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A photographic print of architectural columns, dated 67 to back with indistinct annotation. Together with a laminated "Rat Pack" poster. Column picture approx. 82 x 58cm.

JOHN PIPER (1903-1992). ARR. ARCHITECTURAL VIEW, PENCIL SIGNED AND NUMBERED 59/70 COLOUR PRINT 57 x 79cms.

A pair of concrete architectural grotesque figures

A continental mantel clock of architectural form flanked by reeded columns, the case of Belgian marble with incised decoration, hour and half past bell striking movement, gold coloured dial behind glazed bezel.

A STYLISH EDWARDIAN SILVER LIDDED INKWELL - LONDON 1909, makers marks for C.B.& Sons, of architectural form, smooth tapered body with hobnail cut design to base, H 9.5 cm, base 11 x 11 cm

Six British tinplate moulds, two architectural jelly moulds —8½in. (21.5cm.) largest; ice cream or confectionery box-type moulds - one oblong, one oval and two cylindrical, fluted sides with rose on top

A J Thursfield Fore Street Lambeth salt-glazed stoneware flask, buff and treacle glazed, flattened architectural form, modelled as a shop with sign reading ‘CAST…… YORK’ and chimney spout —6in. (15cm.) high; a similar flask marked by the maker is in the Castle Museum, York

Whistler (Rex, artist, 1905-1944).- Whistler (Sir Laurence, glass engraver, writer, and architectural historian, 1912-2000) 15 Autograph Letters signed, Typed Letter signed & 3 Autograph Postcard signed to Gertrude Hill, collector of the works of Rex Whistler, together 32pp. & 1 side and 8 envelopes, 8vo & 90 x 140mm., Holland Park, & Lyme Regis, 8th January 1947 - 18th July 1961, concerning the publication by Laurence Whistler of a book on his brother Rex Whistler, "I wonder whether you would be so kind as to look through the proof of the Appendix to the book on my brother Rex?" and various other aspects of Rex Whistler's work, "My brother Rex made a set of drawings of Clovelly much were used both on chintz and on china... but I can't... remember which firm made the articles...", wrappers designed by Rex Whistler etc., folds; and a quantity of others, including: 3 autograph lists by Laurence Whistler of Rex Whistler's books and dust-jackets, and 24 printed pamphlets and ephemera with illustrations by Rex Whistler (4 nos. only of The Masque, Christmas Card, bookplate, invitation to the Lewis Carroll Centenary Exhibition at Christ Church, Oxford etc.), v.s., v.d. (qty).

Law.- Coke (Sir Edward) The Second Part of the Institutes of the Lawes of England, first edition, mostly black letter, engraved portrait frontispiece, title within architectural woodcut border, woodcut initials, head- and tail-pieces, burn hole to 2S1 with loss to a couple of letters but a clean copy generally, contemporary calf, gilt arms of Thomas Coningsby to covers, spine ends chipped, corners bumped, joints cracked, rubbed and scuffed, [Wing C4948], folio, M. Flesher, and R. Young, for E.D.R.M.W.L., and D.P., 1642.

Dialling.- Clavius (Christoph) Gnomonices libri octo, in quibus non solum horologiorum solarium, sed aliarum quoque rerum, quae ex gnomonis umbra cognosci possunt, descriptiones geometrice demonstrantur, collation: [Latin cross]8 A-E6 F8 G-Z6 2A-2Z6 3A-3G6 3H8, engraved title within architectural border, numerous woodcut diagrams, woodcut historiated and decorative initials and printer's device to colophon f., early ink marginalia, additions to diagrams, and the supply of a full-page table to 3H2v and text and a diagram to 3H7r, where the pages have been left blank by the printer in this copy, title with a few small repairs with minor loss to lower corner, lightly browned and silked, water-stained, a few tears, without loss, contemporary limp vellum, lacking ties, some staining, folio (327 x 237mm.), Rome, Francesco Zanetti, 1581.⁂ First edition of the most important and substantial work on dialling published to that date. Our copy with evidence of early scholarship, with much on projective geometry. Literature: Adams C2098; Honeyman 706 'sums up all that was known on gnomonics'; Houzeau and Lancaster 11383; Tomash & Williams C101; EDIT 16 CNCE 12671.

