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A LATE VICTORIAN INLAID MAHOGANY EIGHT DAY BRACKET CLOCK, the stepped case of architectural form ,silvered dial with Roman numerals and subsidiary chime / silent dial above, with Kienzle Uhren movement, H 42 cm

Centerpiece. . Cm 31,00 x 9,00 x 31,00. Centerpiece designed by Carlo Scarpa in 925 silver with the base that incorporates its classic architectural design, 1977. Produced by Cleto Munari, edition 84/99. Signature and printing at the base, punches present.

An Antwerp mythological tapestry depicting Narcissus at the fountainlate 17th/early 18th centurythe scene woven in rich wools and silks, showing the young Narcissus leaning over the edge of a fountain to gaze at his reflection, two nymphs can be seen peering round the edge of a tree to spy on the handsome huntsman, the scene set in a lush landscape, with some architectural details in the far distance,245cm x 225cmThis lot is subject to the following lot symbols: TP

NO RESERVE Suetonius Tranquillus (Caius) The Historie of Twelve Caesars, translated by Philemon Holland, one of 400 copies, engraved frontispiece and additional architectural title, original cloth, Etchells & Macdonald, 1931 § Epictetus. The Discourses, translated by George Long, 2 vol., one of 250 copies on hand-made paper, endpapers browned, original vellum-backed cloth, gilt, 1902 § Achilles Tatius. The Loves of Clitophon and Leucippe, translated by William Burton, one of 394 copies, Oxford, printed at the Shakespeare Head Press of Stratford-upon-Avon, 1923 § Shakespeare's Ovid...Metamorphoses, translated by Arthur Golding, edited by W.H.D. Rouse, one of 350 copies on hand-made paper, De La More Press, 1904, the last two original cloth-backed boards, some t.e.g., all uncut, slightly soiled; and another, similar, v.s. (6)

Iconography.- Giarda (Cristoforo) Bibliothecae Alexandrinae icones symbolicae elogiis illustratae, engraved architectural title and 16 plates, woodcut head- and tail-pieces and decorative initials, water-stained at foot, and occasionally at head, contemporary limp boards, spine faded, small 4to, [Milan], Jo. Bapt. Bidellinin, 1628.⁂ A collection of 16 allegorical paintings in the Bibliotheca Alexandrina, the library of the Collegio San Alessandro in Milan.

Ornamental Baroque design.- Grotesques.- Fialetti (Odoardo) [Disegni Varii di Polifilo Zancarli], title and six plates only (of 10), loose, etchings on laid paper with various 17th century watermarks, each platemark apporx. 237 x 147 mm. (9 3/8 x 5 3/4 in), sheets trimmed and mounted onto paper supports, some loss into images, surface dirt, browning and handling creases, unframed, [circa 1650]; together with a good group of 47 other etchings and engravings, including two engravings by Wendel Dietterlin the Elder from his 'Architectura', four engravings after Hans Vredeman de Vries, three impressions after Gaetano Brunetti's very rare rococo engravings, and a good group of ironwork designs, decorative designs for interiors and architectural features, engravings, various sizes, all unframed, mainly 17th and 18th century (54)

of architectural form with pillars to the front angles, dial with applied button numerals, French carriage type movement with gong strike and repeat, (Dimensions: 23cm high with handle folded)(23cm high with handle folded)

German Architectural Wooden Block Set, Late 19th Century plain wooden pieces in various shapes, in wooden box with colour illustrated lid 22 1/2x13 1/2x2 1/2'', 57x34x6cm

A Martin Brothers stoneware lamp base by Robert Wallace Martin, pierced and cast architectural form, glazed in shades of brown, green and blue with brass mounts, incised R W Martin & Bros London & Southall, hairline to top rim, 33cm. high Catalogue notes This electric lamp was originally the body of an oil lamp. Provenance The George Twyman Collection of Martin Ware

