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Volumes 1,2,4,5,6,11 &12 of Lincolnshire notes & queries along with No. 17-22 from volume 3, 2 reports & societies of the architectural societies & 1898 The National History of Lincolnshire edited by Rev. E.A.Woodruffe-Peacock

WRIGHT FRANK LLOYD: (1867-1959) American Architect, Designer and Writer. Wright created an architectural philosophy he named Organic Architecture. His work Fallingwater (1935) is widely considered the best work of American architecture, and the American Institute of Architects recognized him in 1991 as "The Greatest American Architect of all time". Rare signed and inscribed typescript `To Lewis - F.L.Wt´, to the head of first page, nine pages, 4to, Taliesin West, February 1953, to architecture critic Lewis Munford. The Typescript document being an essay entitled “In the Cause of Architecture the `International Style´”, typed in Wright´s studio at Taliesin West, with his usual type face and spacing. The nine pages essay states in its first paragraph `The International Style is Neither International Nor a Style. Internationalism is Totalitarianism… At most the notion becomes a fashion and a fashion is - always - some passing show of imitation; probably an imitation of a bad imitation by a bad imitator. In any International “Style”, therefore, we would have more invasion than invention… I see in it a cliché for the rising tide of mediocrity, You will find that it merely betrays what was originally individual in true Democratic sense of the much abused term - Organic Architecture - The Architecture of Democracy´. The typescript bears several corrections, and the date is added to the upper right corner by Munford. Extremely small minor age wear, and a very small crease due to former clip to the upper left corner. VG £2500-3500

WRIGHT FRANK LLOYD: (1867-1959) American Architect, Designer and Writer. Wright created an architectural philosophy he named Organic Architecture. His work Fallingwater (1935) is widely considered the best work of American architecture, and the American Institute of Architects recognized him in 1991 as "The Greatest American Architect of all time". A rare and interesting lengthy A.L.S., `Franck Lloyd Wright´, two pages, 8vo, written to first and last page, allowing fine display, small but clean writing, n.p., 24th December 1901, to Sophia Austin Morris. A lengthy autograph letter related to the lecture of a book, stating `I am richer and happier for having read your book´. Wright states in part `Majind insists upon the return of your Jean Paul… He has gone with me to Hillside three different times and has been with me in all sorts of odd moments. I have read him - Fruit, Flowers and Thorns.. Never, will I forget my experience... Previous to that I had been all along charmed and sunned by his genial humor and his persistent inclination to stick a posie anywhere regardless.. but there came a grumble on page 260 - then on page 261 a row of asterisk, - like the ominous hush before the coming storm, - and solemnly deep down, he begins, and gathering wrath and force and power he goes on building up grandly until with a terribly comprehensive reach, he crashes the universe in fragments, at our feet and commands us to look down - and we look, shuddering into a godless chaos.´ further adding an amusing comment `I read these in bed on a Sunday morning (shameless confession) while the church bells were tolling and they never sounded so sweet to me before..´ and before concluding adds `I shall never lose that impression.´ Accompanied by the original envelope in Wright´s hand. Folded, otherwise VG £4000-6000 Flower, Fruit and Thorn Pieces is a book by Jean Paul (1763-1825) Johann Paul Richter, German Writer.

BOURDELLE ANTOINE: (1861-1929) French Sculptor and influential figure in the transition to modern sculpture. Bourdelle was student of Rodin and teacher of Giacometti and Matisse. A good A.L.S., `Antoine Bourdelle´, two pages, 4to, n.p., n.d., to Vincent d´Indy, in French. Bourdelle states in part `I still manage to finish the creation of the plaster model of the architectural and sculptural base. Six high reliefs.´ further saying `Will be beginning of September that I will finish the study based on the beautiful visage… with big difficulty I will finish the huge work..´ and before concluding and referring to his correspondent `I really wanted to express to you my admiration for your work..´ A letter of good association. Folded, with tears to the folds. G £80-100 Vincent d´Indy (1851-1931) French Composer.

