mm (1.5 ins), mounted together on card, framed and glazed, together with: A collection of 18th century and later buttons, including: 14 late 18th century mother of pearl studs, each finely carved with a star and central paste jewel, brass and mother or pearl back, 16 mm diameter; a pair of pair of silver and enamel buttons by J. Aitken & Sons Birmingham 1911, each with a simulated pearl design on a blue and white geometric ground, 35 mm diameter; a group of 5 19th century copper and brass buttons, engraved with a starburst within a chiselled edge border, 35 mm diameter; a large George III mother of pearl button engraved with a trap pulled by a pair of horses, 45 mm diameter; an 18th century mother of pearl button engraved with a rococo design of c-scrolls and lattice-work, 37 mm diameter; and various other buttons and cufflinks including 14 silverQty: (a small box)NOTESProvenance: Collection of Jack Webb (1923-2019), London. Picture buttons first became popular in the 1770s, initially in France where they were known as 'boutons à miniature'. Such items were engraved or hand-drawn and usually mounted onto copper frames with a flat or slightly domed glass cover. They depicted a wide range of subjects, including architectural views, mythological scenes, historical events, and flora and fauna as well as images of ladies such as these. It is rare to find a set, seemingly unused. For similar see The Metropolitan Museum of Art (accession numbers 51.47.55–.58 and 50.231.167–.174).
* Metcalfe (Percy, 1895-1970). An Ashstead Potters Ltd 'Lion on Industry' c.1925, the pottery lion with a sand coloured glaze, printed mark to base, one tooth has tip missing, 18cm highQty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. Percy Metcalfe is primarily known for his medal designs, notably the George Cross. However, he also produced designs for the theatre, sculptures and architectural pieces, in addition to his works for the Ashstead Potters. In 1923 Sir Lawrence Weaver was appointed to plan and run the British exhibits at the British Empire Exhibition and it was decided that two commemorative medals would be produced. One for the exhibitors and the other as a souvenir medal sold to the public. Ten designers were asked to submit designs and Metcalfe's designs won. Metcalfe was asked to produce a symbol fitting of the "modern British Empire" for the "Palace of Industry" at Wembley and the result was this lion with the original large stone sculpture modelled in his Barnes, South West London. The Ashstead factory reproduced large and small versions of the lion in various glazes.
* Cabinet. A fine early 19th century Italian cabinet, the rosewood veneered cabinet of rectangular form, inlaid with ivory panels engraved or etched depicting scenes from classical mythology, with brass corner straps and large carrying handles, the hinged fall with original key enclosing, a central architectural cabinet door with a drawer above and below flanked by a pair of drawers and a deeper drawer below with a dummy drawer front, the interior of the fall inset with engraved ivory panels with line inlay formation, 39cm high x 92cm wide x 35.5cm deep, on a later 19th century ebonised and inlaid stand, with glass covered single drawer with brass lock stamped 'V.R. Patent, Brooks' s Double Lever Lock', on square tapered supports united by a stretcher, 79cm high x 102cm wide x 43cm deepQty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. The lot is sold with an original copy of The Antique Dealer and Collectors' Guide dated December 1946 in which an article features the cabinet with an illustration, Jack Webb writes to the editor asking for more information about the cabinet. A typed letter from the editor together with black and white photographs is also included. The article suggests that "this very attractive example is typical of the portable cabinets made during the late 18th and early 19th centuries, when panels of etched ivory were inlaid in backgrounds of ebony, tortoiseshell, or one of the fashionable Oriental woods which were just reaching European cabinet makers. The etched pictorial scenes, if read in sequence, will usually associate themselves with a story of classical mythology, but historical subjects were also portrayed", and that the "style and form indicate that this cabinet was made between 1805 and 1820. If the lines of the etching are tinted brown by the use of silver nitrate as the etching medium, this is further indication that the work belongs to the early 1800's, when the silver nitrate method of etching ivory was in full favour. Formerly the lines were black, the etching medium having been sulphuric acid."
