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A book, The Practical Exampler of Architects, published by the architectural press

Three albums of early 20th Century photographs, two relate to 2/3rd Battn London Fusiliers Africa Campaign, Port Said 1917, Egypt, Suez Canal, Sudan, with notes and an album of architectural drawings, a/f

A French black marble mantel clock of architectural form flanked by contrasting lighter marble columns, incised, gilded decoration, white enamel dial with brass centre, Roman numerals and unusual Maltese cross hands, timepiece only movement Est £40 - £60

A French black marble mantel clock of architectural form flanked by square, reeded columns, Corinthian capitals, incised, gilded decoration, and classical frieze to the base, black marble dial with gilded Roman numerals and brass centre, hour and half-past gong striking movement, with key and pendulum Est £50 - £80

A green onyx architectural mantel clock, 35cm wide. 

An Edwardian oak architectural mantel clock, 41.5cm high.

A 19th century bronze and gilt bronze Gothic architectural mantel clock, by Guyerdet Aine, No.3974, 37.5cm high, with pendulum. 

Music - Roger Dean - Views, Views surveys the first seven years of Rogers professional career: it includes innovative furniture designs, paintings, architectural projects, typography, stage sets, and, of course, the iconic YES album covers such as Tales from Topographic Oceans.

A late 20th Century table box of Palladian architectural form and incorporating a series of "secret" drawers and niches, formerly the property of a Masonic lodge, 44 cm x 29 cm x 42 cm high

Illustrated Catalogue of Macfarlane's Castings, Walter Macfalane & Co, Architectural, Sanitary, and General Ironfounders, Saracen Foundry, Possilpark, Glasgow, four various volumes, profusely illustrated and including much architectural ornamental ironwork

A 19th Century French mahogany and marquetry inlaid cased mantel clock of architectural form, the eight day movement with brass circular dial and Roman numerals to the chapter ring

Three architectural views, oils, includes street scene and buildings with figures. 25 x 30cm.

NO RESERVE Bath.- Rebuilding the Temple of Minerva.- Whitaker (John, historian, 1735-1808) Autograph Letter signed to the Rev. Benjamin Richardson, Rector of Farleigh Hungerford near Bath, letter incomplete, 1p., folio, n.p., n.d., [c. 1795], "Ever since I have freed myself from the Blagden Controversy [Hannah More's school in Blagdon] I have been setting my mind determinately upon Mr Warner's History of Bath and reviewing it at full length for the Anti-Jacobin... He has made many mistakes... In the third article I have nearly rebuilt the Temple of Minerva, and want a little of your architectural assistance...", tears where opened and along folds, browned.⁂ Benjamin Richardson (1758-1832), gained a BA at Christ Church College, Oxford in 1781 and was ordained as a priest in the following year. From 1796 until his death he was Rector of Farleigh Hungerford, lived there and was buried in front of the altar in the church. William Lonsdale, President of the Geology Society of London, called him "a gentleman long and extensively known as a diligent and successful cultivator of science".

Virgilius Maro (Publius) Codex antiquissimus a Rufio Turcio Aproniano V.C. distinctus et emendatus qui nunc Florentiae in Bibliotheca Mediceo-Laurentiana..., additional engraved architectural title, half-title, printed in red and black in capital letters, engraved title vignette portrait, head- & tail-pieces and initial, extra-illustrated with 55 engraved plates mostly illustrating the Aeneid, each numbered in manuscript and with contemporary manuscript list of plates tipped in at end and note at beginning, with another later manuscript note concerning the work tipped in at beginning, a few head-lines shaved, staining to upper margin of a couple of leaves, contemporary vellum, a little rubbed and soiled, 4to, Florence, Manni, 1741.⁂ Type-facsimile of the 4th century Virgil manuscript in the Bibliotheca Laurenziana, edited by P.F.Foggini, later librarian of the Vatican Library. "A curious piece of Italian typography, very characteristic of the eighteenth century." Updike, Printing Types I p.171. The manuscript note at the end states that the additional engraved plates are after miniatures in another Virgil manuscript in the Vatican Library, possibly those by Bartoli for the edition edited by Bottari and published in Rome also in 1741.

