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Michalis Economou (Greek, 1888-1933)On the way to Loutraki signed 'M.Economou' (lower left)oil on flannel laid on canvas60 x 50 cm.Painted in 1927.Footnotes:ProvenanceNia Stratos collection, Athens.ExhibitedAthens, Parnassos Gallery, Exhibition of Paintings by Mich. Economou, November 17 - December 10, 1927, no. 26 or 42 (listed in the exhibition catalogue).Athens, Armos Gallery, Michalis Economou 1888-1933 Retrospective Exhibition, April 1961, no. 36, listed in the exhibition catalogue (possibly).LiteratureA. Kouria, Michalis Economou, Adam editions, Athens 2001, no. 114, pp. 107, 115 (mentioned), p. 245 (listed), p. 256 (catalogued), pp. 108, 163 (illustrated).Resembling flames of dark green flaring from the earth against an animated sky, Economou's evocative cypresses echo one of Van Gogh's signature subjects1 (compare Road with cypresses, 1890, Kröller-Müller Museum, Otterlo.) The work dates after 1926, the year Economou returned to Greece from France, and was included in his 1927 personal exhibition in Athens. Reviewing the show, critic D. Kokkinos noted that the exhibits were 'true works of poetry, but so masterfully rendered that their significance as paintings prevailed.'2 As noted by art historian A. Kouria, who prepared the artist's monograph, critics of the time stressed the museum quality of these works and urged art lovers to hasten and purchase them. In light of such critical and popular acclaim, it's no wonder that Economou's works adorned the collections of major early 20th century Greek collectors, such as C. Loulis, G. Stringos and A. Benakis.3 In this evocative rendition infused with an ethereal light and a hazy, dreamlike atmosphere, nature becomes a landscape of the artist's inner world, while reality is transformed into an image of subjective truth. As noted by Kouria, 'an ambivalent sense of presence/absence suffuses these silent images, suspended between real time and memory... In some paintings, the trees (pines and cypresses, lone or in combination) seem to have lost their weight, becoming insubstantial and vulnerable, with slender, sinuous lines as trunks. ...A latent energy, a secret, surreptitious life force enlivens these paintings...In certain cases, the expressive thrust takes on a dramatic quality, which borders on expressionism with Northern European overtones, as in On the road to Loutraki.'41 Van Gogh was fascinated by cypresses as natural equivalents of architectural forms, 'as beautiful in lines and proportions as an Egyptian obelisk.' He admired their inherently expressive character, stressed their spiritual significance and compared their colour to a musical note. 2 Elliniki newspaper, December 4, 1927. See also A. Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, p. 125.3 Kouria, p. 125. 4 Ibid, pp. 108-113, 115.For further information on this lot please visit Bonhams.com

A late 19th Century American stained wood cased shelf clock of architectural design with visible pendulum and Ansonia spring driven gong striking movement

Freda Cowen: two similarly framed watercolours, both architectural of rural buildings - both signed and dated 91

Japy Freres & Cie 19thC French Lacquered Brass Mantel Clock, Of Architectural Form, The Arched Surmount With Turned Finial And Four Turned Column Supports, On Square Base, Arabic Numerals, Back Plate Stamped “Rack French Make A 313” Japy Freres & Cie Gde Med D’honneur. Height 14 Inches

A de-activated Boer 7.9mm Mauser Model 1898 bolt action rifle, number 7120, by Deutsche Waffen und Munitionsfabriken, Berlin, the butt deeply carved with owner’s initials “JR” on either side of a shield, all within an architectural arch, the fore end with the name “J. Reitz”. GC (some wear and bruising overall); with C.O.D dated 5th March 2018. Plate 28 .

