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ARCHITECTURAL KEYSTONE carved with the face of a woman in the medieval style

A mahogany architectural form hall mirror

5 architectural framed & glazed prints & pictures

A 19th century mahogany cased longcase clock of architectural form, the square silvered dial with Arabic and Roman numerals with subsidiary seconds dial above plain case with glazed central door, raised on bracket feet, height 219cm.Additional InformationUnfortunately we are unable to provide an image of the movement for this lot.

Early 20th century Art Deco design extending dining table, the rectangular top with pegged detail supported on five square section architectural columns, united by stretchers, single leaf supported on two sliding loafers, width 230cm (90") x 79cm (31"). The table was thought to have been designed by John James Joass, Scottish Architect who practised for a period of time in London specialising in Art Deco buildings.

A 19th century bracket clock in carved walnut architectural case, spindle turned decoration, brass dial and striking movement

An American pine mantle clock of architectural form

A 19th century architectural fragment softwood pricket stand

A mahogany cased Vienna type wall clock, architectural pediment crested by an eagle, 103cm high

A giltwood hall stand, late 19th century, of architectural form, the arched rectangular back with a laurel wreath to the cornice above an arched mirror plate within a marginal frame, and with projecting console table with a shaped grey marble top and with a single frieze drawer, the whole flanked by fluted pilasters with recesses for sticks to the base, 244cm high, 140cm wide Provenance: Property from a Private Collection

A Continental, probably French, paper and horn mounted fan, mid 19th century, the leaf printed and hand painted with a figural scene of harvesters before an architectural background and with gold painted floral motifs, the parcel gilt sticks and guards carved with foliage and flowerheads; with initials 'H.F.' to the lower leaf, presented in a glazed and ebonised wood case, 31cm high, 56cm wide overall Provenance: Private Collection, Wantage

A painted cast iron wall fountain to a model by Val d'Osne, late 19th century, the shaped rectangular backplate with architectural pediment and relief cast with a nude figure of a river deity holding a fish; the lift-out mouth of the fish revealing an aperture for water, above a triform basin inset with a grille, 153cm high, 87cm wide, 54cm deep Provenance: Property from a Private Collection

A pair of fine Regency bronze panels, circa 1810, previously architectural fitments, each openwork rectangular section field cast with a central roundel with a lion's mask and recessed ovolo border and foliage, flanked by margins cast with balusters and cartouches to either side, 73cm high, 51cm wide Provenance: Property from a Private Collection

China - Blaeu, Jan Theatrum Orbis Terrarum sive Novus Atlas. Pars Sexta [China and Japan] Amsterdam, [1655]. Large folio (500 x 315mm.), [title], [7], 171, [24], xii, 33, [iii], hand-coloured engraved architectural title and 17 hand-coloured engraved maps mounted on guards, Latin text, contemporary panelled calf, rebacked, rubbed, repair to lower board, several scrapes, occasional browning or spotting of text, slight spotting to some maps, 17cm. tear to "Xansi" map (repaired on verso), "Chekiang" map with 6cm. strip torn from lower margin, very small tear to final leaf, previous ownership inscription washed from titleFootnote: Note: This magnificent atlas was published both as a separate volume by Blaeu in 1655, with the title Novus Atlas Sinensis , as well as comprising volume VI of Blaeu’s Nieuwe Atlas 1649-58 in Dutch and Theatrum Orbis Terrarum; sive, Novus Atlas 1655 in Latin, as with the present copy. Blaeu's maps of China were engraved after Martini's sketches and observations. Martinus Martini (1614-1661), a Jesuit missionary, worked in China from 1642, amassing many Chinese books and maps, including a copy of Zhu Siben's 14th-century atlas of Chinese provinces, with amendments from Lo Hongxian's atlas of 1555. The hand-coloured double-page maps consist of a general map of China, 15 maps of the provinces, and a map of Japan, and the present atlas, as with many copies, does not have the main title.Condition report: See catalogue description. Xensi map slightly creased, short tear in lower margin; Worst spotting - p.57, 81, Occasional grubby mark (Quantung map at p.132); Nanking map - short tear in lower margin. Fokien map (p.120) slight discolouration.