A large Victorian black slate mantle clock, of architectural form, with inset malachite panels, the enamelled dial with brocot escapement and with eight day movement chiming on a bell. CONDITION REPORT: The clock is 50 cm wide, 42.5 cm high. The movement works when prompted. There is a small chip to the centre of the arch top. There are small nibbles to the left and right scrolls flanking the arch, more so on the left-hand side. There is a further small nick to the left-hand scroll at the base. There are two small chips to the front of the base. The left and right-hand side edges of the base both have small nibbles. The left-hand corner of the base has a small chip. Being black marble, a lot of these chips aren't instantly obvious but do become obvious once you run your finger over them. There is a 4 cm horizontal scratch to the upper right-hand side of the glass. The enamel dial appears to be free from any obvious chips, cracks or restorations. The chips to the case in my opinion are not overly significant but exist all the same.

A pair of early 20th century Classical Revival office chairs, each with upholstered back rest and arms, with slatted supports on a sprung seat supported by front cabriole legs united by a crinoline stretcher and with applied label verso for "E.A. Bramley, Architectural Manufacturer, Sun Works, Newcastle- upon-Tyne". Width 61 cm, height 90 cm. CONDITION REPORT: The upholstery to both chairs is in very good condition generally. There is one small hole to the underside of the rear scroll on one chair which is approximately 3 mm in length. This is very minor and the only real issue with the covering. Both chairs have had some damage to the rear hoop just below the splat. In both cases there is no movement but the repairs are visible on both chairs in the centre beneath and to the sides of the centre splat. One chair has a further repair to the left hand side of the horseshoe beneath the second vertical spindle. Both chairs are structurally fairly sound and all legs and stretchers are in good condition. There are springs protruding from the seat of one chair and the webbing will at least need replacing.

A VICTORIAN CARVED MAHOGANY AND ROSEWOOD ANEROID BAROMETER, C1890  in architectural style, inlaid in sycamore and bone with stylised foliage, mercury thermometer, 98cm hGood original condition, barometer sold without warranty

MUSIK-AUTOMAT. A GERMAN WALNUT COIN OPERATED DISC MUSICAL LONGCASE CLOCK, LEIPZIG, C1900 the Lenzkirch gong striking movement with silvered dial, serial No 878269, the musical movement No 113371 probably Lochmann, in architectural style case inlaid in brass Musik Automat and decorated, with strapwork 'beaver tailed'  domed top and turned finials, the figured and panelled door to the trunk flanked by fluted pilasters opening to reveal the brass twin comb mechanism to play 34.5cm (13? inch) discs, with white enamel tablet, the sides with coin slot, winding handle and lever, on turned uprights and flat base, 246cm hSome minor cosmetic repairs, mechanism apparently complete but sold without warranty

A late 17th century Flemish ebony cedar and tortoiseshell veneered table cabinet, of breakfront outline, the central architectural door, gilt metal mounted, with a figure of Venus and Cupid with a flaming heart within an arch, flanked by cylindrical tapering columns, a cherub mask above, enclosing four drawers inlaid with geometric stringing, flanked by six drawers, within borders inlaid with repeated stringing and roundels, wrought metal loop side carrying handles, on an associated projecting base, in similar style, with dummy drawer fronts, split turned uprights and ripple mouldings, on later turned bun feet, 100cm wide x 30cm deep x 61.5cm high, with two keys (2).Illustrated

The Anson Clock Co, New York; a late 19th century black marble gilt metal mounted mantel clock, of architectural style, the twin train movement striking on a gong, 42cm wide x 32cm high.

Buttons from the collection of The late Claire Gilchrist Part 1 Button - a fine French 18th Century architectural button, with an engraving, black on white, the building titled 'La Monoye', under a domed glass in white metal frame, tin back, 3.6cm dia. *See Houart(V), Buttons A Collector's Guide, Pages 12 and 13, for similar examples where it states that these buttons were issued in sets of sixteen circa. 1780 in Paris.