A Group of Five Japanese Fans, 19th and 20th century: Comprising a good painted example with wood sticks, the gorge stained dark green, the guards lacquered in mottled brown. The double paper leaf shows a colourful bird with long tail and crest, perched amidst ruby and mauve flowers of different forms. The verso has a more linear design on strap-like leaves, and tiny orange starry flowers, with a larger flower head on the lines of alstroemeria. Guard length 12 inches or 31cm. The second fan, with a bulbous head, is finely and elegantly painted with three adult figures and a small child in robes amongst stylised trees, a butterfly overhead, a Japanese bridge and pale blossoms to the left. The wood monture features dark gorge sticks, tan guard, the latter being carved and gilded in a regular almost architectural fashion. Guard length 13.75 inches or 35cm. A third fan from the 20th century, is paper mounted on bamboo, in vibrant colours of yellow and turquoise, featuring buildings and a robed couple next to water, on which a small boat sails. The verso is plain but shaded from yellow to cream. Guard length 12 inches or 30.5cm. The final two fans are a non-matching pair, of wood mounted with paper leaves, delicately painted with various figures beside water, some in ornate robes and shaded by parasols. Guard length 9 inches or 23cm (5) CONDITION REPORT: . Fan 1, in good order. Fan 2, monture sound but several folds completely split. Fan 3 is clean and most likely unused

* Germany. Braun (Georg & Hogenberg, Franz). Gorlitz, Cologne, circa 1575, engraved city plan with contemporary hand colouring, 305 x 500 mm, mounted with another uncoloured example, framed and glazed (Qty: 1)NOTESOriginally published in 'Civitates Orbis Terrarum'. Görlitz is a town in eastern Germany, on the Polish border. It is known for its well-preserved old town, where buildings of different eras show off a wealth of architectural styles.

Anderson (R.) . Examples of the Municipal Commercial and Street Architecture of France and Italy from the 12th to the 15th Century, circa 1875, 103 black & white plates, some light toning & spotting, top edge gilt, contemporary gilt decorated red half morocco, boards & spine slightly rubbed, folio, together with: Petit (J. L.), Architectural Studies in France, 1854, numerous black & white illustrations, contemporary bookplate pasted down to modern endpapers, loose original endpapers, some light spotting & toning, all edges gilt, rebound retaining original gilt decorated plum morocco spine & boards, rubbed with minor loss, large 8vo, and Ross (Janet) , Florentine Villas, 1901, 24 monochrome photogravures, 51 black & white illustrations, some light spotting & toning, top edge gilt, publishers original brown cloth, folio, limited edition of 300 copies, plus other 19th century & modern Renaissance, Italian & French architecture reference, including Dictionnaire Raisonné Architecture Française du XI au XVI siècle, 10 volumes, by Viollet -le-Duc, 1873, uniform gilt decorated red quarter morocco, 8vo, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (Qty: 3 shelves)

[Italy]. [Album of architectural studies and designs], c.1812-27, 18 wove-paper leaves each with architectural sketch recto in pen and ink, pencil and grisaille or bistre wash, captions and annotations in black ink, 4 leaves blank, contemporary Italian half vellum, marbled sides, shelf-mark label to spine, oblong 4to (24.4 x 19 cm), together with: [France & Italy] , [Manuscript journal of a tour through France and Italy], 1822-3, including Paris, Turin, Alessandria, Lucca, Buggiano, Florence, Rome, Naples, Herculaneum, and Terracina, [ 120] pp., ownership inscription 'Mary Ranson Bush, Lyons, France, Novr 30th 1822' to front pastedown, laid-in manuscript letter to Cecil H. Clough on Warburg Institute letterhead identifying the sitter as the subject of 'Hakewill's engraving', contemporary roan-backed boards, rubbed and worn, sides cockled, oblong 8vo (21 x 12.4 cm), [Genoa], 'Introduction à l'histoire de la famille D'Oria, de Gènes', 1844, manuscript in black ink on light blue wove paper, 31 leaves, written mainly rectos only, hand-painted illuminated coat of arms on leaf of thicker paper stock, initial blank annotated 'I copied this M.S. at Florence in the month of May 1844 from the original M.S. sent to me by the author Count Gräberg de Hemsö, librarian of the Pitti Palace. F. C. Brooke', contemporary Italian half vellum, 8vo (19.8 x 13 cm), and 1 other item (album of pencil sketches including views of Dover, 1907 , front cover detached) (Qty: 4)NOTESProvenance: First item only: Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, annotated 'Vespignani sale, March /00, 957, 16-50'; the note may refer to Italian neoclassical architect Virginio Vespignani (1808-1882)). All items: Professor Cecil H. Clough (1930-2017), reader in medieval history, University of Liverpool. The first item contains two studies of fountains at the villa d'Este in Tivoli but mainly contains designs for submission to the Accademia di San Luca and other purposes, with captions as follows: 'Progetto d’un eremo per un religioso, presentato alla Accademia della pace l’anno 1812'; 'Idea per riduzione d’una sala … nell’Accademia Romana di S. Luca, ad uso della pubblicita premazioni, presentato all’Accademia de S. Luca l’anno 1814'; 'Altra idea par la sudetta sala all’istasio uso, presentato all’Ac[c]ademia d S. Luca l’anno 1814'; 'Idea per l’aspetto d’una piccolo casa private, fatto per eseguire in l’anno 1815'; 'Memoria da erigersi sopra una sepottura con l’appoggio alla parete che forma recinto dell’arca[?] [...] la Chiesa di Cavallere nel Tivolo, fatta per eseguire l’anno 1816'; 'Tinello con sala di ricreazione al di sopra, seguita su la vetta di una collina presso la Magliana per il Sig. Lugi Righetti l'anno 1827'.