A 19th Century French ebonised and gilt brass cased clock of architectural form, the eight day movement by Raingo Frères with silvered dial and Arabic numerals on an ebonised musical base under rectangular glass dome

A late Victorian black marble cased mantel clock of architectural form, the eight day movement by Japy Freres with visible escapement and Roman numerals to the chapter ring

Nikolai Konstantinovich Roerich (Russian, 1874–1947)Old Chapel in Valdai CountyTitled [in Cyrillic] "Watchtower in Pskov" on original Louisiana Purchase Exposition label verso, oil on panel12 x 16 in. (30.5 x 40.6cm)Executed in 1903.PROVENANCE:Private Collection, California.EXHBITED:"The Louisiana Purchase Exposition" (also known as the "Saint Louis World's Fair"), Saint Louis, Missouri, April 30-December 1, 1904, no. 65 (per original label verso).NOTE:Nicholas Roerich is a towering figure in Russian painting of the late 19th and early 20th centuries. During his storied career, he was also an archaeologist, poet, lawyer, and philosopher who widely travelled-living in his native Russia, Finland, England, India, and America. He also achieved fame as a theater set designer, was a devout follower of mysticism, and was an ardent advocate for the preservation of cultural heritage, objects, institutions, and monuments. Begun as a private initiative, he is credited with developing proposals establishing what became known as the 'Roerich Pact:' an inter-American treaty signed into law in 1935 to protect cultural property in times of war.Born in St. Petersburg, Russia to an upper middle class family, Roerich showed an early aptitude for drawing and enrolled in the Imperial Academy of Arts in 1893. He later directed the Imperial Society for the Encouragement of the Arts. Considered a Russian Symbolist, he studied with the landscape painter Arkhip Kuindzhi. Said to have executed over seven thousand works during his lifetime, he was inspired by "historic sources: folklore, legends, and ancient monuments. But greater emphasis is placed by him on intuition and the penetration into the spirit of the Past" (M.S. Nanjunda Rao, Nicolas Roerich, New Delhi, 1992). In Russia, Roerich completed monumental paintings, church mosaics and frescoes. In 1903, when the present work was painted, Roerich and his wife Helena embarked on a forty city tour of ancient Russian cities.As noted in Nicholas Roerich, A Quest & A Legacy (Manju Kak, ed., New Delhi, 2013, pp. 11-12), the artist's work may be divided into three periods: his Russian period, his Theatrical Phase, and his Mountain Phase, the third following his arrival in Bombay in 1923. The present work was likely painted during the first of these phases and is part of a series of nearly seventy works referred to as the 'Architectural Studies' from his travels though old Russian towns. As Kak notes, "The deep patriotic-nationalistic roots of Roerich led to his search for Russia's pagan beginnings and folklore and they were the subject of his earlier paintings" (Kak, op. cit., pp. 192).Painted with rich applications of dark-toned impasto, the present work depicts an old chapel, its cupola apparently adorned with a cross, framed by the surrounding forest, invoking a spiritual, mystical ambience.