MANTEL CLOCK, green onyx architectural design domed top mantel clock

ARCHITECTURAL ETCHING, signed colour etching "Milano Cathedral", 18" x 14"

FOLDER OF MID 19th CENTURY WATERCOLOURS & DRAWINGS, including studies of Bishop Snympton Church, including architectural study

Weischer, Matthias1973 Elte/WestphaliaUntitled. 2014. Silkscreen on pulp painting on laid paper. 96 x 67cm (100 x 71.5cm). Signed, dated and inscribed below the depiction. Number e.a. The work is in excellent condition. The work is listed on the official website of the artist (www.matthiasweischer.de). Erläuterungen zum KatalogMatthias Weischer Germany Contemporary Art Prints 2010s Colour Print Silkscreen Architectural ElementWeischer, Matthias1973 Elte/WestfalenOhne Titel. 2014. Siebdruck auf Pulp Painting auf Bütten. 96 x 67cm (100 x 71,5cm). Signiert, datiert und bezeichnet unterhalb der Darstellung. Ex. e.a. - Das Werk befindet sich in tadellosem Zustand. Das Werk ist auf der offiziellen Internetseite des Künstlers aufgeführt (www.matthiasweischer.de). Erläuterungen zum KatalogMatthias Weischer Deutschland Neue Leipziger Schule Zeitgenössische Kunst Grafik 2010er Farbe Druckgrafik Siebdruck Architekturelement- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Small Caucasian prayer rug, central panel of architectural and geometric designs, triple gull border, mainly red field, 120cm x 80cm

Architectural Interest: Garner (T.) & Strathan (A.) The Domestic Architecture of England during the Tudor Period, 2 vols., folio, L. 1911, profusely illus., hf. mor., gilt lettered spine; together with MaCartney (M.) The Practical Exemplar of Architecture, 6 Series, L. (Architectural Review) n.d., loose, original wrappers, as plates, w.a.f. (8)

A 19th century bronze, gilt metal and black marble mantel clock of architectural form surmounted by a bronze figure of a woman and a child, the gilt metal dial with enamel numerals, the bell-striking drum movement stamped 'Deniere R Paris 1256', 59cm high.

GERMAN WALNUT CASED MANTEL CLOCK architectural style with enamel dial set with Roman numerals before a pendulum driven gong strike movement, interior label reads 'The Greenwich Clock No 16470, manufactured in Wurtenberg specially for W E Watts, Nottingham', pendulum and key included, 44cms H, 26.5cms W, 16cms D (old worm evidence to clock base)

VICTORIAN BLACK MARBLE/SLATE MANTEL CLOCK with presentation plaque dated 1898, architectural style with Corinthian cap columns, enamelled dial set with Arabic numerals and visible escapement aperture and circular pendulum driven coiled gong strike movement (gong absent), 38cms H, 51cms W, 17cms D, pendulum present

2nd-3rd century AD. A bronze chariot or architectural fitting comprising a bust of Bacchus with vine-leaf wreath to the hair and brow, robe secured at the left shoulder, group of vine-leaves around the shoulders; mounted on a custom-made stand. 813 grams total, 18.5cm including stand (7 1/4"). Property of a London gentleman; acquired on the London art market, 1970-1980. Very fine condition.

A late 19th Century walnut and ebonised "Vienna Regulator", the 7ins diameter cream enamelled dial with Roman numerals and subsidiary seconds dial, to the single train weight driven movement, contained in case of architectural design with shaped cresting with turned finials and fluted split turned columns to door, on conforming apron, 52ins high

A late 19th Century German oak cased mantel clock, the brass dial with 5.75ins diameter silvered chapter ring with Roman numerals, with chime/silent dial and regulation dial, to the eight day three train fusee movement with heavy brass plates, quarter striking and chiming on eight bells and four gongs, contained in oak case of architectural design with angled pediment and fluted pillars to front door with carved Corinthian capitals, 18ins high

Two early 20th Century French carriage timepieces, both with white enamel dials with Roman numerals, to the eight day movements, one contained in lacquered brass and bevelled glass case of architectural design, 5.25ins high, the other in lacquered brass and bevelled glass case of Corniche design, 4.5ins high

Victorian mahogany barometer, architectural pediment, boxwood and ebony strung outlines with shell and floral inlay, silvered chart and dial, signed Dom k Gegeri, Boston, 97cm.