WARD OF PLYMOUTH; a late 19th/early 20th century onyx and gilt metal mantel clock garniture of architectural form, the circular enamelled chapter ring set with Arabic numerals, the movement backplate stamped for Grimshaw, Baxter & Elliott, and no.1114 4 4, clock approx 41 x 40cm.Additional InformationOne of the columns of the clock loose but present, further small nibbles, a chip to the right side of the clock, further scratches, nicks, natural fissures, tarnish and rubbing to gilt finish on the metalwork. Not tested. No guarantee of working order. 

SAVAGE OF PARIS; a late 19th century French black slate and marble mantel clock of architectural form, the enamelled chapter ring set with Arabic numerals, with carved foliate scrolls, the movement back plate stamped '4 3 13', height 27.2cm.Additional InformationTicks when wound but no guarantee of working order., various small chips, nibbles, scratches, etc to body, further general wear.

A REGENCY MAHOGANY BRACKET CLOCK, with chain fusee movement, painted circular dial in an architectural case, possibly a marriage. 15ins high.

FRENCH BRONZE ARCHITECTURAL PLAQUE

NO RESERVE Zucchetta (Giovanni Battista) Prima Parte della Arimmetica, part 1 [all published], first edition, title with engraved architectural border and portrait of the author, engraved portrait of the dedicatee Christopher Papa of Nuremberg to *2, contemporary printed corrections slip mounted on contents f. 2*3, woodcut initials, head- and tail-pieces, occasional scattered foxing, occasional marginal dampstaining, seventeenth-century vellum, a little browned, preserved in custom drop-back box, [Adams Z195; Edit16 30423; Smith, Rara Arithmetica pp.425-426; Riccardi I I, 674 'rarissimo'); Tomash & Williams Z13], folio, Brescia, Vicenzo Sabbio, 1660.⁂ Zuchetta was a mathematician from Genoa. The preface lists some 98 arguments for the need of arithmetic in all classes of society. As well as general arithmetic it includes mercantile arithmetic, especially currency exchange.

19 Good Glass Stereoviews in Rosewood case, all c. 1860s, stereoviews mostly French architectural and topographical scenes, three by Ferrier Pere, Fils & Soulier; one by Ferrier Soulier & Levy, all in good condition with no chips or cracks to the glass, house in a period rosewood stereoview case with three compartments