Harris (Eileen) British Architectural Books and Writers 1556-1785, first edition, original cloth, dust-jacket, small tear to bottom edge, Cambridge, 1990 § Tooley (R. V.) English Books with Coloured Plates 1790 to 1860, original cloth, dust-jacket, slight creasing to extremities, 1987 § Clifford (Timothy) Designs of Desire: Architectural and Ornament Prints and Drawings 1500-1850, illustrations, original wrappers, dust-jacket, National Galleries of Scotland, 1999 § Gernsheim (Helmut) and Alsion Gernsheim, The History of Photography, frontispiece, plates and illustrations, original cloth, dust-jacket, a little rubbed, 1969 § Powers (Alan) Eric Ravilious Artist and Designer, first edition, frontispiece, illustrations, original cloth backed boards, 2013; and others, similar including a collection of Apollo magazines, v.s. (c.90)

NO RESERVE British Topography.- A mixed group of over 200 miscellaneous prints, many of the South West of England, including views and architectural studies of Bristol and its environs, Victoriana miscellany, and general British topography, etchings, engravings, lithographs, various sizes between 80 x 50 mm. (3 1/4 x 2 in), and 430 x 300 mm. (17 x 11 3/4 in), surface dirt, handling creases, some tears and areas of loss, all unframed, mainly 19th century (approx. 200)

Victorian simulated grained single wardrobe having architectural pediment, single door and drawer below, 77cm wide

Ansonia Clock Company Stained Wood Mantle Clock of architectural form, chapter dial with Roman Numerals, back plate marked, Spring driven. Complete with key and pendulum Height 15 inches.

Green onyx two train mantel clock in an architectural case, 12.5" high

Ruskin (John, 1819-1900). Studies of Architecture at the Church of St. Etienne, Beauvais, & [to verso] Sketch of a Mountain Top, Lecco, Italy, 13th April [1846], pencil, brown ink and brown wash on wove paper, inscribed to upper right 'Details of Norman tower, Beauvais, 13th April', and 'St. Etienne, Beauvais, Gable of trancept' lower right, plus further annotations in ink in Ruskin's hand, together with a rough sketch in pale yellow and pale blue wash, with brown ink and pencil, of a mountain top at Lecco, near Como, Italy, inscribed Lecco in ink in Ruskin's hand, lower right, some surface marks and light soiling, short closed tear without loss to lower edge (approximately 1cm), sheet size 18 x 27 cm (7.1 x 10.6 ins) (Qty: 1)Provenance: John Ruskin's Collection at Brantford until at least 1912; Private Collection, Hampshire. Literature: E.T. Cook and Alexander Wederburn, Works of John Ruskin, Catalogue of Drawings, volume 38, page 230, number 173 'Beauvais, Church of St. Etienne, Notes of details, pencil and wash, 7 x 10 1/4 ins'. Exhibited: Ruskin Memorial Exhibition, Royal Society of Painters in Water-colours, February-March 1901, 323. John Ruskin was with his parents in Beauvais between 9th and 12th April 1846 according to the diary of his father John James Ruskin. The date on the present drawing now suggests that they must have left on the 13th, travelling through Paris without stopping. Later in the trip they passed through Como (6th May), Bergamo, Lecco and Brescia before reaching Verona on the 10th. Entries in Ruskin's surviving diary for 1846 begin only on the 14th April when they reached Melun. There are two other known drawings from this period, like this one presumably from a now dismembered sketch book. 'Study of a River Bank' (Thomson Collection) is inscribed 'Beauvais/April 10th', with a drawing of trees at Pont sur Yonne to verso dated 'Ap.14', plus an architectural detail inscribed 'Chanceaux/Ap. 17'. This drawing, inscribed with a larger scale 'J Ruskin 1846' is typical of inscriptions added by him at a later date. See Paul Walton, Master Drawings by John Ruskin: Selections from a David Thomson Collection, Pilkington Press, 2000, page 64, figure 25. A second double-sided sheet of landscape, inscribed 'Sens. April 15th./1846' is in the Cooper Gallery, Barnsley (CP/TR 22). We are grateful to Professor Stephen Wildman for supplying the information contained in this catalogue entry.