Viviano Codazzi (Italian, c.1604–1670)Doric Arcade, with the Torre di S. VincenzoOil on canvas23 1/2 x 29 3/8 in. (59.7 x 74.6cm)Executed in the early 1660s.PROVENANCE:Collection of R. Henshaw, Bath, United Kingdom.Alexander Galleries, London, United Kingdom (by 1978).Collection G. Lotto, Milan, Italy.William Thuiller, London, United Kingdom, 1985.Osuna Galleries, Washington, D.C.Acquired directly from the above in 1986.Private Collection, Washington, D.C.LITERATURE:Giuliano Briganti et al., “Vivano Codazzi” in I Pittori Bergamaschi, no. 4, vol. 1, pp. 643-741, 1983, no. 29, p. 691, illustrated p. 712 (as by Codazzi and van derCabel).Ramon Osuna, The Pleasure of Ruins: Viviano Codazziand His Legacy, Osuna Gallery, Washington, D.C.; and Shepherd Gallery, Associates, New York, 1985, no. 9 (illustrated as by Codazzi and Gargiulo).David Riley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Jandi Sapi, Milan, 1993, no. VC 170, pp. 296-297 (illustrated p. 297 as by Viviano Codazzi and Adriaen van der Cabel (?)).NOTE:Viviano Codazzi was arguably the most important 17th century Italian painter of architectural views, specializing in capricci-architectural fantasies. The present painting depicts the arsenal in Naples and the Torre di San Vincenzo, with the Molo Grande and its lighthouse in the distance. There are two arches of a Doric arcade and a colonnade advancing from a pier at left, along with several groups of figures-including the group at left with a man wearing a turban and women wearing long gowns and head coverings (David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Milan and Rome, 1993, pp. 1, 296).David Ryley Marshall notes that Codazzi's works may be grouped into "five main categories of imagery. They are the capriccio, ideal architecture, the ruin piece, the topographical picture, and the didactic picture" (Marshall, op. cit., p. 23). However, of these, "the capriccio is most central to Codazzi's preoccupations, and all of his works are to a greater or lesser degree capricci." (Marshall, op. cit. p. 23). Marshall continues: "Codazzi's capricci are those works which are imaginary compositions assembled from several motifs whether recognisable or not, which are derived from separate sources and do not make up an architecturally unified structure." (Marshall, op. cit., p. 23).Codazzi was associated with the artist Adriaen van der Cabel and may have collaborated with him between 1660-1665. Further, the Torre di San Vincenzo was a favored motif of van der Cabel's, and that artist did depict women in long gowns with covered heads. The present work may thus be a collaborative effort between the two artists, with van der Cabel possibly having painted the figures (Marshall, op. cit., pp. 18-19, 296). Viviano Codazzi's son, Niccolò (1642-1693) was also an esteemed architectural capriccio painter in his own right, and may have been in his father's workshop in the 1660s, the two working closely together during this period (Marshall, op. cit., p. 20).

A PAIR OF IRON BOOT SCRAPERS set into simulated architectural fragments, each approx 60cm wide

FOUR IMPRESSIONIST WATERCOLOUR LANDSCAPES, unsigned attributed to William Woolard (fl1883-1908) attribution is to the reverse of the paintings and to all of the mounts, framed, approximate size 26cm x 36cm, together with a late Victorian rural watercolour, unframed, a roll of architectural drawings, two picture frames (8)

A Painted Six Section Display of Architectural Form, 52.5cm Wide

A North Indian Carved Wooden Box of Architectural Form, 27.5cm Wide

An oak cased two hole mantel clock of architectural form

A late Victorian black slate and marble two hole mantle clock of architectural form

A stunning Oil on Board by Richard Thornton circa 1960s. Titled Tourettes Sur Loup-Provence A painter and architect, Richard Thornton was born in Bebington, Cheshire and attended the Birmingham School of Art from 1939 to 1941.Following active war service, he furthered his studies at the School of Architecture, Birmingham, from 1946 to 50. Elected an Associate of theSociety in 1978 full membership followed three years later. He has been in architectural practice all his working life and was elected a Fellow of the Royal Institute of British Architects in 1950. He has exhibited his paintings extensively throughout the West Midlands, his main mediums being watercolour and gouache. His pictures are mainlylandscapes incorporating buildings, no doubt owing some allegiance tohis architectural background. Prior to the mid-1960s most of his work depicted the Black Country and Birmingham, particularly showing bombdamaged buildings and industrial deterioration. Latterly however, the majority of his work has shown views of hill towns and villages in Tuscany and Provence of which this is one. Purchased from the artist while Thornton was still exhibiting in Birmingham, it has been in the same family since. The board not including frame measures 61x46cm. Goodclean condition, in original frame.

A GEORGE III CARVED PAINTED PINE HANGING MIRROR IN THE MANER OF FRANCIS AND JOHN BOOKER OF DUBLIN of architectural design having a swan-neck top above corinthian columns, enclosing a distressed mirror plate 94cm high 72cm wide.