An Edwardian Continental Oak Mantle Clock of Small Architectural Form, Movement in Need of Attention, 15cm High

An Ebonised Cased Edwardian Mantle Clock of Architectural Form, 34cm High

A CARVED WOODEN ARCHITECTURAL MODEL OF A RENAISSANCE CHURCH, stained, on a wooden base. 28.5cm by 32cm by 36cm

A 19TH CENTURY TEMPLE-FORM MANTEL CLOCK, the engine turned gilt-metal dial with Roman numerals, single-train Marti movement, the architectural case with pointed pediment and two pairs of columns. 42cm high, 43cm wide, 12.5cm deepProvenance: The Keith Schellenberg Collection.

Pieter Willem Frederick Wenning (South African 1873-1921) MALAY QUARTER, LION'S HEAD signed oil on canvas Scholtz, J. du P. DC Boonzaier and Pieter Wenning: Verslag van n’ vriendskap. Tafelberg, 1973, illustrated on page 105, number 40 PROVENANCECollection of Professor J. Smith, Stellenbosch/Johannesburg 38,5 by 28cm The dynamic streets of the Cape Malay Quarter have coloured the canvases of some of South Africa’s greatest artists in pinks, greens and yellows. The colourful energy and atmosphere has become a source of inspiration for many. The first inhabitants of the area arrived in the late 17th Century when the Dutch East Company deported them as slaves and political prisoners. The Cape Malay Quarter became increasingly populated between 1790 and 1840, as this unique area’s character started to develop. With the artisanal building skills of the people from the area, mixed with Dutch architectural influences, the Cape Malay Quarter became a melting pot of cultures and histories that draws in and fascinates artists.The Cape Malay Quarter offers a fusion of Western and Eastern cultures and has, to this day, kept its old-world character, providing the largest concentration of pre-1840 buildings to be found anywhere in South Africa. Characterised by the colourful adjoining houses that line the slopes of Signal Hill, the area boasts rows and rows of terraced roofs and stoeps. These repetitive forms and rectangular facades are juxtaposed with domed mosques. These religious symbols represent not only community, but present a diversity of form that prevents monotony. At every turn, there is a new and interesting composition, allowing the artist to essentially stay in one spot, yet fully capture the essence of the area.Nita Spilhaus (Lot 558), Pieter Wenning (Lots 557 and 559) and Gregoire Boonzaier (Lots 432, 434, 490 and 494) are all known for their fascination with the Cape Malay Quarter, and have provided us with some well-resolved examples on this sale. These artists manage to capture the area in a sensitive yet honest way, contributing to our understanding of the Malay Quarter as a whole. These artists are able to represent the energetic atmosphere in the area, as they use figures and compositional elements to create a sense of movement and energy. These artists, particularly those working in oil, manage to create a brightness that could only be found under the African sun. The minimal use of white, rather being replaced by tones of yellow, creates a warm, velvety glow that produces the feeling of sun-bathed buildings and captures the shifting personality of the area for posterity. - A.C.Alexander, F.L. 1940. Art in South Africa: Painting, Sculpture and Graphic Work Since 1900. A.A. Balkema: Cape Town. p16.Frost, A. 1970. The Cape Malay Quarter in South African Painting. [O]. Available:https://repository.up.ac.za/handle/2263/59637Accessed 21 October 2019.Malay Quarter, Cape Town. 2019. [O]. Available: https://www.sahistory.org.za/place/malay-quarter-cape-townAccessed 21 October 2019.