Circle of Francesco Guardi (18th century) An architectural caprice, oil on canvas laid to panel, 27 x 20cm, Note: this appears to be a close comparison to the work held in the National Gallery

Photography - Topography and Architecture, a late Victorian green calf and inlaid leather photograph album, applied with b/w and sepia photographs of British topography and architecture, including Scotland, Ireland, the Lake District, Oxford and its colleges, Blenheim Palace, London, Chatsworth House and Haddon Hall, Derbyshire, annotated, some dated 1883, marbled endpapers, all edges gilt, crown folio; another, similar, Scotland, an album of 29 views, including Glasgow docks by the Clyde (2) further Glaswegian architectural facades, Balmoral Castle, lochs, etc., contemporary blind panelled calf, all edges gilt, watered endpapers, small folio; 59 b/w and sepia loose photographs, of British Medieval ecclesiastical and monastic architecture and ruins, various sizes, [3]

Photography - Travel, India/British Raj, a 1940s Photex album, illustrated with b/w photographs showing real domestic life, including a palanquin being carried through the streets, a military parade with a brass band, elephants in urban districts, coastal and mountain scenery, further topography, temples, ruins and further architectural interest, oblong 8vo; another, similar, taken, compiled and annotated by Lt. Col. Bomford, signed, P+O Vessel at Ballard Pier, Bombay, Crossing the Chenab River, various churches including Holy Trinity "Busti" and its Indian Christian congregations, Mahrauli: Conformation Procession, mosques, Hindu Temple at Brindaban, Agra Fort, Fatehpur Sikri, Mahrauli Church, Taj Mahal, Lady Irwin Sanatorium at Sanawar, breakfasts, lunches, etc., embossed Continental leather album, oblong 8vo, [2]

An early 18th century vellum ink MS commonplace book, possibly that of Henry Cheesman of Kent?, probably initially kept and inscribed by a brewer, ff: 88, another page lacking a torn away half, compiled by that same hand with various accounts, including 'Account of hops for ye year 1719' with earlier notice of drying hops and quantities of bushels; bawdy verse of a robust and licentious nature, suitable for a pleasure-loving brewer, with countless references from lofty maidens all the way down to lowly harlots, with 'The maids Lamentation' for good measure; occult and astronomical notes and some diagrams, with Sheepard's Callender (sic), a planetary table calculated for Henry Cheesman, a table 'to resolve all Lawfull (sic) Questions [...]'; diagram of a sundial; pseudo-philosophical notions, 'The age of man', dated 1713; a distance table for travelling between counties and some cities; some genealogical notes and notices contemporary with the majority of handwriting but further embellished and finalised later in the century by a different hand; the whole manuscript dated from 1719-1779, fragmentary vellum wrap covers, recto and verso pastedown applied with clipped naive woodcuts of London architectural facades, including the Tower of London, red half-penny paper duty stamp to recto pastedown also, 16mo Due to the frequency of Henry Cheesman's name appearing on countless pages throughout the notebook and further notices of the 'ins-and-outs' of other Cheesmans in the past, it would be safe to say that this notebook was more than likely the property of Henry Cheesman who seems to have been a rather interesting man - or even unique individual! The breadth of his interests reveal an inquisitive mind hungry for answers and apparently female company. Nevertheless, the domestic and family notes reveal a dutiful, practical man possibly originating from Kent. Cheesman appears to be a fairly common name in Kent, more so than in Derbyshire, and references to another Kent family - the Knatchbulls - fortify this impression. Condition Report: please refer to additional images for details

Ephemera - Thespian, a late Victorian/early Edwardian theatre scrap album, compiled with various clippings relating to the history of the English stage and its actors, contemporary quarter-calf and cloth, gilt spine, small folio; a large Victorian and later scrap album, applied with clipped colour scraps, ephemera and postcards, including humour and topography, red cloth, crown folio; another similar, partially-filled, pictorial cloth, large 4to; Postcards, an Edwardian album of British Medieval cathedrals and churches, architectural exteriors and some interiors, contemporary green cloth, oblong 8vo; etc, [5] Condition Report: Scrap albums 1 x 26 30 x 25cm1 x 24 32 x 26.5cmothers blank1 x 80 38 x 28cmothers blank

Miscellaneous - Gessner [Salomon], La Mort d'Abel, Poême en cinq Chants, Chez Tournachon-Molin, Libraire, Lyon 1809/10, pp: [v], [iii], iv-xii, [1], 14-274, [ii], double-engraved allegorical title-page by Jean-César Macret (1768-1813), contemporary mottled calf, covers with blind fillet, gilt spine, lettered in the second compartment with a morocco piece, gilt bosses to further compartments, marbled endpapers, recto pastedown with a slightly later ink MS prize bookplate dated 1818 and stamped with the royal Bourbon arms, 12mo; Dufour (J-M), De L'Ancien Poitou, et de sa Capitale [...], Mmes Loriot, Poitiers 1826, two-fold architectural and epigraphical antiquarian lithographic plates, contemporary calf spine and marbled boards, marbled endpapers, 8vo; Japanese Art, Strange (Edward F.), The Colour-Prints of Hiroshige, With 52 Plates including 16 in Colour, Cassell, London 1925, contemporary cloth, 4to; A Week's Preparation [...] Lord's Supper [...] Holy Communion, fifty-second edition, Printed by Affignment (sic) from Sam Keeble [...], London 1757, engraved frontispiece, contemporary calf (worn, rubbed), contemporary ink MS inscription to pastedown, 16mo; The Methodist Magazine for the Year 1815 [...], volume XXXVIII only, engraved frontispiece, ink MS inscriptions, partial-contemporary quarter-calf binding, 8vo; Zweig (Arnold), The Case of Sergeant Grischa, Martin Secker, London 1928, contemporary quarter-leather and buckram, 12mo; bibliography; Folio Society; etc