A Large Smith & Beck No.1 Circuit Stage Binocular Microscope, English, dated 18 April 1899*, signed to the foot ‘R & J Beck Ltd LONDON’ and ‘N°21383’, the microscope stands on a flat tripod foot with two supporting pillars, architectural in style, both terminating in trunnions supporting the microscope body, with plano-concave mirror on swing-arm and sliding collar, sub-stage condenser holder with screw X & Y adjustment and rack-and-pinion focusing, a large circuit stage** allowing for full rotation of the specimen, stage with X & Y control, swept limb with single accessory holder, course focus to the top, fine focus mechanism acting on the rack, Wenham prism in pull out/in drawer, with two cases of accessories which contain:The first case includes: Objectives all signed ‘Smith & Beck’, 3in, 2in, 11/2in, 1/5in, 2/3in/ 4/10in A pair of medium power binocular eyepieces.A high power eyepiece. An achromatic condenser with a wheel of stops.A stage bulls-eye.A stage side reflector.A Smith & Beck vertical illuminator in a can.A side reflector in a can.An erector lens and other items.the second case includes:A large live box.two glass stages.A compressor.A large frog/fish plate.Two Lieberkühns.A dark well holder and three darkwells.Stage forceps.A Wenham-type parabolic condenser.A large Ross eyepiece micrometer. An Amici type prism.An eyepiece lucida.An iris.A set of rotating selenite filters.Various polarising accessories.with large bullseye condenser in the main case, Substantial French polished mahogany cabinet with brass screwed joints and large brass carrying handle.Note: With a bill of sales dated 29th March 1979 from Mayfair Microscopes Limited and signed by Brian Davidson*From the Beck records.** The circuit stage was an expensive optional extra for the No.1 microscope. It meant that the stage was further away from the limb of the microscope so it could be fully rotated, the limb is bigger as the body tube is also further out. This is a very rare feature.

A Large Smith & Beck No.1 Binocular Microscope, English, dated February 1861*, signed in script to the foot ‘Smith & Beck 6 Coleman St. LONDON’ and ‘N°2430’, the microscope stands on a flat tripod foot with two supporting pillars, architectural in style, both terminating in trunnions supporting the microscope body, with plano-concave mirror on swing-arm and sliding collar, sub-stage condenser holder with rack-and-pinion adjustment, square Tully-type stage with X & Y control, swept limb with twin accessory holders, course focus to the top, fine focus mechanism acting on the nosepiece, Wenham prism in pull out/in drawer, with a single mahogany case of accessories which include: objectives all signed ‘Smith & Beck’, 2/3in, 1/5in, two Lieberkühns, a medium power eyepiece, a Wenham-type parabolic condenser, a set of dark wells and holder, a compressor, a live box, a stage bulls-eye, a double nosepiece, an eyepiece lucida, an erecting lens and other items, in the main case is a single monocular tube, all in the original French polished mahogany cabinet , case measures 49cm tall *from the Beck records

A late 19th Century Black Forest carved wooden wall mounted frame, circa 1880, of architectural form with a pediment, foliage in high relief around a double panelled door opening to a print, height 55cm, width 6cm, (key) 

Hutchins, John. The History and Antiquities of the County of Dorset, Westminster: John Bowyer Nichols and Sons, 1861-1872, in 15 parts, illustrated with numerous engraved plates depicting architectural and topographical views, plus further illustrations of heraldic crests and antiquities within the text. Folio, publisher's paper covers. Contents good, clean, bright; paper covers generally good but some bindings loose (15)

Barwise, London, a 19th Century rosewood bracket clock, of architectural form with a pitched roof, 9cm white enamel dial with Roman numerals, bun feet, the signed movement striking on a gong, height 22cm, in a fitted oak case (pendulum and two keys)

An Elizabethan oak plank chest, circa 1560, hinged rectangular top above three panel front carved in high relief with architectural arches, raised on square feet. 69cm H x 143cm W x 51cm D

Two albums of mounted photographs of Italy (Rome and Sicily), 61 images in total, architectural and topographical views as well as images of art/sculpture. Alinari, Brogi, Anderson. Oblong folio, blue buckram, protective tissue-guards (2)