Two early 20th Century oak mantel clocks comprising: a German two-train example retailed by Curtis & Horspool Leicester in architectural case, 28.5cm high, and a 1930's example with back-wound movement (2)

TIGHT, READING. A FINE REGENCY FIGURED MAHOGANY DOMESTIC REGULATOR LONGCASE CLOCK having an architectural hood with ebonized moulds repeated on the case with recessed trunk door flanked by reeded brass capped quarter columns on box base, the 12" silvered engraved dial with Roman numerals and subsidiary seconds and calendar dials, strike/silent lever above the twelve, fronting an eight-day weight driven five pillar movement with deadbeat escapement and Harrison maintaining power run on a very heavy compensated gridiron pendulum and brass cased weights 216cm

CAMERER CUSS & CO, LONDON A FINE EARLY 20TH CENTURY YEAR GOING REGULATOR WALL CLOCK the mahogany architectural style case having a full length glazed hinged door with matching glazed side panels and flamed mahogany backboard enclosing a 7" silvered engraved dial with Roman numerals fronting a triple plated six pillar spring driven year duration fusee movement with giant spring barrel, dead-beat escapement with adjustable pallets and Harrison maintaining power run on a mercury compensated pendulum 86cm high

J. SOMALVICO & SON, No. 221 HOLBORN, LONDON. A GEORGE III MAHOGANY STICK BAROMETER having an architectural pediment above a silvered hydrometer and silvered calibrated barometer dial with sliding vernier, the mahogany case having boxwood and ebony string inlay and four fan paterae corners above the dial 109.5cm high

THOMAS FAYRER, LANCASTER. A FINE GEORGE III CHIPPENDALE STYLE FIGURED MAHOGANY GILLOWS LONGCASE CLOCK the architectural pediment having dentil mouldings and pierced panels above an ogee moulded hood door on slender trunk with reeded quarter columns and decorative moulded arched door on canted base, the 13" arched brass dial with gilt spandrels and silvered engraved chapter ring surrounding a silvered engraved centre with subsidiary seconds dial and calendar aperture, the arch enclosing a moon phase aperture fronting an eight day weight driven movement striking the hours on a bell 239cm high to top of pediment - comes with canted ogee bracket feet

A Chinese carved soapstone square section seal carved with three men at the table playing Weiqi beneath a tree in mountain and architectural landscape, above scratched character marks, height 16.5cm.Additional InformationAreas of some small chips and scratches.

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 to upper and lower sides, centred with a vacant cartouche to one side, 11.5 x 7.5cm.Additional InformationAppears to be in good condition, no visible damage or restoration only a few tiny losses to flower petals and plant leaves, also a loss to the hand of one of the figures of upper left corner on one side.

Royal Worcester Art Deco Figure Modelled as a Naked Girl In Biscuit Glaze, Kneeling on an Architectural Plinth Panels In mottled Blue with Gilt Highlights. Date Code for 1929, Shape 2698. Wonderful Condition In All Aspects. Height 8.25 Inches - 21 cm.

A Late 19th Century English Lustre Tea Set Approx 22 pieces in total, comprising cups, saucers, bowl and cake plate. Each with hand painted naive architectural and rural designs. As found condition, please see image.

French Late 19th Century Impressive Portico Mantel Clock Signed Charles Barrie Paris to back plate, comprising circular porcelain white dial with black Roman numerals, pendulum driven 8 day movement striking on a bell at half and full hour. Architectural form case comprising barley twist columns, and floral and foliate swag inlay detail. Height, 20.75 inches - 52.25 cm

18ct Yellow Gold And Diamond Set Modernist/Brutalist Cocktail Ring Of solid, architectural form, the middle centre set with two round brilliant cut diamonds of good colour and clarity, marked to inner shank 42, with continental hallmark and makers mark 'PH'. Ring size, K. Please see image.