Ruskin (John): The Stones of Venice, fifth edition, three-volume set, George Allen, London 1893, illustrated with architectural chromolithographs and b/w wood engravings by the author, contemporary quarter blue-stained calf and boards, gilt lettered spines, marbled endpapers, top edges gilt, 4to, (3); The Poetry of Architecture [...], George Allen, London 1893, full-page colour and b/w lithographs, contemporary perished calf spine, cloth boards, ad hoc slipcase, 4to; Sesame and Lilies, eleventh edition, George Allen, London 1890, illustrated with albumen photographs of works of art, contemporary vellum binding gilt, upper-cover decorated in tones of red polychrome with the municipal Florentine fleur-de-lys, stained red edges, gilt floral endpapers, 12mo; Selections from the Writings [...], Smith, Elder and Co., London 1866, stipple engraved portrait frontispiece, contemporary quarter-calf gilt and green cloth binding, recto applied with contemporary newspaper reviews/notices, 12mo; Jesus College, Cambridge Binding, The Seven Lamps of Architecture, third edition, George Allen, London 1891, full-page wood engravings, contemporary olive half-morocco and marbled gilt armorial binding, all edges gilt, endpapers marbled en suite, 12mo; etc, various, (5), [12]

Hastings Music Pavilion, original watercolour/ink architectural competition design, by Annesley Brownrigg of Leslie Hiscock Architects London, 16" x 30", framed

J Redwood, collage, architectural study, 1953, framed, overall dimensions 36" x 26"

Churches. An artist's sketchbook, circa 1860s , containing a variety of pen and ink, watercolour and pencil sketches and details of church organs, churches and architectural details on 27 pages, some with brief captions and notes, churches include Amiens, Sens, Great Bowden, Leicestershire, Rhenen, St Bertrand de Comminge, near Luchon, Metz, and Chartres, a few leaves detached, versos blank, a related albumen print photograph loosely inserted, hinges partly broken, contemporary roan-backed boads, worn, oblong folio (Qty: 1)

Four Chinese Architectural Prints, framed and glazed, approx 36 h x 49 w cms.

AFTER THOMAS MALTON (1748-1804)Sir Christopher Sykes in the Library at Sledmere Hall, Yorkshirehand coloured aquatint engraving, lacking title plate, within later black painted border (under current mount)Pl.16 1/4 x 22 in (41.4 x 55.8cm) Sir Christopher Sykes (1749-1801) inherited Sledmere Hall in 1783. Over the next twenty years he expanded the Estate and made improvements to the house where he employed the services of the plasterer Christopher RoseSold with an architectural engraving by P. Foudrinier (after Giovanni Battista Barra) depicting a view of a classical temple; two (2)

RICHARD PHENE SPIERS (1838-1916)A Courtyard, Cairosigned, inscribed and dated 'R. Phene Spiers, Cairo, 1868'watercolour13 x 9 1/4 in (33.1 x 23.5cm) For another comparable work by the artist titled 'A Courtyard of a House, Cairo' cf. Bonhams, December 12th 2006. lot 507Richard Spiers trained at the Ecole des Beaux Arts in Paris and later in the office of the architect Sir Matthew Digby Wyatt. As a young architect he travelled to Egypt, Syria and the Middle East. There he visited amongst other locations, Damascus (where he painted the Great Khan), Palmyra and the Temple of Jupiter at Baalbeck.He exhibited regularly at the Royal Academy and also at The Society of British Artists, Suffolk Street, London. He was President of the Architectural Association in 1867/1868; and later became Surveyor of the Royal Academy in 1877

A 19th Century Bracket Clock having three train fusee striking and chiming movement, engraved brass dial with silvered chapter ring in architectural mahogany case having domed surmount carved leafage pendants, canted corners having carved corinthian capitals, 23in H. AMENDMENT: Revised estimate