AN EALY 19th CENTURY FIGURED MAHOGANY GILLOWS STYLE SERVING TABLE stamped to the drawer "M. WILLSON, 68B GREAT QUEENS STREET" having an architectural back and hidden drawers with moulded panels supported on four-ringed bulbous fluted tapering legs 138cm wide, 50.5cm deep, and 89.5cm high

ARCHITECTURAL ANTIQUITIES of THE COUNTY OF DURHAM by ROBERT WILLIAM BILLINGS Durham published by George Andrews and Boone of London 1846 - gilt titled leather spine and green card covering together with MAGNA BRITANNIA by LYSONS - Vol IV London printed 1816 Tooled leather binding with gilt highlighted titled spine

AN EARLY 18th CENTURY 9" DIAL 30-HOUR LONGCASE CLOCK MOVEMENT in later ebonized hooded wall case, the case having an architectural pediment above a glazed door flanked by turned brass-capped columns enclosing a single-handed 9" square brass dial with silvered Roman chapter ring surrounding a matted center fronting a signed posted framed 30-hour weight driven movement striking the hours on a bell 54cm high

M. BEAL, SHEFFIELD A GOTHIC OAK CASED TRIPLE FUSEE BRACKET CLOCK the case with gothic carved panels and architectural pediment enclosing a 9" silvered engraved dial with Roman numerals and strike/silent lever above the twelve fronting an eight-day triple chain driven fusee movement chiming the quarters on a nest of eight bells and the hours on a large gong 82cm high

A LATE 19th CENTURY BLACK FOREST CUCKOO CLOCK the architectural pediment with carved leaf decoration above a matching oak case enclosing a 5" dial with Roman numerals and bone hands fronting a skeletonized brass plated eight-day movement with fusee going train and spring barrel strike on anchor escapement striking the hours on a gong and automation cuckoo 52cm high

JONAS BARBER WINSTER NO 604 AN 18TH CENTURY OAK 30 HOUR LONGCASE CLOCK the 11" brass dial with chapter ring and spandrels enclosing a leaf decorated matted centre dial with date ring and presentation inscription engraved Jno. & H Tyson 1762 fronting a 30-hour chain-driven numbered movement with anchor escapement and bell strike. The case of small and slender proportions with shaped top trunk door and turned pillars to the hood beneath an architectural pediment 197cm high

LE PLASTRIER & YOUNG, LONDON A MID 19th CENTURY GOTHIC OAK BRACKET CLOCK the architectural oak case having a glazed door flanked by cluster columns enclosing a 7" silvered engraved dial with Roman numerals and subsidiary Strike/Silent dial fronting an eight-day double fusee movement with shaped plates striking the hours on a gong 54cm high

Antique Negretti & Zambra Roswell Stereo Graphoscope in burr walnut veneered case C1860, English, "Opticians to the Queen", body, VG, with pair of stereo lenses on fold up board, ground glass screen to rear, adjustable hinged base with hinged magnifying lens on brass rods with ivory finials plus box of cards. Cards: Webster & Albee, Underwood & Underwood & others, featuring "Tons upon tons of oats for tommy's faithful friends: Boer War", "Canadian Light Battery - Out For Drill - Alexandra Palace London, Eng", "Terrified Refugees, Fleeing in Boats from Mont Pe' - en route to Forte de France", plus 3 unmarked scenes of Royalty & 1 other, "Some achieve greatness" & "Some have greatness thrust upon them", plus a large selection of scenery from Africa, Europe & America,scenes of Mountains, Glaciers & Gardens, animals including Elephants, and a large collection of Architectural scenes. In addition, a collection of "With & Without Stereoscope effects". Approximately 168 assorted cards in total.

A late 19th century German 8 day mantel clock, in architectural case, together with two other mantel clocks

A collection of oak and white painted architectural mouldings, highest 151cm

Kevin Blackman, a pair of framed pictures of architectural interest

Alfred Waterhouse architectural large poster together with a Paul Klee poster (2)

Antique French eight day striking mantel clock in architectural slate and marble case, no Bezel glass , key or pendulum , 31cm wide, 30cm high

Architectural engraving titled 'South door-way of Malmsbury Abbey Church' from 'Vetusta Monumenta,' published by The Society of Antiquaries of London in 1816, in contemporary ebonised frame, 39cm x 57cm Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

Victorian slate architectural mantel clock, with cast metal model of Britannia on stepped base, frieze carved with classical scene, Corinthian columns enclosing more cast metal classical figures, the dial having applied brass Arabic chapter ring, stepped base bearing brass plaque, W50cm Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

A Georgian George IV 19th Century antique architectural wooden farmed œil de bœuf / bulls eye ( Ox Eye Window ). The window of round form with central glass not present and surround by eight panelled glass within a white painted frame. Measures; 72cm 