A William IV mahogany wardrobe press, the centre with two figured panel doors enclosing sliding shelves above two short and two long drawers flanked by tall wardrobes with architectural cornices, height 213cm, width 212cm, depth 63cm. Provenance: From Penrose House, the Penrose Estate, Porthleven, Cornwall
A William IV figured mahogany veneered wardrobe chest, with architectural cornices, the central section fitted five long drawers, the upper with unusual fall front enclosing four sliding shelves, flanked by two hanging robes and on a plinth base, height 202cm, width 227cm, depth 62cm. Provenance: From Penrose House, the Penrose Estate, Porthleven, Cornwall
* [Italy, Spain & France]. Collection of albumen print photographs, c.1880-1900, comprising: 1. Noack (Alfredo, 1833-1895), 20 prints (27 x 21 cm or reverse), of which 9 of Genoa, 6 of other Italian locales including Nervi, Rapallo and elsewhere, and 5 of ethnographic subjects (3 from his 'Costumi della Liguria' series), each on separate blue card mount, all but 2 with bottom section of each image (containing photographer's name and caption) neatly excised and pasted to verso of mount, together with 5 further prints by Noack (Genoese street scenes and interiors), and 2 similar unsigned prints (all 29 x 22 cm), mounted on thick card, these last 7 variably faded and with some spotting to mounts, 2. Garzon (Rafael, 1863-1923), 14 prints of the Alhambra (mainly 26.5 x 20 cm), each on separate card mount, and 11 other prints of Spanish subjects, unsigned, mainly architectural studies in Seville, 3. 48 other prints, including views in Italy (San Remo, Ventimiglia) and south-eastern France (Monaco, Menton, Villefranche), and Italian interiors, architecture and objets d'art by Brogi, Grandi, Alinari, and 'G. J.' (i.e. Jean Gilletta), generally faded, a few spotted or otherwise marked, most mounted on card, various dimensionsQty: (approx. 100)
A COLLECTION OF 'VERSAILLES' STYLE OAK PARQUET FLOOR TILESFrench, late 19th century and laterConsisting of twenty five tiles, very slight variations to the size of the tiles, which on average are: 100cm wide x 99.5cm deep x 31cm high, (39in wide x 39in deep x 12in high) (25)Footnotes:Provenance: Mes, Francis Faure & Bernard Ray, Architectural Furniture and Antiques, 21 October 1996, lot 1876This 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
An Ebonised Oak Plant Stand by Gustav Stickley and Grueby Faience Company, Circa 1902model no. 44, with four post legs joined with curved stretchers, the top inset with a green-glazed Grueby tile, and marked with the firm's red transfer label 32cm wide x 32cm deep x 55cm high, (12 1/2in wide x 12 1/2in deep x 21 1/2in high)Footnotes:Provenance: Christie's New York, Important 20th Century Decorative Arts, including Works by the Tiffany Studios, American Arts & Crafts, and Architectural Designs, 6 June 1992, Lot 3.This 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
PLAYING CARDS'Alart' [Jack of Hearts]; 'Hector' [Jack of Diamonds] , pochoir-coloured (red, green, blue and grey-brown) wood-engavings on paper, the figures in medieval French courtly dress, named in gothic lettering on left, standing within architectural borders, with buildings, towers and ramparts in the background, mounted on card, 102 x 74mm. (the second cropped to 95 x 75mm.), [Lyon?, early 16th century]Footnotes:Two rare playing cards, seemingly from the same pack, depicting the Trojan hero Hector and Alard, from the novel of Renaut de Montauban.Provenance: Tajan, Autographes et Livres, 30 September 2002, lot 35This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of large 17th century and later carved oak architectural elementsFormed as scrolling acanthus leaves surmounted by profile busts of ladies adorned with olive leaf and berry garlands and tied fruiting pomegranate branches, 55cm wide x 7cm deep x 260cm high, (21 1/2in wide x 2 1/2in deep x 102in high) (2)Footnotes:Provenance: Francois de Ricqlès, 29 April 1998, Drawings, Old Master Paintings & Beautiful Furnishings, lot 148This 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 collection of 'Versailles' style oak parquet floor tilesFrench, late 19th century and laterConsisting of twenty five tiles, very slight variations to the size of the tiles, which on average are: 99cm wide x 99.5cm deep x 3cm high, (38 1/2in wide x 39in deep x 1in high) (25)Footnotes:Provenance: Mes, Francis Faure & Bernard Ray, Architectural Furniture and Antiques, 21 October 1996, lot 1875This 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 PAIR OF EXCEPTIONAL AMERICAN BRONZE AND MARBLE LAMP BASES, E.F. CALDWELL & CO., NEW YORK, CIRCA 1915formed as Poseidon and Amphitrite in dark brown and gilt bronze, seated atop marble sea turtles, he with trident, she with lyre, holding a large dish and shell cornucopia, respectively, the finials formed as shells, each mounted with four pull-chain lights stamped HARVEY HUBBELL / AUG 1. 