Bible [English]. [The Bible in English, that is to say: The content of all the holy Scripture, both of the olde and newe Testament. According to the translation that is appointed to be read in Churches, London: John Cawood, 1569], lacking all preliminary texts before A3 of Genesis (commences part way through Chapter v), printed in black letter double-column text with some decorative initials throughout, part 2 title of Old Testament within simple narrow frame and the two following part titles within a border bearing Cawood's monogram at foot, blank leaf at end of part 2 present (with juvenile manuscript marks and lower outer corner excissed), New Testament title present (cropped at fore-edge) within woodcut architectural border incorporating two cherubs and two woodcut panels representing the entombment of Christ (above) and Dives and Lazarus (below), New Testament lacking all after O1 (text ending at I John chapter 2), some early manuscript markings, annotations and juvenile scribbles mostly to margins (some ink stains to part titles & majority with manuscript to recto & verso), upper outer corner of 3B6 torn with loss and closed tear to 3E6, fore-edge margin of 4D7 torn, C1 of New Testament torn with loss to upper outer corner, also C2N8, O1 & P6 torn with loss to lower outer corners, some fraying and few other tears mostly to first and last few leaves, dust-soiling, some damp-staining and marks, margins trimmed with some cropping to marginallia, early 19th century half calf, red morocco title label to spine, upper joint slightly rubbed and small nick at head of spine, 4to in 8s (18.3 x 13.7 cm) (Qty: 1)Herbert 128; Darlow & Moule 91; STC 2103. Great Bible version, one of at least 3 Cawood editions ascribed to this date, which, while generally agreeing so closely as to read together page for page, nevertheless differ in many small points, and are distinct issues. In this issue Pt. 2 title runs: The seconde part of the Byble contayninge these bookes... Pt. 3 title: The thirde parte of the Byble contayning these bookes. One of the annotations within the volume appears to be 'Richard Hyde Bible the year of our Lorde 1570 the iii daye of July' (verso of final leaf of Malachi)

World. Scott (R.), Hydrographical chart of the World on Wright or Mercators projection with tracts of the last Circumnavigators, circa 1815, engraved map with contemporary outline colouring, tear at base of central fold, some spotting and staining, 490 x 540 mm, together with Homann (Johann Baptist), S. R. I. Circulis Rhenanus superior..., circa 1720, engraved map with contemporary hand colouring, some spotting, 490 x 580 mm, with another map of the same region by M. Seutter, plus another four large maps by Kitchin, Visscher and Stockdale, with two large uncoloured architectural elevations engravings by J. Collins of 'The North prospect of Mountague House' and A Prospect of Lodge the seat of ye Right Honble. Lord Tetnham at Linstead in Kent', each approximately 430 x 590 mm, various sizes and condition (Qty: 9)

E.B. & H.S., 19th Century English School"Trinity Church, Gloucester Terrace, London," O.O.C., fine architectural drawing depicting Church and surrounding Georgian Terraces, with horse and cart, and other figures, approx. 102cms x 92cms (48" x 36") signed and dated lower right in monogram "E.B. & H.S. 1858" in attractive gilt frame. (1)

Engravings: A group of early 18th Century black and white Engravings, some architectural examples, and similar later material, some good portrait engravings after Von Dyck etc., most in original black wooden frames, some sets etc., approx. 18 items, as a coll., w.a.f. (1)

Ivory/bone architectural column foley and two small boxes (3)

An early carved stone mortar/quern of square form with central circular tapered cut out, together with a small architectural stone block with face mask detail

A pair of mid Victorian hall chairs, the backs of architectural form, raised on turned supports

A collection of 19th century iron and brass architectural fittings including hooks, brass tie backs, brass handles, window fittings, etc, a 19th century iron work trivet, rustic pine stool, painted and graduated corner shelving, etc

British half-plate Architectural-Study Autochromes, Hampton Court (5) and village scenes, house and flowers (4), F, one cracked (9)

19th Century French gilt brass mantel clock of architectural form, the broken arch top inset with a classical frieze, the circular gilt dial with Arabic numerals, signed J.W. Benson, London, flanked by Corinthian columns above a figure of Old Father Time, the two train movement striking on a gong, 17ins x 14ins

19th Century black slate and gilt metal mounted mantel clock, the architectural case with enamel dial and Arabic numerals flanked by six fluted columns beneath a frieze, the two train movement striking on a gong (pendulum lacking)

CWE, early 20th Century/Architectural Drawing of a Prospective Neo-Classical Building/initialled and dated lower right, CWE det 1904, and inscribed 'Messers Hubbard, Moor/Architects 85 Gresham'/grey wash over pencil, 80cm x 61cm/Provenance: The Estate of the late Sir John and Lady Smith/see illustration CONDITION REPORT: Paper has discoloured very slightly, no obvious fading otherwise in good condition, in a silvered mount and oak frame.