Euclid. Elementorum libri XV, translated and edited by Federico Commandino, collation: *6 **6 A-Z4 2A-2Z4 3A-3S4, title in woodcut architectural border by Jakob Criegher, numerous woodcut diagrams, large woodcut historiated initials, early ink marginalia, extensive in some places, title stained and with tear and marginal repair with a little loss, some staining and foxing, occasional ink staining, especially to B3v, new endpapers, later vellum, upper fore-edge little worn, rubbed, folio (291 x 203mm.), Pesaro, [Camillo Franceschini], 1571.⁂ First edition of this translation. 'The translation, which was made use of by subsequent editors for centuries, was the work of F. Comandino, certainly an outstanding figure in the history of Euclid's Elements' (Thomas-Stanford). Our copy with evidence of early scholarship. A signature to foot of title and a note on fortification may point to the architect Francesco Grimaldi. Literature: Riccardi I, 362; Thomas-Stanford 18; EDIT 16 CNCE 18358.

Allais (Louis-Jean), Athanase Détournelle & Antoine-Laurent-Thomas Vandoyer, engravers and publishers. Projets d'Architecture et autres productions de cet art, qui ont mérités les Grands Prix accordés par l'Académie, par l'Institut National de France, et par des Jurys du choix des Artistes ou du Gouvernement, second series, on Papier grand Colombier d'Hollande, (watermarked Van der Ley), title with French nationalistic wood-engraved ornament, fine engraved additional pictorial title and 120 plates (520 x 358mm.), all ff. numbered in pencil in top right-hand corner, otherwise generally clean and crisp, with occasional light spotting or finger-marking, contemporary calf-backed marbled boards, richly gilt spine with architectural instruments motifs, small stars and foliage decorations, along with a large red morocco label, some fading to marbled boards, corners neatly restored with green vellum, rubbed, folio (binding 534 x 380mm.), Paris, Détournelle & J. Charles, 1806. ⁂ A very good copy of this scarce collection of the second series of prize-winning architectural designs. Includes fountains, aqueducts, lighthouses, prisons, gardens, and triumphal arches and columns.

Palladio (Andrea) I Quattro Libri dell'Architettura, first edition, 4 parts in 1, collation: A2, B-I4; AA-KK4 (quire HH misbound, in the sequence HH2, HH1, HH4, and HH3); AAA-FFF4; AAAA-RRRR4, complete with blank leaves KK4 and RRRR4, Roman and italic type, each title within architectural woodcut borders with de Franceschi's printer's device included in upper panel, a different printer's device on verso of fol. RRRR3, 221 woodcut illustrations, plans, and sections (156 are full-page blocks, including 84 printed as plates, recto and verso of 42 leaves) executed after Palladio's drawings by Giovanni and Cristoforo Chrieger, Cristoforo Coriolano, and others, numerous woodcut animated initials, occasional light foxing, lower margin of fol.I2 slightly trimmed, handsome early nineteenth-century green calf, over pasteboards, covers framed by undulating gilt fillet, small floral tools at each corner, spine gilt with gilt-lettered red morocco label, board edges decorated with gilt freeze, green silk bookmark, gilt edges, lower corners slightly bumped, generally a fine copy, folio (290 x 195mm.), Venice, Domenico de' Franceschi, 1570.⁂ A milestone in the history of architecture: the first edition of the Quattro Libri dell'Architettura by the Paduan theorist and practising architect Andrea di Pietro della Gondola, universally known as Andrea Palladio, after the name given to him by his patron and renowned humanist Giangiorgio Trissino. Palladio was primarily active as an architect in Venice, Vicenza, and along the Brenta river, where he built magnificent villas for wealthy members of the Venetian patriciate. This authoritative and influential treatise celebrates the purity and simplicity of classical architecture, drawing its inspiration from Roman sources, especially Vitruvius, and Italian Renaissance architects, above all Leon Battista Alberti. The work is divided into four parts or libri, devoted to orders and elementary problems, domestic buildings, public buildings, and town planning and temples. "Palladio followed the rules of classical Roman architecture more closely than any other architect, even sometimes at the cost of practicability and domestic comfort. In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century [...] 'Palladianism' became a party label in the world of connoisseurship and England blossomed with buildings 'in the Palladian style' - two centuries after Palladio had created it. From England the style made its way into Scotland, Ireland and America" (PMM). The treatise was reprinted and translated many times over the following centuries. Within the splendid series of woodcuts which accompany the text, especially noteworthy are those in the second libro depicting plans and elevations of villas, including the famous Villa Maser built for Palladio's patron Daniello Barbaro. Literature: Mortimer Italian, 352; Berlin Katalog 2592; Cicognara 594; Fowler 212; Olschki Choix, 15125; PMM 92.