Roman, Imperial Period, ca. 1st century CE. A special fresco fragment depicting the torso of Venus (Greek Aphrodite), nude save a swath of drapery falling from her shoulder to hips, and posed with her right arm gracefully lifted. The body is naturalistically rendered with supple flesh, perky breasts, navel, and harmonious anatomical ratios. The artist was particularly skilled at creating chiaroscuro light effects to model her curvaceous figure which stands out against the rich red background. This beautiful fresco section is not only set upon a stand but also housed within a black wooden pedestaled display case, faced on both sides with beveled glass. Size: 6.125" W x 4.75" H (15.6 cm x 12.1 cm); 6.625" H (16.8 cm) on included custom stand. Glass-fronted display case measures 3.25" L x 11.375" W x 15" H (8.3 cm x 28.9 cm x 38.1 cm)The ancient fresco technique involved applying saturated pigments into wet lime-rich plaster, and only the wealthiest, most elite Romans adorned their houses with these elaborate wall paintings which required immense skill to create. Art historians have identified four styles of wall painting. This example aligns closest with the Second Pompeiian Style - also known as the architectural style - which was popular during the 1st century BCE. This style was characterized by illusionism whereby the walls were painted with architectural elements framing compositions that fooled the eye into believing they were real via a trompe l'oeil effects. While we cannot see architectural elements given the size of this fragment, the artist of this piece successfully achieved naturalism in the visual imagery via subtle tonal changes, modeling the figure with color and shading, and suggesting depth with foreshortening.Another aspect of Roman wall painting to appreciate are the brilliant colors which contrast with the white hues of surviving ancient marble sculpture. Scholars have demonstrated that classical sculptures were actually originally brightly painted; however, the pigments have worn away over the ages. Thankfully, ancient wall paintings demonstrate the bold coloration that embellished ancient visual culture. What's more, while some of the most impressive artists of the Classical world were painters, sadly, many of their creations were painted on wood panels and have disappeared due to the perishable nature of this material. Thankfully, other forms of Classical art such as vase paintings, mosaics, and even a few fresco fragments like this example - many surviving from Pompeii and Herculaneum buried under the ash of a volcanic eruption in the year 79 CE - have survived the tests of time and can provide a means of understanding ancient painting techniques.Published in P. Grimal & E. Kossakowski, Pompei, Demeures secretes, Paris, 1992, no. 54. Provenance: private East Coast, USA collection, acquired at Pierre Berge & Associes, Archeologie auction, Paris, 29 November 2014, lot 264; Published in P. Grimal & E. Kossakowski, Pompei, Demeures secretes, Paris, 1992, no. 54. Condition: A section from a larger fresco. Expected surface wear with scuffs and pigment loss commensurate with age. Edges and verso are not smooth. Mineral deposits scattered across peripheries and verso as well. Pierre Berge & Associes auction house label attached to the stand. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #145986

Roman, late Republican / Hellenistic to early Imperial Period, ca. 2nd century BCE to 1st century CE. A large marble panel fragment from a sarcophagus depicting Cupid (Eros) or an erote, shown from the side with his childlike body and small part of a wing just visible at his back. He lies as if sleeping, with his legs crossed at the knee and one arm slung across his body and resting under his head. His head is turned, his curly head of hair visible. At his side is the club of Herakles (Hercules), with a snake's body faintly visible at the child's side. An architectural arch with a textured surface remains in part above Cupid's (Eros') head. Size: 20.25" W x 33.5" H (51.4 cm x 85.1 cm)Interestingly, the theme of stealing Hercules' (Herakles') attributes reoccurs throughout the classical Greek, Hellenistic, and early Roman Imperial periods, and not just done by Cupid (Eros). Early artwork shows satyrs, goat-legged Pans, and Kerkopes, monkey-like thieves said to live in Lydia, taking any chance they can to make mischief by stealing Herakles' possessions. By the time period that this sarcophagus panel was made, all those characters had been replaced by a group of Erotes or just Eros himself. Provenance: private East Coast, USA collection Condition: This is a fragment from a larger panel, with losses to edges. It has been repaired from a number of pieces with areas of restoration, notably much of the Hercules' club, part of Cupid's shoulder, and small areas around the body and edges of repairs. Feet and hands are lost, as is the penis and much of the detail of the face. Small scratches, chips, and nicks on surface commensurate with age; rich deposits, mainly in lower profile areas. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146683