A Victorian black slate and marble inset eight day mantel clock, porcelain dial with Arabic numerals, the case of architectural design, 28 cms high approx

A Victorian slate mantle clock, architectural design with pillared columns and carved decoration, brass decorated dial,

Kemp-Welch (Lucy E.). In the Open Country, The Work of Lucy E. Kemp-Welch, with an introductory note by Professor Hubert von Herkomer (Artists of the Present Day series, edited by W. Shaw Sparrow), 1905, mounted colour and monochrome reproductions, top edge gilt, original green cloth gilt, a little rubbed and some marks, folio, together with Bouchot (Henri). Catherine de Medicis, Paris, Goupil et Cie, 1899, colour frontispiece and numerous photogravure plates, top edge gilt, contemporary full red crushed morocco (by Birdsall, Northampton), with coloured onlay and gilt decoration, incorporating monogram HCC, a little rubbed and partly split to foot of upper joint, 4to, plus Ptolemy's Geographia, Tavistock, West of England Press, 1974, facsimile text including colour title, original brown leather gilt in slipcase, folio, limited edition 13/250, and other miscellaneous books, 19th and 20th century, including George Maliphant, Designs for Sepulchral Monuments, published Josiah Taylor, Architectural Library, circa 1820, 31 engraved plates including title, some spotting and waterstains, upper cover lacking, The Angler's Vade Mecum: or, A Compendious, Yet Full, Discourse of Angling, 2nd edition, 1689 (defective copy lacking plates), George Brettle & Co. Ltd., Manufacturers & Warehousemen, 115 & 119, Wood Street, London E.C.2, Trade Catalogue, Price List 1925-6, colour and monochrome plates of men and women's clothing, original green cloth gilt, some marks, various 19th century architectural folios, etc. (Qty: 3 shelves)

Adam and Charles Black (publisher). Encyclopaedia Britannica or Dictionary of Arts, Sciences and General Literature, 7th edition, 21 volumes (complete), published Edinburgh, 1842, additional half-titles, numerous uncoloured engraved plates, hinges cracked, uniform contemporary half calf over marbled boards with contrasting morocco gilt labels to spines, some wear, large 4to (Qty: 21)NOTESContains a fine series of plates on botany, mammals, shells, fish, entomology and architectural plates of various industrial buildings.

Harford (John Scandrett, editor). Illustrations Architectural and Pictorial of the Genius of Michael Angelo , with Descriptions of the Plates, by the Commendatore Canina, C.R. Cockerell and John S. Harford, Colnaghi and Co., 1857, 19 engraved plates and portraits (two tinted), a little light marginal spotting, contemporary morocco-backed boards, spine rubbed with some fading, some damp stains to covers, folio, together with Callcott (Maria Dundas Graham), Description of the Chapel of the Annunziata dell' Arena; or Giotto's Chapel, in Padua, by Mrs Callcott, Printed for the author, by Thomas Brettell,1835, 18 pages of text, engravings from drawings by A. W. C. [Sir Augustus Wall Callcott], fo lio (Qty: 2)NOTESProfessor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool.

Desborough (V. R. d'A) . Protogeometric Pottery, 1st edition, 1952, Oxford, 38 monochrome plates plus folding map to rear, bookplate & period inscription to front endpaper, some minor toning, original blue cloth in dust jacket, covers slightly toned, large 4to, together with: Nairn (Ian) , Outrage, Counter-Attack Against Subtopia, both circa 1956, The Architectural Press, numerous monochrome illustrations, some minor toning, both in original illustrated boards, lightly toned & rubbed to head & foot, large 4to, and Mortlock (D. P.) , Holkham Library a history and description, 2006, Roxburghe Club, numerous colour & monochrome illustrations, original gilt decorated green cloth, large 8vo, limited edition of 100 copies, plus other miscellaneous art, architecture, antique, sculpture & photography reference, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 53)