Theatres.- Saunders (George) A Treatise on Theatres, first edition, half-title, 13 engraved plates, of which 5 folding, plate V trimmed to border on 2 sides, some offsetting, occasional spotting, 19th century French morocco-backed marbled boards, spine gilt, head of spine chipped, upper joint splitting, but holding firm, lower joint starting at head, corners worn, rubbed, 4to, Printed for the author and sold by I. and J. Taylor, at the Architectural Library, Holborn, 1790. ⁂ The first monograph on theatre architecture by an English architect. Includes sections on acoustics, seating areas and lighting, along with notes on some of the principal theatres of Europe.

Wood.- Blanchard (Edmé) Traite de la Coupe des Bois, pour le Revetement des Voutes, Arrieres-Voussures, Trompes, Rampes, et Tours Ronde, first edition, engraved arms to head of dedication and 46 plates, most folding, woodcut head- and tail-pieces and decorative initials, occasional spotting, contemporary speckled calf, richly gilt spine in compartments and with orange morocco label, lower corners worn, rubbed at extremities, [Fowler 45; Berlin Kat. 1253; Cicognara 885], 4to, Paris, Jacques Josse & Claude Jombert, 1729.⁂ A very good copy of this work on the use of wood for architectural decoration and panelling. It includes a short section on marble cutting.

India, Egypt, &c.- Angiolini (Angiolo) [Suite of six views of temples and historic architectural sites], including Sher Shah Suri's Tomb at Sasaram, India; the Mughal emperor Akbar's tomb, India; the Giza pyramid complex, Egypt; a view of the Mount Lebanon mountain range; the Acropolis of Athens; and a view of Smyrna, etchings and aquatints, printed in sepia on laid paper without watermarks, each platemark approx. 405 x 500 mm. (16 x 19 3/4 in), sheets each approx. 590 x 730 mm. (23 1/4 x 28 3/4 in), full margins with some expertly repaired tears and splits to creases, rough edges with nicks and tears repaired, minor surface dirt, handling creases, unframed, published by the artist, Florence, 1806.⁂ Largely unrecorded, highly competent suite of aquatint views of important sites of historical interest.

Restoration Binding.- Bible, English. The Holy Bible containing the Old Testament and the New..., fine engraved architectural title by Chantry dated 1673, bound without Apocrypha, New Testament with separate letterpress title, 1675 bound with Whole Book of Psalms (The), 1675, together 2 works in 1 vol., ruled in red throughout including engraved title, contemporary ink inscription to head of engraved title erased but with contemporary manuscript list of Sir John Conyers's children written by his wife Lady Conyers to front free endpapers, with a later transcription loosely inserted, dedication very lightly browned, a few small spots or stains and minor marginal flaws, bound in magnificent contemporary red morocco, gilt, ?by Queens' Binder A, the covers elaborately tooled in gilt with overall design of drawer-handles, pointillé fleurons & rosettes, volutes and dots all within a roll-tooled border, spine gilt in compartments and five raised bands, with silver clasps and corner-pieces, upper catch with initials "M C" engraved on verso, g.e., a little rubbed, clasps and corner-pieces slightly tarnished, lower clasp lacking catch, [Herbert 721; Wing B2294, 2672 & 2517], 4to, Cambridge, John Hayes⁂ A pencilled note on the front free endpaper states that this is a Samuel Mearne binding but from the use of the drawer-handle tools forming an overall pattern it seems much more likely to be the work of Queens' Binder A. It is certainly very similar to those by this binder (possibly William Nott) in Maggs catalogues 1075 nos.78 & 79 and 1212 nos. 54 & 55, the roll-tool borders on all being identical.Sir John Conyers, 3rd Baronet (1649-1719) of Horden, Co. Durham. In 1675 he married Mary Newman, a kinswoman of Robert Baldwin of Staughton, Hunts., whose estate was inherited by Conyers. With the initials "MC" on the clasp this was presumably Mary's bible, possibly given to her as a wedding present. Of the nine children listed four died either stillborn or prematurely.