Central Asia, Pakistan and Afghanistan, Gandharan Empire, ca. 1st century CE. A delightful schist relief panel showing the classic Buddhist scene of Prince Siddhartha leaving home. He is depicted here as a wealthy prince astride his horse, Kanthaka, while a groom and various other servants surround him. The image is bordered by a carving of a column with a truly impressive capital, setting the scene in the forecourt of his father's palace. In Buddhist belief, Siddhartha left his father's palace to seek his enlightenment, leaving behind his family without regret, and vowing not to return until he had achieved his goal. Size: 11.4" W x 8.25" H (29 cm x 21 cm); 9.5" H (24.1 cm) on included custom stand.The Gandharan Empire made itself wealthy in part by controlling lucrative trade along the mountain passes between China in the East and the Near East and Mediterranean in the West; a great deal of this wealth went into local patronage of artisans and art. In the first century CE, Buddhism became fashionable amongst Gandharan elites, and the art produced at this time depicting the Buddha are some of the most striking Buddhist images from the past. Their artistic tradition also reflects the conquest of Alexander the Great and the introduction of styles from all sides, blended into a uniquely Gandharan tradition, which this image with its classical architectural feature exemplifies. Provenance: private East Coast, USA collection; ex-Hunter Lipton collection, New York, USA, acquired in the 1980s Condition: Small repair to upper right (facing) corner. Upper left has also been repaired. Small chips, nicks, and scratches from surface commensurate with age, but much detail is preserved. Light deposits on surface, especially in lower profile areas and along lower border. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #145915

A late 19th century continental walnut and ebonized mantle clock of gothic, architectural design, 24"h

An Aesthetic carved oak mantel clock after a design by Lewis Foreman Day, having architectural cornice, Gothic style pierced roundels, carved columns, Arts & Crafts style pottery panelled dial and front sections, brass movement striking on single coil, dial diam. 14cm, height 48cm. Condition: Some minor stress present to case in the form of small cracks, some minor damage to a few of the gothic style mouldings on the sides, minor crazing present to dial, no pendulum or key present

Rustic stained milking stool together with and architectural two-train mantel clock. (2)(B.P. 24% incl. VAT)

A PERSIAN "TREE OF LIFE" RUG with pale pink ground work with tree architectural columns and birds within a prayer niche, 125cm x 200cm

Late 19th / early 20th century mantel clock with eight day timepiece movement and white enamel dial with Roman numerals in a black slate case of architectural form, with variegated marble inserts (pendulum present, key lacking), 21.5cm overall height

......re Des Andes An ARCHITECTURAL STUDY in a maple frame, 84 x 69cm

AMENDMENT - NO PROVENANCE AS PRINTED IN THE CATALOGUE  A large part 18th century oak coffer, the four panel joint framed top over extensively carved and moulded architectural style arcaded front and sides to stile feet, 162 cm w x 61 cm x 73 cm hTop later in date.Good condition given age  - showing wear

A pair of contemporary Fornasetti style architectural lamp bases, in the form of houses, (no shades), H.46cm (2)

TWO PRAYER MATS to include a Middle Eastern example on a red ground with repeating motif border and architectural element design, 141cm x 96cm, and one other prayer mat on brown ground with repeating black and red border motif, with fringed edges, 90cm x 64cm (2)

CHINESE CARPET, 366cm x 277cm, of repeating architectural and arborial motifs on famille jaune field.

SECRETAIRE, Swedish Biedermeier, satin and karelianbirch, with fall front enclosing an architectural fitted interior, above three further drawers, 125cm H x 121cm x 51cm.

An Indo-Persian gilt metal wall mirror of mihrab arch shape embossed architectural details, plants and animals with enamelled jewelling, a small rectangular mirror plate to centre, 22" high.