96 / PAT'D MAY 8.00 / JULY 30.01 / FEBY.18.02 / 250 V.50.C.P.; overall height of each: 80 cm (31 1/2 in.), height to top of cornucopia: 49 cm (19 1/4 in.)LITERATUREFor the "Poseidon" model, see Catalogue of the Eighteenth Annual Exhibition of the Architectural League of New York (New York: Architectural Press, 1903), ex. cat., p. 35, no. 366.LOT NOTESThe "Poseidon" model (titled "Marble Turtle With Triton – Bronze") was exhibited by Edward F. Caldwell & Co. in 1903 at the annual exhibit of the Architectural League of New York (in the galleries of the Fine Art Society on 215 West 57th Street). CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A FOLIO OF ARCHITECTURAL/DESIGN DRAWINGS, 19th CENTURY principally French, comprising a variety of subjects (for a grand bed in Louis XVI style [see illus], scroll decoration, ceiling designs, `Plafond imitation bois, Bibliotheque Gothique` and a large plan for `Propriete de M. Chatel .. Bosc-le-Hard .. 1879` by Dainiseur (?), this 60 x 80cm; and one Italian work (`Stile del Renascimento`) (13 leaves) ++ Some very worn and with some damage
λ A mid 17th century large ivory and vellum European fan painted with various musicians in a landscape, along with exotic flying birds, circa 1660, the ivory guards and sticks carved and pierced, the sticks being threaded through the lower section of the leaf, the verso with flowers contained in ‘architectural’ containers, the fan comes with various written communications between a former owner and Helene Alexander, founder of the Fan Museum Greenwich, in which she confirms the date and significance of this scarce mid-17th century fan and suggests a possible link to the Grand Dauphin Louis of France (1 November 1661 – 14 April 1711), eldest son and heir of Louis XIV, King of France, and his spouse, Maria Theresa of Spain, 31cm long (boxed)
Alexander Young Simpson (Early 20th century) A folio of interior and architectural decoration studies to include; ''Order around decoration in Pantheon'', ''Ceiling of library Sienna Cathedral, ''Treatment of Vaulting Sienna Cathedral'', ''Decoration of Soffit of Chancel Arch, S.Spirito, Sienna'', ''Decoration of Rib Palazzo Publico, Sienna'', ''House of Sirrius Pompeii'', ''Ceiling in Choir, S.Maria del Poplo, Rome'' and ''Ceiling of Villa Madama, Rome'', each signed, inscribed and dated 1914, unframed (collection)
A South Arabian bronze bull's head attachment Circa 1st-3rd Century A.D.With short curved horns set above small protruding ears, the large rounded eyes with pronounced rims and ridged eyebrows, with short wrinkled muzzle, the back with curved hollow recess, 12cm long x 9cm highFootnotes:Provenance:Private collection, 1960s, Switzerland.For a bronze bull with similar features, dating to 1st-2nd Century A.D., see St. John Simpson (ed.), Queen of Sheba, Treasures from ancient Yemen, London, 2002, p. 174, no. 224, British Museum acc. no. ANE 1971-2-27. Bull imagery occurs frequently in Southwest Arabian decorative art and is found on funerary stelae, seals and dedicatory religious sculpture, as well as in architectural elements.For further information on this lot please visit Bonhams.com
French 19th C Superb and Impressive Architectural Japy Freres 8 Day Striking Gilt Mantle Clock with painted enamel dial depicting figures and scenes. Featuring 8 day striking on a gong a half hour and a full hour, with key. Raised on an ebonised plinth. Measures 19 inches 47,5 cms. Signed Japy Freres to back plated, enamel dial and in excellent working order. Hammer strike to gong requires adjustment (Comes with a large glass dome cover which has damage).
AN ANTIQUE MICROMOSAIC BRACELET, 19TH CENTURY in yellow gold, comprising three graduated rectangular panels with oval apertures featuring inset micro mosaics depicting various classical architectural scenes, punctuated by similarly designed oval micro mosaic panels, with pairs of onyx beads between links, unmarked, 18.0cm / 7.1", 32.0g.
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![* [Italy, Spain & France]. Collection of albumen print photographs, c.1880-1900, comprising: 1. Noack (Alfredo, 1833-1895](https://cdn.globalauctionplatform.com/84f8dfe8-0b9b-4223-bde0-abf400abcb81/a9fa1be2-4fe6-4eb2-8ec2-abf401010f17/468x382.jpg)
![PLAYING CARDS'Alart' [Jack of Hearts]; 'Hector' [Jack of Diamonds] , pochoir-coloured (red, green, blue and grey-brown) wood](https://cdn.globalauctionplatform.com/6499027e-bfd0-4c85-be96-abef013829c6/f4f728d4-074f-4c97-a80d-abf000ad0265/468x382.jpg)