A VICTORIAN NEEDLEPOINT PANEL OF AN ANGEL AND OTHER FIGURES WITHIN AN ARCHITECTURAL SETTING. 54 x 41cms.

Frances Margaret Benson (1849-1887) - Watercolour - Study of a nest and spring flowers on a stone ledge within an architectural niche, 25.5ins x 19.25ins, in gilt moulded frame and glazed

A Northern European Carved Oak Figure of St. Christopher Carrying the Infant Christ, 16th Century, contained within an architectural niche, 14ins x 5.75ins x 2.25ins deep

A 17th century walnut sculptural architectural fragment, carved with a putto mask, 12cm x 7.5cm, c.1680

A Victorian Tunbridge ware and rosewood rectangular stamp box, the push-fitting cover inlaid with an architectural frontage, 5.5cm wide, c.1860

An interesting folio of architectural drawings, plans and elevations, various media, watercolour, pencil, etc

Indian School (19th century), a pair of architectural miniatures, temple interiors, watercolour, gouache and gilt on ivory, oval, 5cm x 6.5cm, carved ebony easel frames, 14cm high overall

Indian School (19th century), a set of three topographical miniatures, The Taj Mahal and further Agra sights of architectural interest, graduating ovals, watercolour on ivory, the largest 3.6cm wide, black rectangular paiper-mache frame en suite, 7.8cm x 18.6cm overall

London Architectural History - a 19th century salvaged relic roundel, depicting the front elevation Sir Christopher Wren's Temple Bar Gate, the legend reading Temple Bar, Erected 1672, Demolished 1878, This Effigy of it was Struck from the Lead Formerly on the Roof, 9.5cm diam, oak frame

Antiquities - a Gandhara stone frieze stele, carved with figures in relief with figures in an architectural setting, 19cm x 43cm, c.9th century

Architectural Drawing - a pair of large beech dividers, by Helix, 48cm long, c.1950

H. A. C. - a German fourteen day walnut mantle clock, the movement striking on a gong, numbered 3061, architectural case, pendulum, height 43cm.

A 19th century French white marble and gilt metal exposed escapement mantle clock, the architectural case with lion surmount, mounted on an ebonised plinth, glass dome, pendulum, key, overall height 50cm.

A 19th century French clock garniture, the white enamel dial with Arabic numerals, the unsigned movement numbered 35936 and 72, striking on a gong, with sunburst pendulum, the mottled white architectural column case with gilt mounts.

Lardot and Boyon, Paris, a 19th century French gilt metal and pink variegated marble clock garniture, the white enamel dial with Arabic numerals, the signed movement striking on a gong, with twin mercury pendulum, the architectural case with gilt floral decoration, height of clock 47cm.

a large collection of original artwork including an original watercolour painting believed to be for the film "Darling" (1965) starring Julie Christie and Dirk Bogarde set in London depicting the hoarding at Westbourne Park, London, measuring 22 x 15 inch plus mount. Three other watercolour paintings are entitled "The Shadow and the Peak" and picture Matron's room and sick room, The Great house, and a beach location, possibly an unmade film (for discussion). Sketches for discussion only for "The Golden Ass" x3, an unknown watercolour sketch measuring 20 x 25 inch. Plus eleven other architectural set design illustrations of various sizes and locations.

Architecture.- Plaw (John) Ferme ornée; or, rural improvements. A series of domestic and ornamental designs, suited to parks, plantations, rides, walks, rivers, farms, &., new edition, 38 sepia aquatint plates, advertisement f., 8pp. publisher's catalogue of architectural books at end, text stained, plates with marginal water-staining and occasional marginal foxing, some spotting, original boards, sympathetically rebacked, water-stained, [cf. Abbey, Life, 48, first edition], rare, 4to, Printed for J. Taylor, at The Architectural Library, 1813.