Collection of books, including illustrated works, comprising: Salammbo, illustrated by Edward Bawden, Cambridge: University Press, 1960, limited edition signed by the artist and numbered 1097/1500, hardback with slipcase; The Adventures of Pinocchio, C. Collodi, illustrated by Attilio Mussino, New York: Macmillan, 1926, rebound; My Dolly's Home, Doris Davey, London: Arts and General Publishers, no date, worn boards; Sambo and Susanna, illustrated by Ethel Parkinson, London: Blackie & Son, no date, pictorial boards; Michel Strogoff, Jules Verne, illustrated by Ferat and Barbant, Paris: J. Hetzel, no date, gilt cloth; Le Capitaine Renaud, Alfred de Vigny, Poitiers: Societe Francaise, no date, gilt cloth; Manners and Customs of ye Englysne, illustrated by Richard Doyle, London: Bradbury & Evans, no date, worn boards; copper-engraved architectural/topographical views from Boswell's Antiquities, with accompanying text pages relating to the views, including Isle of Wight, Northumberland, Sussex, Surrey, Isle of Man, Yorkshire, Hereford, Norfolk, and others, list of subscribers and directions to binder at rear, no title page, folio, contemporary half-calf. Condition varied, as found (8)

Birmingham Artists. Etchings. Collection comprising: ten signed etchings by Joseph F. Pimm, each one titled in pencil to margin, some bearing blind-stamps; three signed etchings by James Priddey, each one titled in pencil (including two scenes in Birmingham); three similar unsigned etchings. All framed & glazed, varying sizes. Topographical & Architectural Interest (16)

Paris. 'Nouveau Plan', 1856, detailed engraved street plan including railways, featuring topographical/architectural vignettes and illustrations of steam trains with passengers. Sectional, linen-backed, slipcase

Collection of 19th-century architectural/topographical etchings from The Cottages and Farm-Houses of England, by Francis Stevens, published by Ackermann, framed & glazed (28)

Valentine. Collection comprising: 1) Sailor's Farewell, c.1800, etched design depicting cupid firing arrow at two lovers with distant ship, engraved by Francesco Bartolozzi, on laid/chain-lined paper bearing manufacturer's watermark. 2) Cupids Nest, c.1820, etched design with printed romantic verse on laid/chain-lined paper. 3) Visiting Cards, two late-18th century etched architectural/topographical designs, unused, and two embossed paper designs depicting flowers (one with embossed verse in French; one with indistinct manuscript note). 4) Two early-19th century German friendship cards, "Freundschaftskarten", one being an embossed silk design depicting fashionable lady and gentleman outside a house (the house lifting to reveal sentimental message), the other being a sepia etched design with central silk printed message (8)

A late 19th century walnut bracket clock, 12.5cm brass dial inscribed H Pomfritt, 40 Great Ancoats Street, Manchester, eight-day movement, striking on a gong, the backplate signed W&H/SCH/5 [Winterhalder & Hofmeier], the arched architectural case applied with gilt metal leafy spandrels flanked by fluted split turnings and draught turned roundels, 38cm high, c. 1900

A Secessionist oak table cabinet, the architectural pediment inlaid with three copper lozenges, above a pair of glazed doors enclosing two rows of drawers, shaped apron, bracket feet, 32cm high, 29.5cm wide, c.1900

A William IV lead architectural rainwater hopper, applied with a boss and dated 1831, 40cm high, 35cm wide

An early 19th century sailor's maritime souvenir novelty whalebone and marine ivory walking stick, octagonal top with an inset star above a tapering collar inlaid with lozenges and spheres below a conforming band, architectural trompe-l'œil prism with free-standing fluted pilasters and centred by a wrythen column, conforming compartment blind, wrythen shaft, 93.5cm long

An early George III oak bureau, fall front with reading ledge, enclosing an architectural interior with panel door flanked by secret compartments, pigeon holes and small drawers, above two short and three long graduated drawers, brass swan neck handles, bracket feet, 97cm high, 93cm wide, c.1760

Ecclesiastical Salvage - a pair of oak floor standing lamps, each as a fluted architectural column, square bases, gilt brass lion paw feet, 126cm high

An oak and mahogany George III inlaid long case clock, painted round dial, Roman chapter, signed [ ]/Derby, 30 hour movement striking on a bell, architectural pediment to hood with central turned finial supported on turned columns, inlaid frieze above trunk door with shaped top, flanked by fluted quarter columns, panel to skirted base, pendulum and weight (3).