Montgomery (James, James Grahame & E. Benger) . Poems on The Abolition of the Slave Trade;, 1809, printed for R. Bowyer, 7 black & white engraved illustrations, some spotting & toning, some marginal chipping, modern endpapers, modern gilt decorated green half calf with marbled boards, large 4to, together with: Northcote (James) , One Hundred Fables, original and selected, 1828, printed by J. Johnson, 280 black & white wood engraving illustrations, some light spotting, period inscribed slip of paper tipped in to the front endpaper, contemporary gilt decorated half calf, boards & spine lightly rubbed to head & foot, 8vo and Prickett (Marmaduke) , An Historical and Architectural Description of the Priory Church of Bridlington,..., 1831, Cambridge printed for T. Stevenson, 17 black & white engraved plates, bookplate to front pastedown, some minor marks & toning, contemporary gilt decorated half calf, boards & spine lightly rubbed, 8vo, plus other 18th & 19th century literature & reference, including The State of the Prisons in England and Wales,..., by John Howard, 2nd edition, 1780, The Life and Posthumous Writings of William Cowper, 3 volumes, by William Hayley, 2nd edition, 1803, mostly leather bindings, many gilt decorated, overall condition is generally good/very good, 8vo/4to (Qty: 3 shelves)NOTESApproximately 70 volumes

* [Arabic tablet]. Decorative tablet (lawhah), North or West Africa, probably early 20th century, polished wooden tablet, obverse elaborately hand-painted polychromatic with scrolling vegetal and architectural decoration and calligraphic inscriptions in Arabic, reverse with Arabic manuscript, 14 lines of Maghribi script, transcribing part of Surat al-Jum'ah, 43 x 27 cm, together with: [Hebrew manuscript], Very long Hebrew scroll, possibly 19th century, Hebrew manuscript in black ink on parchment, numerous membranes, sewn together, parchment apparently unbleached, numerous repairs and areas of loss, approx. 900 x 50 cm, together with: [Arabic manuscript], Manuscript Qur'an, possibly Egypt, 19th century, Arabic manuscript in black and red ink on paper, numerous leaves, all loose, incomplete, housed in contemporary leather satchel, and 6 other items, including a set of Japanese colour-woodblock playing cards housed in a wooden box (Qty: 9)NOTESSold with all faults, not subject to return.

19th century Beidermeier secretaire abbatant, the upper section with architectural pediment over panel door cupboard, the fall front below enclosing fitted interior with arrangement of drawers and cupboard over three drawers  below, on bracket feet. 230cm high, 150cm wide

A late 19thC Continental ebonised bracket clock, circular enamel dial bearing Arabic numerals, thirty hour movement, the case of architectural form with fluted semi pilasters, with key, 33cm H, 26cm W, 14.5cm D, together with a bracket, with fret work carving, 35cm H, 32cm W. (2)

A French architectural black slate mantel clock, brass mounted dial with Roman numerals, 22cm, late 19th century, c.1880

Antiquarian Books - Royal Interest - St. John Hope (W.H.), Windsor Castle, An Architectural History, numbered limited edition 234/1500, two volumes only: lacking volume III of plans, London: Published at the Offices of Country Life, 1913, illustrated with chromolitograph frontispieces, full-page b/w prints and plates, the occasional two-page, further wood engraved vignettes throughout, contemporary half-vellum over blue boards, blue endpapers en suite, gilt lettered and dated spines, top edges gilt, 20th century armorial bookplates: Robert Innes-Smith, folios, [2]

A live steam model of a centre pillar rotative beam engine, 20th century,the copper-lagged single vertical cylinder with steam supplied via copper pipe to an inward-facing valve chest, the well-proportioned cast beam supported by an architectural style smooth column, straight-spoked flywheel with power take-off pulley gear-driven from the crankshaft, cast bedplate, Watt type governor with twin brass balls, un-machined areas finished in 'Royal Blue', all mounted on veneered wooden box plinth, 17in (43cm) wide,

A rare late 18th/early 19th century Coade stone factory catalogueincluding various engravings, working drawings and price list for figures, ornaments, urns and architectural devices, the original leather binding as found, together with a copy of Alison Kelly's book 'Mrs Coade's Stone,' 1990, the original catalogue, 24cm x 30cm