Architecture.- Vicenza.- Scamozzi (Ottavio Bertotti) Il forestiere istruito delle cose più rare di architettura, e di alcune pitture della città di Vicenza dialogo, first edition, engraved portrait frontispiece of dedicatee Mario capra, title vignette and 36 folding plates, armorial ink stamp to title, marginal worming, occasionally touching the odd letter or within platemark, occasional spotting, modern calf, gilt spine in compartments and with black leather label, [Fowler 43; Millard, Italian, 19], 4to, Vicenza, Giovambattista Vendramini Mosca, 1761.⁂ First edition of this architectural guide to Vicenza, and in particular the buildings of Palladio. Provenance: J.B. and Michael Bury (bookplates).

Law.- Inheritance.- Ubaldi (Niccolò) De successionibus ab intestato. Successionum ab intestato respectu tam clericorum quam laicorum tractatus beatissimus, Gothic type, double column, title and large woodcut printer's device within four-part woodcut architectural border, woodcut decorative initials, lacking L3&4 (?L4 blank), ink writing exercises to verso of title and a few margins, stained, lightly browned, bookplate of LA Law Library, modern calf, spine gilt and with red leather label, [Baudrier V.444], 8vo, Lyon, Benoît Bonyn & Vincent de Portonariis, 1533. sold not subject to return, ⁂ A scarce work on inheritance, with USTC recording only six copies, of which only UK copy at BL.

Law.- Tiraqueau (André) Commentarii de nobilitate et jure primigeniorum, tertia hac, eademque postrema editione, ab autore ipso diligentissime recogniti, et tertia amplius parte locupletati, title within ornate architectural border with oval portrait of author verso, woodcut initials, title trimmed at fore-edge, just within printed area, some browning, staining and worming to upper margins, modern vellum, [not in Adams], folio, Lyon, Guillaume Rouillé, 1566.⁂ Andre Tiraqueau's legal works are of great importance in the development of the French judicial system. He was an active member of the Cenacle de Fontenay-le-Comte, a salon of fellow lawyers, writers, doctors, philosophers and historians, which included François Rabelais and Guillaume Budé amongst its members. Rabelais' Tiers Livre was greatly influenced by Tiraqueau's De Legibus.

A 19th Century French mantel clock of architectural form with four fluted columns the drum case with silvered dial and Roman numerals to the chapter ring in the Empire taste, together with a Hermle 365 day clock and a carriage clock inscribed "Bornand Freres Montbeliard" Size approx. 24cm high x 14cm wide CONDITION REPORTS It is not known whether the clocks are in working order. They are not sold as in working order.

A FOLDER CONTAINING ARCHITECTURAL ENGRAVINGS & A CONTINENTAL COLOURED ENGRAVING

A large slate and brass architectural mantel clock, and an oak-cased 2-train mantel clock, largest length 38cm (2)

A large Arts and Crafts silver plate on copper table candlestick, hand planished decoration with architectural design, stamped on base HS, overall height 28cm

Yvonne Vidal (Early 20th century French School), an architectural study of a gothic water fountain, pencil drawing with watercolour, signed, circa 1912, unframed H.49cm W.61cm

2nd-3rd century AD. A carved marble head of Venus(?) (Greek Aphrodite) with detailed chignon hairstyle drawn back from the face with braid extending towards the left shoulder, diadem with chamfered rim and red pigment; the head turned slightly to the left with wide eyes and small lips bearing red pigment; architectural bracket to the rear developing from the chignon. 6.2 kg, 25.5cm (10"). Property of an Essex collector; acquired on the UK art market; formerly held in a private collection formed in the early 1990s.Fine condition.

6th-8th century AD. A rectangular carved marble architectural panel with slot to the underside, incised Maltese cross within a circle with ring-and-dot motifs surrounding; mounted on a custom-made stand. 6.1 kg total, 23cm with stand (9"). From the property of a London gentleman; formerly in a UK collection formed before 1990; thence by descent.Fair condition.

13th-15th century AD. A large keeled openwork lead weight or architectural fitting in the shape of letter 'A'. 334 grams, 10cm (4"). Property of a Dutch gentleman; formerly in an old collection formed in the 1970s. [No Reserve] Fine condition.

11th century AD or later. A rectangular carved sandstone architectural panel with frieze depicting the Virgin Mary seated on an elaborate throne facing a winged angel with staff; mounted on a custom-made display frame. 15.6 kg total, 53 x 50cm including frame (21 x 19 1/2"). Property of a London lady, part of her family's Swiss collection; formerly acquired in the 1980s.Fine condition, repaired.