Freemasonry/Friendly Society Interest - a 19th century giltwood and gesso looking glass, the architectural frame with break-arch pediment above square-and-compass and further devices, rectangular mirror plate flanked by Corinthian pilasters, 75cm high, 56cm, c.1860

Freemasonry - a rare creamware cylinder mug, probably Liverpool, transfer-printed in black with vignettes of Masons and Masonic devices flanked by columns and architectural devices, centred by armorial bearings, with scrolling Chippendale frames enclosing a banner inscribed with the motto of the Grand Lodge of England: Amor Honor et Justitia, and centred by a crest, the whole tableau surmounted by a gentleman in a garden seated by a sundial, the sky with lunar and solar bodies, black line rim, handle terminating in incised feather scrolls, 15cm high, c.1770

A George III mahogany and marquetry bureau bookcase, of small proportions, swan neck pediment above an astragal glazed doors, fall front enclosing a fitted interior above four long graduated cockbeaded drawers, profusely inlaid with classical figures, architectural devices and scrolling, flowering stems, 211cm high, 77cm wide (later alterations and embellishments)

Freemasonry - a rare Liverpool creamware baluster ale jug, transfer-printed in black with vignettes of Masons and Masonic devices flanked by columns and architectural devices, centred by armorial bearings, within scrolling Chippendale frames and surmounted by the Masonic toast: A Heart that Conceals/And the Tongue that Never Reveals, the spout above a ribbon-tied Square and Compass enclosing the letter G, loop handle, 18.5cm high, c.1770

A 19th century Continental silver rectangular table box, hinged cover cast with scantily clad putti supporting drapes above an Architectural vignette, the sides chased with foliate masks and birds amongst scrolling foliage and strapwork, scroll feet, 15cm wide, import marks for London 1894, 16.5oz

A 17th century continental oak mule chest, hinged top, the front carved with three architectural arches and stylised leafy motifs, the sides with fronds, drawer to base, bun feet, 62cm high, 105cm wide

A 17th century Flemish tortoiseshell, ebony and marquetry cabinet on stand, moulded cornice above a rectangular cupboard and twelve small drawers, inlaid with architectural trompleouil devices and strapwork, the later stand with turned legs and finials, bun feet, 154cm high, 124cm wide, elements c.1690

A 19th century French white marble mantel clock, of plain architectural design, 9cm enamel dial with Roman numerals and Breguet hands inscribed S Wartenberg, Paris, 14-day movement striking on a bell, signed to backplate Wartenberg/4312, 21cm high, c.1880

A 19th century walnut floor-standing coin operated penny-in-the-slot polyphon, by Nicole Freres, the vertical mechanism playing 50cm discs, the architectural case with arched cresting carved with a shell, arched glazed door flanked by turned columns, turned feet, the base with fall front disc cabinet, 211cm high overall, 73cm wide, c.1890

A 19th century walnut floor-standing coin operated penny-in-the-slot polyphon, vertical mechanism, the architectural case with arched pediment carved with a shell, arched glazed door flanked by turned pilasters, the base with disc cabinet, 208cm high, 69cm wide, c.1890

A 19th century French gilt-metal mantel clock, 9cm circular dial applied with enamel cartouches inscribed with Roman numerals, twin-winding holes, 14-day movement striking on a bell, the Mannerist architectural case crested by an urn applied with a lion mask above a scantily clad putto, 48cm high, c. 1870

A George IV rosewood open bookcase, rectangular top above a deep frieze, adjustable shelves flanked by architectural angles, plinth base, 111cm high, 146cm wide, c.1825

An 18th century silver baby's rattle, chased with flowers, scrolls and architectural arches, whistle terminals, eight bells, coral haft, axehead handle, 15cm long, maker's mark JR only, c.1770

An early 19th Century mahogany wheel barometer with inlaid floral and shell paterae, with an architectural pediment above the silvered thermometer and brass register, signed S. Barnascone & Co, London', height 94cm.