JAMES LEWIS STANT coloured Guild Stamped etchings - various architectural locations including Norman Arch, Chester, Church Road Broadway ETC

An early 20th century French slate and marble architectural cased mantle clock. 12' high

A French black slate architectural cased mantle clock. 11½' high. Loss to top

Leo X's arrival in Rome as new Pope.- Vitali (Giano) Ianus Vitalis Castalius Leonem. X. P.M. Lateranen. Episcopatum Ingredientem Laetabundus Admiratur, 4ff., title and woodcut papal arms within woodcut architectural border, a few small stains, 20th century boards, spine ends chipped, [Not in Adams; EDIT 16 CNCE 48671; Sander 7695], small 4to, [Rome], [Giacomo Mazzocchi], [1513].⁂ A rare collection of verse to mark the arrival of Pope Leo X in Rome. Giovanni di Lorenzo de'Medici, the second son of Lorenzo the Magnificent was elected to the papacy in March, 1513 at the age of 37. It was during his papacy that Luther posted his 95 theses at Wittemberg. Leo X was a patron of Raphael and Pietro Bembo. Provenance: Jacomo Baldeschi (early ink signature to foot of final verso); The Feltrinelli copy with bookplate.

Book of Hours, Use of Rouen, manuscript on vellum, in Latin and French, 98 leaves including initial and final blanks: fols. 1, 22v, 59v, 98v also blank, Modern foliation in pencil on the upper right corner (not taking into consideration first blank leaf), single column, 20 lines, ruled in brown ink, written in brown ink in a regular textura, major feasts in Calendar in gold, others alternating blue and mauve, 14 lines of prayers on fol. 98r in a different and slightly later hand,14 fine full-page miniatures, mostly in arched compartments, with full floriate and foliate borders, inhabited by birds, squirrels, monkeys and fantastic animals or occasionally flanked by multi-coloured marbled columns, smaller illuminated miniatures in Calendar, each page of text with illuminated floriate and foliate border on one side, in gold and colours, including some animals, numerous decorated illuminated initials in varying sizes, line-fillers throughout, a few small spots and stains but generally in bright and fresh condition, 20th century dark brown morocco by Baum, spine gilt, gilt-stamped morocco pastedowns, earlier gilt edges, 8vo (165 x 108mm.), Rouen, [1480s].⁂ An excellent example of an illuminated book of hours, the intimate prayerbook for the laity, produced in Rouen in the last quarter of the 15th century (possibly c.1480-1485): a mixture of devotion, literacy and luxury executed for a patroness. The style of the illumination and iconographical features allow us confidently to attribute its production to the workshop, or a close follower of the Maître de l'Échevinage, so named after a group of manuscripts he illuminated for the library of the Council of Aldermen (échevins) of Rouen, and now in the Bibliothèque Nationale in Paris. This highly esteemed and influential artist worked in the Norman town from 1450 to c.1485, and is also known as the Master of Latini Geneva, from a Brunetto Latini manuscript in the Geneva Library. The manuscript opens with the Calendar, in which the names of local saints are included - among others, Ansbertus (9th February), the patron of Rouen Romanus (23rd October), and Martialis (3rd July) - and further confirm its place of production. Each month is framed within an illuminated border containing vignettes representing the relevant sign of the zodiac and seasonal labours respectively. Landscapes and details are rendered with great care. Moreover, the manuscript contains 14 full-page miniatures, each introducing the traditional sections of the Book of Hours. The elaborate carved architectural structures or thrones, the draperies shaded in gold, and the landscapes visible beyond, with views of a walled town (possibly Rouen), are remarkable. The miniature opening the Gospel sequences (fol. 14r), which depicts all four evangelists, is particularly noteworthy. It departs from the standard iconography: while the four evangelists are normally all the same