18th century AD. A substantial parcel-gilt silver reliquary formed as a rectangular body with apsidal end; repoussé arcade to the sidewall with seventeen figures of saints, nimbate and facing, each with an open book in the right hand and reading-aid in the left; the flat end-wall with median gridded door and bust of Mary Theotokos with the infant Jesus, flanked by fronds; the lid with busts of winged angels to the lip, full-length repoussé portrait of Mary Theotokos with the infant Jesus on her lap, flanked by nimbate angels, and to the rounded end a D-shaped panel with the Romanov Imperial double-headed eagle; miniature architectural models of two square-section churches with a cylindrical tower and fluted domed roof, larger square-section church with repoussé cherubim (six-winged angels) to the side walls, arcaded turret with low dome, all surmounted by cross motifs. 1.1 kg, 24cm (9 1/2"). From an East London collection; previously in a collection formed between 1990-2000. The Romanov eagle was part of the heraldry of the Russian Empire (1721-1917) having been adapted from the arms of the Grand Duchy of Moscow in the 15th century. A video of this lot can be viewed on Timeline Auctions website. Very fine condition.

2nd-3rd century AD. A carved schist figure of Atlas crouching with wings partly spread, both hands clasped about his raised right knee; mounted on a custom-made stand. Cf. Jongeward, D., Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 149; see Stanco, L., Greek Gods in the East: Hellenistic Iconographic Schemes in Central Asia, Prague, 2012; Nagar, S., Gandharan Sculpture: A Catalogue of the Collection in the Museum of Art and Archaeology, University of Missouri-Columbia, 1981.17.3 kg total, 45cm including stand (17 3/4"). Property of a London collector, acquired early 1990s. The Atlas motif is among a range of imports from Greek and Persian art - caryatids, Ionic columns, drinking scenes, vines, acanthus leaves, Olympian gods and Dionysian revelries - which give Gandharan sculpture its unique flavour. The figure is derived from representation of the Greek myth of Atlas, whose task it was to uphold the sky; his thickset frame and stocky limbs indicate his ability to support any burden. Many examples of the Atlas figure are modelled with hands raised, or with a flattened upper surface to the head where an architectural feature was placed above, but in the present case the figure appears to be resting; it also does not sport the wings found on may other examples. Fine condition.

2nd-3rd century AD. A carved schist figure of Atlas crouching with wings spread to the rear, right hand resting on the right shin, left hand raised and head turned as if listening. Cf. Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 149; and see Stanco, L. Greek Gods in the East: Hellenistic Iconographic Schemes in Central Asia, Prague, 2012; Nagar, S. Gandharan Sculpture: A Catalogue of the Collection in the Museum of Art and Archaeology, University of Missouri-Columbia, 1981.25.3 kg, 46cm (18"). Acquired on the London art market before 2000; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.154101-10047. The Atlas motif is among a range of imports from Greek and Persian art - caryatids, Ionic columns, drinking scenes, vines, acanthus leaves, Olympian gods and Dionysian revelries - which give Gandharan sculpture its unique flavour. The figure is derived from representation of the Greek myth of Atlas, whose task it was to uphold the sky; his thickset frame and stocky limbs indicate his ability to support any burden. Many examples of the Atlas figure are modelled with hands raised, or with a flattened upper surface to the head where an architectural feature was placed above, but in the present case the figure appears to be resting; it also does not sport the wings found on may other examples. Fine condition.

THREE VINTAGE FLOR MAP ARCHITECTURAL DRAWINGS POSTCARDS

A GERMAN DARK STAINED BEECHWOOD BRACKET CLOCK, WINTERHALDER & HOFMEIER, BLACK FOREST, CIRCA 1900 the architectural case with pediment and fluted pilasters, the square dial with Roman numerals to the silvered chapter ring the eight day movement striking the hours and quarters (pendulum and key in office)

Large Architectural Hardwood Garden statue of a horses head on a square base Plynth Approx 153cm tall

CLOCK FACE, architectural scale, black and gilt, with Roman numerals and gilt arrow hands, 200cm diam.

Reclaimed architectural Royal Doulton chimney pot.19th Century king/crown top and marked 78 (H92cm)

Two Framed pictures of property scenes in London, including one by acclaimed architectural water-colourist Johnathan Pike dated 1984.