A Victorian black slate mantel clock, architectural case, circular dial, French cylinder movement, height 33cm.

Architectural salvage - A group of four / two pairs cast iron wall shelving brackets, cast in relief makers name for Dauntless.

An original water colour of a Church or similar architectural interior

Ten matched HM silver coffee spoons having architectural knops and monogrammed bowls and two glass pots with HM silver collars and lids

Follower of Lord Leighton, profile head and shoulder portrait of a young man, oil on canvas laid on board, in painted and gilded architectural frame, 46 x 30cm

A rouge and black marble clock garniture, the clock of architectural form with enamelled Arabic dial and gilt lion surmount, and a pair of conforming candlesticks with urn sconces, H 37cm (clock, overall)

After Giovanni Battista Piranesi (1720-1778)5 engravingsArchitectural studies, see online for listinglargest 20.5 x 15in.

* SUSAN BROWN (BRITISH), COLOURS OF VENICE II watercolour on paper, signed 50cm x 50cm Framed and under glass. Note: Susan Brown is the recipient of many art prizes and awards for her contemporary paintings these include: The Laing Art Competition; Hunting Art Prize, Regional Winner; Penrose Purchase Prize 2005 and the Singer & Friedlander Sunday Times Watercolour Competition 2001 where she was a finalist. She works predominantly using watercolour and acrylic. Much of Susan's work features European cities. She has focused on man-made structure and city life and man's relationship with his environment. These architectural studies explore the rhythm and movement within buildings and interiors. Susan Brown paintings appear in many notable private and public contemporary art collections. These include: Allied Domecq, Halifax PLC, The Royal Bank of Canada, Jarvis Construction UK, The National Trust, The Sir George Martin Trust, Natwest PLC, Ove Arup & Partners, Provident Financial, Woodmansterne Publications, The Universities of York and Sheffield, Yorkshire Water PLC. In 2019 she has solos shows at the Walker Galleries Harrogate and The Red Rag Gallery, Cotswolds and in 2017 a 100 page book "Susan Brown, Venice Paintings" was published.

Gothic Revival style raised figures in architectural niches.An iconic mid-10th century saltglaze jug depicting eight saints, modeled by Hanley, Staffordshire pottery of Charles Meigh. Impressed marks to base. Artist: Charles Meigh Issued: c. 1840 Dimensions: 9"H x 7"W Manufacturer: Charles Meigh Country of Origin: England Condition: Overall good

19th century mahogany pedestal sideboard, with an architectural ledgeback and cushion fronted drawers, 140 x 235cm

A garnet and enamelled pendant, depicting an architectural view within garnet set surround, a split seed pearl set star shape brooch, a faceted citrine egg shaped pendant, a silver thimble etc (Qty)

An Orthodox icon, 18th/19th century, Oil on panel, A three tiered icon depicting the twelve apostles within architectural arches, each named and with polychrome detailing and gilt highlights within an iron red border with foliate corner detailing, Verso bearing label for 'The Grecian Gallery, 162 Walton street, London' and with ink inscription below, 45cm x 33.5cm, panel 3cm thick

A selection of books on art and architecture, to include HALL (W), A BIOGRAPHY OF DAVID COX, portrait fronts, Cassell,1881; TERRA COTTA OF THE ITALIAN RENAISSANCE, illustrated, Terra Cotta Association, Derby, 1928; NICHOLSON (P), FIVE ORDERS OF ARCHITECTURE, new ed, printed for M. Taylor; CRANE (W), LINE AND FORM, later edition, 1921; CLIFTON-TAYLOR (A), ARCHITECTURAL TOURING WITH THE LITTLE GUIDES, signed by the author and with a note from the vendor tucked in, etc (Qty)

An early 20th century Winterhalder & Hofmeier German ebonised eight-day bracket clock, the architectural case with pagoda shaped top mounted with silvered metal caryatids, glazed arched door enclosing a chromed face plated with Roman numeral dial and subsidiary dial, movement striking on a gong, 41cm high