size, here the emphasis is placed on St. John, seated on Patmos island and in the act of writing on a scroll. Luke, Matthew, and Mark on the other hand are depicted in smaller marginal vignettes, and are represented in different activities: Luke writes, Matthew reads, and Mark examines the point of his pen. This unusual iconography is distinctive of the Échevinage Master, and is repeated - in slightly variant forms - by his followers. Other stylistic or iconographical characteristics are recognisable in the eight miniatures illustrating the Hours of the Virgin, and or in the macabre image of the Three Living and Three Dead introducing the Office of the Dead (fol. 72r), a set of prayers for the dead and dying. More specifically, the manuscript shows striking similarities with the MSS Walters 224 and 241 of the Walters Art Gallery in Baltimore, both produced in the 1480s by a follower of the Échevinage Master. Occasionally customers paid for having special miniatures in their Book of Hours, usually one representing themselves kneeling before the Virgin or a particular saint. This is the case in this manuscript: the miniature on fol. 91r depicts its unknown patroness, dressed in a rose-madder robe and wearing a black headdress, kneeling before a seated Virgin Mary holding the Christ child. The manuscript is therefore the issue of female patronage, and the coats of arms on fol. 96v, which, in a certain sense, signs the manuscript, is also possibly related to the family of this woman.Text (for the use of Rouen):Fols. 2r-13v: Calendar, in French; fols. 14r-17vr: Gospel sequences; fols. 17r-19v: Obsecro te; fols 19v-22r: O Intemerata; fols. 23r-54r: Hours of the Virgin: Matins (fol. 24r: Lauds; fol. 31r: Prime; fol. 40r: Terce; fol. 43v: Sext; fol. 46r: None; fol. 48r: Vespers; fol. 50r: Compline; fol. 51v); fols. 54v-56v: Hours of the Holy Cross; fols. 57r-59v: Hours of the Holy Spirit; fols. 60r-71v: Seven Penitential Psalms, Litanies; fols. 72r-90v: Office of the Dead; fols. 91r-96v: Marian hymns (Fifteen Joys of the Virgins), in French.Illustration:Calendar. Fol. 2r (January): The Water Carrier; Feasting; fol. 3r (February): The Fish; Warming by fire; fol. 4r (March): The Ram; Pruning; fol. 5r (April): The Bull; Hawking; fol. 6r (May): The Twins; Riding; fol. 7r ((June): The Crab; Shearing sheep; fol. 8r (July): The Lion; Reaping; fol. 9r (August): The Virgin; Winnowing; fol. 10r (September): The Balance; Sowing; fol. 11r (October): The Scorpion; Treading Grapes; fol. 12r (November): The Archer; Slaughtering a Pig; fol. 13r (December): The Goat; Roasting a Pig.The subjects of the 14 full-page miniatures are as follows: 1. fol. 14r: St. John in Patmos at centre, the other evangelists in smaller vignettes; 2. fol. 24r: Annunciation, episodes from Virgin's life at base; 3. fol. 31r: Visitation, drollery at base; 4. fol. 40r: Nativity, drollery at base; 5. fol. 43v: Annunciation to the Shepherds and Shepherdess; 6. fol. 46r: Adoration of the Magi; 7. fol. 48r: Presentation in Temple, drollery at base; 8. fol. 50r: Flight into Egypt; Miracle of Cornfield at back; 9. fol. 51v: Coronation of Virgin, drollery at base; 10. fol. 54v: Crucifixion with thieves; 11. fol. 57r: Pentecost; 12. fol. 60r: King David penitent, admonished by Nathan, Combat of Goliath at base; 13. fol. 72r: Three Living and Three Dead, a man run through by skeletal Death with his dart at base; 14. fol. 91v: Virgin and Child enthroned with the female manuscript owner kneeling.Provenance: first female owner depicted on fol. 91v; two coats of arms on fol. 96v; the German collector George Nestle-John (1839-1895; see Bibliothek George Nestle-John. Illustrierte Bücher des xiii.-xix Jahrhunderts, Frankfurt, 6 October 1931, lot 81, and pl. lxiib; estimated 1,500 Reichs-Marks), copy of catalogue included in the lot.Literature: G. Swarzenski- R. Schilling, Die illuminierten Handschriften und Einzelminiaturen des Mittelalters und der Renaissance in Frankfurter Besitz, Frankfurt 1929, no. 125 and pl. lxiib; R.S. Wieck, Time …