AN 18TH CENTURY OVAL SILVER SNUFF BOX, the repousse and engraved hinged cover with a scene of the goddess Diana the Huntress, a hound at her feet, seated upon an architectural structure flanked by hunting trophies, the cover opening to reveal a gilde d interior with an assay mark, 7cm x 5cm, weight; 47g Condition report – cover; design with wear some loss of detail because of use and age, many little dents, particularly noticeable on the flat, undecorated base; you can see the dimpled surface, hinge good, interior gilding good.

A 19th century French ormolu mantel clock, the movement marked H&F Paris, 4 inch white enamelled dial with Roman numerals and Arabic chapter ring, within an architectural case of domed pediment and cuboid plinth on a stepped base supported on five bracket feet, heavily encrusted and bracketed with foliate scrolls, a shell mask above, surmounted by an urn finial, signed to the dial Dijon, 41cm high

Roger Fry, Ten Architectural Lithographs, London: Arcitectural Press Ltd. Limited edition number 31 of 40, in folder with mounts, signed in pen by Fry

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Terrace plant signed and dated 'Ghika/65' (lower right)oil on canvas100 x 73 cm. Footnotes:ExhibitedAthens, National Gallery - Alexandros Soutzos Museum, Ghika, May 1973, no. 115 (listed in the exhibition catalogue). Athens, Benaki Museum, N. Hadjikyriakos Ghika, The Apollonian, the Dionysian 1906-1994, November 11, 2006 - January 15, 2007 (illustrated in the exhibition catalogue, no. 236, p. 140).LiteratureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, no. 366, p. 300 (illustrated).A riot of festive colours and a lacework of energetic lines and rhythmically orchestrated forms, this luminous and cheerful painting of Dionysian contemplation and paganistic zeal aptly illustrates Ghika's ability to filter the world around him through his rich imagination and transform an ordinary terrace plant into an expression of the enthusiasm sparked in him by nature. Every part in the picture is imbued with the breath of the exuberant flora and the refractions of light, exploding into dazzling mosaic-like fragments that spin and swirl around enigmatic webs of geometric and patterned features so that the whole composition is in a state of perpetual becoming, immersed in a constantly changing and revived atmosphere.1 From the late 1950s on, Ghika's ordered architectural structures were gradually replaced by a world subject to natural forces,2 to explosions of colour and form, where trees, leaves, bushes and flowers were set in motion, engaged in a perpetual Dionysian dance. Inspired perhaps by Japanese calligraphy's pronounced gestures and constant flow of brush and pen, his landscapes became denser and more mystical, reflecting his perception of nature as a cosmogony invested with pantheistic rituals and Oriental myths.'I tried to evoke the whispering of leaves, the buzz of insects, the movements of tree branches, the breathing of the juices, the swirling of petals. The artist discovers pulsating rhythms derived from his intimate relationship with nature. He discovers them in the leaves and insects, in the light and the shadows cast by wind-swayed trees, in the flight of birds and the nuances of colour. In other words, I want the viewer to feel the knife used to carve out nature. I want him or her to even feel the music, the sounds emanating from the orchestration of different forms, different shapes, different lines and not only the orchestration but, if possible, even the inherent scent they exude, which is the most elusive sense of all.'3 'Every artist who is by nature a colorist bears within him his own harmonies of colour, which are never exactly those of nature but those of his own ideal of nature. In my case, these harmonies are mainly composed of mauves, greys and pinks, but sun-drenched, sun-saturated colors that have at the same time preserved something of the brightness which might have been theirs in a less cruel light.'4 'What remains as my strongest impression about Ghika's work is its constant inspiration from nature – the wonder, the strength, the beauty, the power, the patterns. I asked him if nature was always inspiring to him and he answered, Always. No matter what happens in life, nature is always an inspiration.'5 1 See N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian [in Greek], exhibition catalogue, Benaki Museum, Athens 2006, p. 52.2 See M. Achimastou-Potamianou, 'The Art of Ghika' [in Greek], in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975', p. 340.3 See N. Hadjikyriakos-Ghika, The Birth of New Art [in Greek], Astrolavos-Efthini editions, Athens 1987, pp. 232-234; N. Hadjikyriakos-Ghika, In Front of Others [in Greek], Athens 1990, p. 25. See also transcribed excerpts from the 'Monogramma' television documentary, ERT-2, 1984 in Nikos Hadjikyriakos-Ghika [in Greek], Tegopoulos editions, Athens, 2009, p. 150.4 Ghika's interview by E. Roditi, The Charioteer magazine, vol. 1, no. 2, Autumn 1960, p. 55. 