Attributed to Umberto Bellotto (Italian, 1882-1940: A Medievalist-Style wrought iron sign for the Gran Caffè Ristorante San Marco, Piazza del Popolo, Ascoli Picenocirca 1928 the black patinated decorative panel pierced and hammered, the design depicting the Lion of Saint Mark, representing the evangelist St Mark, pictured in the form of a winged lion holding a Bible, the symbol of the city of Venice and formerly of the Venetian Republic, in the background to the left San Marco and the Basilica, and to the right a Galleon approaching Scaliger Castle on Lake Garda, the panel riveted into an angle iron frame115.8cm x 53cm, unsignedFootnotes:Umberto Bellotto, born in Venice in 1882, is particularly known for his wrought iron works, often with a neo-eighteenth-century and medievalist flavor. Active also in other sectors of the applied arts, he designed glassworks ateliers that included Vittorio Zecchin, Vetreria Artistica Barovier, Toso Fratelli, and Pauly & C.. Many of his applied and decorative arts works have been exhibited at the Biennials of Monza and Venice.On January 5th, 1928, Bishop Santarelli blessed the opening of the 'Gran Caffè Ristoratore S. Marco' on the ground floor of the Palazzo del Popolo. A real work of art that the press described as: 'an environment of first places not only in the region, but also outside, where everything offers to enjoy and think'. It is due to the genius of Umberto Bellotto, artistic director of the Spada ceramics factory, who meticulously cared for every object, every little detail, from wrought iron to ceramic tiles with over 400 different designs, from furniture to the floor, from curtains at the sales counters. He used local craftsmen, except for wrought iron, forged in his Venetian workshops. The wooden works are by the companies De Marco, Latini and Carpani; the paintings of Pagliari, the ceramics by Aldo Castelli; the architectural study of Eng. Paoletti.The sign was acquired directly by the current owner from the heirs of Gran CaffèRistorante San Marco.This lot is subject to the following lot symbols: TPTP 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.

A Chinese export late 17th century bantamwork cabinet on a William and Mary giltwood standDecorated with figures, pagodas, trees, birds, assorted fruit and flowers, paper scrolls and calligraphic materials, the hinged top enclosing an open compartment, above a pair of doors enclosing twenty-two drawers of various proportions, on a stand comprising a frieze carved with two opposing cherubs amidst pierced scrolled foliage and flowers, on acanthus and floral carved elongated volute scroll legs, 103cm wide x 73cm deep x 159cm high, (40 1/2in wide x 28 1/2in deep x 62 1/2in high)Footnotes:ProvenanceThe offered lot was formerly housed at Serlby Hall in Bawtry, Yorkshire, where the families of the Viscounts Galway historically resided.It was subsequently sold at Henry Spencer & Sons, 15th, 16th, 22nd and 23rd November 1945, Serlby Hall, Catalogue of the Part Contents of the Mansion, lot 54. This old sale catalogue is available to view upon request and will be sent to the buyer upon their purchase of this lot.Serlby HallThe first major house constructed on the site of the 500 acre estate at Serlby in Bawtry, located on the border between South Yorkshire and Nottinghamshire, was Palladian in style and dated back to 1740. It was built by the renowned 18th century architect James Paine (1717-1789) on behalf of John Monckton, 1st Viscount Galway.However following his inheritance of Serlby Hall in 1751, William Monckton-Arundell, 2nd Viscount Galway, set about replacing the original Palladian building. This second architectural project was not completed until 1773, by which time the 3rd Viscount was the principal resident at Serlby. Further alterations and re-modelling, including the extension of the central block on both sides, took place in 1812 following the instructions of the 5th Viscount.In the 20th century Serlby Hall served as an auxiliary hospital during World War I and then as a prisoner of war camp throughout the Second World War. In 1971 Charlotte, who was the daughter of the 9th Viscount Galway, inherited the estate upon the latter's death and made the decision to sell Serlby. Thus the remaining contents were sold at auction the following year while the Hall itself was purchased privately in 1981.This lot is subject to the following lot symbols: TPTP 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.

A late 19th century French gilt brass mantel clockthe dial signed J.W. Benson Ltd, 62. Ludgate Hill, Londonthe arched architectural case with classical figural frieze decorations, the sides with three pairs of reeded Corinthian columns, the breakfront base with applied figural mount depicting Chronos, on lobed toupie feet, the 4.5''gilt dial with Arabic numerals and with celestial painted centre, the brass twin train movement striking on a gong, 43.5cm high

WATCH STAND. An architectural, ebonised wood, watch stand. Full height 19cm.