India.- Burgess (James) On the Muhammadan Architecture of Bharoch, Cambay, Dholka, Champanir, and Mahmudabad in Gujarat, 77 plates & plans, some collotype, 4 double-page, 6pp. advertisements at end, 1896 § Burgess (James) & Henry Cousens. The Architectural Antiquities of Northern Gujarat, more especially of the Districts included in the Baroda state, colour map and 111 plates and plans, some collotype, one double-page, 4pp. advertisements at end, light foxing to first few leaves, 1903, Archaeological Survey of Western India vol.VI & IX, uniform original cloth, both a little rubbed, the second soiled & stained and rebacked preserving original spine, new endpapers, 4to (2)

India.- Fergusson (James) Illustrations of the Rock-Cut Temples of India: selected from the best examples of the different series of caves at Ellora, Ajunta, Cuttack, Salsette, Karli, and Mahavellipore, 2 vol. comprising Atlas and accompanying text, first edition, Atlas with additional pictorial tinted lithographed title and 20 tinted lithographed views on 18 plates by T.C.Dibdin after Fergusson, a little foxed, paper guards, some slightly frayed at edges, list of plates soiled and shorter at foot, bookplate of Hon. Sir James Liege Hulett, modern half brown morocco over marbled boards, text with 10 lithographed plates, 5 tinted, 3 double-page, with 64pp. publisher's catalogue and 16pp. supplement to catalogue at end, light foxing to plates, original blind-stamped cloth, rubbed and a little faded or soiled, rebacked, corners repaired, preserved in modern half-brown morocco drop-back box, [Abbey, Travel 467], folio & 8vo, John Weale, 1845.⁂ James Fergusson (1808-86) retired a wealthy man after ten years as an indigo planter in India and was able to pursue his interest in architecture. He became a notable architectural historian and prolific author on ancient architecture, particularly that of the Indian subcontinent. This, his first work, was the first of several on the cave temples of India and is rarely found with the accompanying text volume. Fergusson used a camera-lucida to assist him in his drawings made on the spot.

India.- Fergusson (James) Tree and Serpent Worship: or Illustrations of Mythology and Art in India...from the Sculptures of the Buddhist Topes at Sanchi and Amravati, first edition, tinted lithographed frontispiece and 42 plates after Lt.Col. Maisey & others including 2 maps (one double-page chromolithograph), 57 large mounted albumen prints by Lt. Waterhouse and W.Griggs, 2 double-page, all plates mounted on stubs, wood-engraved illustrations, some foxing, some photographs a little faded as usual, small ink stain to plate LXIV, N2 & 3 (pp.99-102) frayed at edges and tipped in, modern half calf, red morocco label, a little rubbed, upper joint split, large 4to, 1868.⁂ Scarce work on two of the most significant Indian Buddhist monuments, the stupas at Sanchi and the architectural fragments at Amravati, some of the earliest surviving stone constructions in India. The fine photographs depict the temple complex, gateways, pillars, friezes etc. in detail.

A 19th century Chinese export ivory card case of rectangular form, elaborately carved in relief with figural and architectural landscape with floral and foliate motifs, 10.8x6.7x1.4cm, within silk and board box