5 H. Livas, Contemporary Greek Artists, Vantage Press, New York, 1993, p. 11.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Composition signed in Greek and dated '1960' (lower left)acrylic on hardboard100 x 366 cm.Footnotes:ExhibitedAthens, Benaki Museum, Yannis Moralis, Architectural Compositions, February 10 - April 30, 2011 (illustrated in the exhibition catalogue, pp. 52-53).LiteratureZygos magazine, no. 80, July 1962, p. 25, no. 61 (illustrated).Architectoniki magazine, no. 42, November-December 1963, p. 8 (mentioned), p. 11, no.16 (illustrated).Architectoniki magazine, no. 46, July-August 1964, p. 44 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 383 (mentioned).Yannis Moralis, Functional Art, Polyplano editions, Athens 1976, p. 29 (illustrated).Sima magazine, no. 22, no. 5, March 1979, p. 40 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 782, p. 476 (mentioned), p. 496 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, p. 254 (mentioned).Yannis Moralis, Epta Imeres, Kathimerini weekly magazine, April 10, 1994, p. 5 (mentioned).Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 168 (mentioned).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 139 (mentioned).Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 218 (mentioned).A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2011, pp. 209, 245 (mentioned).Gr Design magazine, September 2018, p. 12 (mentioned).A monumental Moralis, Composition 1, 2 is one of the most beautiful and imposing paintings by the artist ever to appear on the auction market. Epic in scale and magnificent in its simple grandeur, this striking work echoes the timeless values of ancient Greek art.Disciplined line and pure form, reminiscent of architectural fragments from an ancient Greek temple or a neoclassical Athenian mansion, set up a perfectly balanced geometric edifice from which engaging floral motifs emerge playfully against luminous patches of blue colour indicative of clear skies. The well thought out compositional scheme, the shallow depth, suggestive of sculptural relief, and the overall serene rhythm, dictated by the classical sense for human scale, compose an evocative world of poetic images that revives the archetypal universe of an Ionian frieze.Pointing out Moralis's ideological kinship with his classical models, M. Lambraki-Plaka, Director of the Athens National Gallery, notes: 'Verticals, horizontals, diagonals and curves compose a harmonious whole full of intensity, hidden under apparent tranquillity.'3 As Nobel laureate O. Elytis once said of Moralis, 'by using a limited vocabulary of form, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'4 Elaborating on the relationship of painting and architecture in Moralis' work from the 1960s, art critic A. Xydis notes: 'For a long time I have believed that the qualities of Moralis's art were particularly appropriate to the full expression of a work of architecture. His strength in and love of composition, his sensitive and balanced colour harmonies, the diligence of his technique, and the clarity and monumentality in the organization of planes and volumes, make up a combination of qualities much sought after by architects. They are even related to those that belong to a good architect, whose artistic temperament must at every moment be subjected to the control of reason.'5 1 Composition adorned the Xenia hotel in Florina, designed in 1960 by architect G. Nikoletopoulos in the vein of the legendary modernist Aris Konstantinidis. As noted by art critic A. Xydis, 'since 1959, Moralis produced a series of epoch-making works that paved the way to a wider use of artists by architects, who realised that they had only to gain from such a collaboration. In his first such works [as is the case with the Florina Xenia], Moralis did not depart far from the easel painting techniques he had been using at the time, the more so as these works were intended for interior spaces. He worked either in situ or in his studio.' A. Xydis, 'Auspicious Collaboration of Art and Architecture, the Work of Yannis Moralis 1959-1963' [in Greek], Architectoniki journal, no. 42, November-December 1963, p. 8.2 As noted by the artist himself, Composition was painted in the studio of artist Natalia Mela. See Yannis Moralis, Architectural Compositions [in Greek], exhibition catalogue, Benaki Museum, Athens 2011, p. 53.3 M. Lambraki-Plaka, 'Classic and Human-centred' [in Greek], Kathimerini daily, Epta Imeres, 10.4.1994, p. 114 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972.5 Xydis, p. 8.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com