Circle of Ignaz Franz Platzer (Bohemian, Pilsen 1717 - Prague 1787), a gilt bronze allegorical group of a maiden and cherub, mid 18th century, probably an ecclesiastical architectural element, the draped maiden portrayed embracing the winged infant above, possibly representing an allegory of Love or Devotion, with indistinct markings to the hollow cast rear, 77cm high, 30cm wide Ignaz Platzer was one of the main proponents of late Baroque Sculpture in Prague, known for his masterful combination of the exuberant Baroque tastes of Bohemia, with the restrained classicism of Vienna, where he was trained. The present lot, with the dramatic twist of the maiden’s body and rotund proportions of the putto, recalls in particular the expressive gilt bronze sculptures adorning the chancel of St Nicholas Church in Prague, which hover over the nave in equally gravity-defying poses. Note for example the billowing drapery and unusual arrangement of the feet, which, when the bronze was mounted to a wall or altar, would have created the impression of floating or flying. A carved wood model of Mary Magdalene attributed to Platzer with a very similar effect appeared at auction at Neumeister Kunstauktionen in Munich on 24 June 2009, lot 352, and Platzer is known to have executed a similar polychrome and giltwood example of St Elizabeth of Hungary. Other works by Platzer appear in the Schönbrunn Palace Gardens in Vienna and at Prague Castle.

George Ames Aldrich (Indiana, Illinois, Massachusetts, 1872 - 1941) Landscape painting titled, "Summer". Signed lower right. Oil on Canvas. Housed in likely the original frame. Aldrich exhibited regularly at the Art Institute of Chicago, and was a member of the Chicago Galleries Association, the Hoosier Salon, and the Chicago Society of Painters and Sculptors. In 1924, he won an architectural club traveling scholarship and traveled to Europe to paint in England, Germany, Spain, Italy, and France. His work is represented in many museums throughout the world, and many private and corporate collections carry his work including the Union League of Chicago and the War Mothers Building in Washington DC. Sight Size: 25 x 27.5 in. Overall Framed Size: 33 x 35.5in.

DISPLAY STAND, architectural chrome tubular with four glass shelves, 170cm x 128cm H x 42cm.

A pair of 19th century carved walnut architectural panels in the form of cherub / putti musicians. Each carved into relief with scenes of mandolin and flute playing putti between scrolled workings. Measures 62cm long 

A pair of  architectural 19th century grey and red veined marble caubel embellishments of scroll work form. Each with good polished marble construction with good red veins. 

An 18th / 19th century Italian architectural white marble panel of rectangular form being hand carved into relief with central winged cherub /  putti  in a recumbant position. Measures 42cm x 23cm

A Victorian onyx clock garniture, the circular dial with ornate gilt mask and Arabic numerals, the case of architectural form with gilt metal columns and domed top, with two side urns, the clock width 30cm.

the rectangular top above eleven fitted drawers, the central section in the form of an architectural façade with columns and a balustrade above, each individual drawer with a central section of inlaid ivory in an interwoven vine motif and ivory handle (Dimensions: 64.5cm x 41cm x 26.5cm) (Qty: 1)

A French gilt metal and champleve enamel clock garniture, late 19th century, the clock with ivorine chapter ring, drum movement by Vincenti & Cie, no. 90493, striking on a gong, mercury compensated pendulum (defective), four-glass case with slender architectural columns, 28cm, together with a pair of ornamental garniture urns, each with twin handles and shaped platforms, 21.5cm (Qty: 3)

A good collection of late 19th and early 20th Century architectural door fittings, with many Victorian handles, bakelite Art Deco backplates, bakelite stair clips, antique locks, pine handles, brass fittings etc. Good lot.   

A collection of 7 various framed and glazed etchings of architectural interest. 37x30cm (largest)

A Painted architectural style Cherub with characteristic Trumpet