Colin Campbell Cooper (American, 1856-1937) Architectural Church Scene with Fountain Impressionist Oil on Board Signed, Lower right Canvas: 18 in. x 30 in.; Frame: 23 in. x 36 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Property from a Private Miami collection. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Gothic Baldachin (Germany, 16th Century or later) Attributed to German School Architectural Element Wood, Oak Baldachin: 44in. x 30 in. x 11 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Collection Seldon; John and Johanna Bass Collection; Bass Museum of Art after 1963. Exhibition: Human Rites: 6/25/2010-10/03/2010 Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No.91. Museum Inventory No. 1963.091 Collection of the Bass Museum of Art -Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Gothic Baldachin (France, 15th Century or later) Attributed to French School Architectural Element Gilt wood Baldachin: 57 in. x 47 in. Condition: Fair condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1963. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No.92. Museum Inventory No. 1963.092 Collection of the Bass Museum of Art -Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Gothic Dais (France, 15th Century or later) Attributed to French School Architectural Element Gilt wood, Oak Dais: 34 in. x 16 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1963. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No.93. Museum Inventory No. 1963.093 Collection of the Bass Museum of Art -Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Triptych Framing for Altarpiece (Spain, 15th Century or later) Attributed to Spanish School Architectural Element Giltwood Frame: 61 in. x 51 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1963. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No. 94. Museum Inventory No. 1963.094 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

A set of six architectural engravings of Classical ruinsby various artists in marbled frameslargest 38 x 29.5cm (14 15/16 x 11 5/8in). (6)

Italian School, 18th CenturyAn architectural capriccio indistinctly signed (lower left)oil on panel 30 x 24.5cm (11 3/4 x 9 5/8in).

Sir Edwin Landseer Lutyens (British, 1860-1944)An architectural drawing for Campion Hall, Oxford signed (lower right)pencil and pen and ink on paper70 x 65cm (27 9/16 x 25 9/16in).

A collection of 18th and 19th century architectural printsVarious artists and dates to include classical drawings of fluted columns and pilasters, floor plans of the Palace of Versailles and Palais Des Thuilleries as well as The Facade du Chateau D'Eaulargest 45.5 x 69cm (17 15/16 x 27 3/16in). (13)

Desideria Corsini (Italian), A collection of watercolours of shellslargest being 38 x 29.5cm (14 15/16 x 11 5/8in).Together with a pair of prints on silk of architectural follies by Lucinda Oakes (8)

Sir Edwin Landseer Lutyens (British, 1860-1944)An architectural drawing for Folly Farm, Sulhamstead pencil and pen and ink on paper37.1 x 58cm (14 5/8 x 22 13/16in).

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 and seraphim to the spandrels, the eight day movement striking the hours and quarters on two gongs, with pendulum and key 41.5cm high

Edward FrancisA Folio of prints and sketches, including figural studies, architectural studies, abstracts etc

Architectural Salvage - 19th century carved softwood column fragment mounted with stand

19TH CENTURY BRITISH SCHOOL FULL LENGTH PORTRAIT OF WILLIAM KING-NOEL, 1ST EARL OF LOVELACE Indistinctly signed, oil on canvas, unframed (Dimensions: 218cm x 134cm (86in x 52.75in))(218cm x 134cm (86in x 52.75in))Footnote: Provenance: The estate of the late 5th Earl of Lovelace Note: William, 1st Earl of Lovelace was a significant figure in the family history. He entered the diplomatic service and became secretary to Lord Nugent, Lord Commissioner of the Ionian islands. At the age of twenty-eight, on the death of his father, and now Lord King, William returned to Ockham where two years later he married Augusta Ada Lovelace, daughter of Lord Byron, the celebrated poet. His wife Ada was a significant figure in her own right. She had been a child prodigy able to tackle geometry and mathematics, play the violin and guitar and fluent in several languages by the age of ten. Sadly, the marriage did not last and William embarked on the architectural works in polychrome bricks for which he is best known. It was William who added the foothold in Torridon to the family's estates. He was Lord Lieutenant of the County of Surrey from 1840 until his death in 1893.Condition report: Original unlined condition. Significant rubbing/fading throughout. Flaking to bottom lefthand corner from probable water damage. Small tear to extreme top right edge. Country House condition. Sold not subject to return.

Late 19th/early 20th Century carved architectural design, two train mantel clock. (B.P. 24% incl. VAT) CONDITION REPORT: Case is very worn, tired and dry. The top may have been glued back on.