Quantity architectural items to include terracotta tiles, glass tiles, vented tiles, cast iron guttering and more (Container not included)

William IV brass inlaid rosewood and simulated rosewood Architectural cased bracket clock, 20cm circular convex Roman dial inscribed 'Baggs South Street, Berkley Square', twin train movement striking the hours on a bell, case with gadrooned detail, turned columns and bun feet, H51cm, W33cm, D16cm Condition Report Click here for further images, condition, auction times & delivery costs

A set of eight reproduction botanical prints after Casteels; three further assorted botanical prints and a quantity of assorted framed book plates; Architectural prints etc (qty)

A gilt metal mounted striking mantle clock of architectural form, with knights in armour pilasters, retailed by Ferguson & Macbean, Inverness, twin barrel movement striking on a gong

Set three Russian silver shot glasses each decorated with architectural scenes, marked to base, (height 5cm approx, each; weight 64grams approx, total); together with a silver enamel decorated small fork, (length 10cm approx).

Antique French mantle clock with 8 day striking movement in an architectural slate case, pendulum included, 49cm wide, 18.5cm deep, 46cm high

Good 1930s chrome column electric table lamp architectural form chrome column, to chrome and wood stepped base, with original cream glass shade, plus an additional cream glass shade, (height 64cm approx, total including shade).

VIENNA REGULATOR WALL CLOCK, two train eight day movement, the round enamel dial with Roman numerals, contained in an architectural mahogany case, 45cm wide, approximately 94cm high

LOT OF TWO ARCHITECTURAL PRINTS OF GLASGOW BY DABOD WALKER, including one of Glasgow University and one of Glasgow Cathedral, singed, 30cm x 40cm, mounted, framed and under glass

RICARDO WOLFSEN limited edition print - Eastern Architectural 82 x 55cms Condition reports provided on request by email for this auction otherwise items purchased `as seen`

A framed architectural print together with an oil painting of ships in a harbour, river scene and another with mallards in flight ETC Condition reports provided on request by email for this auction otherwise items purchased `as seen`

A Thermidor Belge brass architectural antique oil lamp on a stepped base with Romanesque support and having a rose tinted floral shade with etched decoration, 89cms high (including chimney) Condition reports provided on request by email for this auction otherwise items purchased `as seen`The chimney has a very small chip otherwise there is no damage.The glass shade is good, no damage.The whole piece feels nice and solid.  

An Indian copper-alloy Jainism tirthankara shrine, 9th-10th century, cast in openwork with the principal image of a tirthankara seated in dyhanasana mudra on a throne, surrounded by standing jinas in architectural niches forming an arched canopy, all on a rectangular plinth, the reverse incised with a Sanskrit inscription, 14.4cm high In Jainism,a tirthankara is a saviour and spiritual teacher of the dharma and also relates to the founder of a tirtha, which is a fordable passage across the sea of interminable births and deaths making a path for others to follow.

Jenny Cowern (1943-2005) Nut and Quince, monochrome pastel study of foliage, signed and dated 1988, entitled verso with annotation "drawing used for felt", framed and mounted under glass, 38 x 50 cm Cowern was a visual, multi-media artist, who took inspiration from the natural surroundings of her adopted county; Cumbria, to produce some of the most dramatic and lasting images of nature. An acute observer of the continual change in the natural world, she took light and reflection, growth and decay, beaches and tides, pebbles and stones, clouds and shadows and manipulated them to capture a unique view of her surroundings. In addition to pen and ink, pencil, oils, watercolours, and pastels, a series of commissions enabled her to employ egg tempera murals, architectural designs, and industrial enamelling techniques.

James Bruce, 8th Earl of Elgin 2x7 signed ALS letter. James Bruce, 8th Earl of Elgin and 12th Earl of Kincardine, (20 July 1811 - 20 November 1863) was a British colonial administrator and diplomat. He served as Governor of Jamaica (1842-1846), Governor General of the Province of Canada (1847-1854), and Viceroy of India (1862-1863). In 1857, he was appointed High Commissioner and Plenipotentiary in China and the Far East to assist in the process of opening up China and Japan to Western trade. In 1860, during the Second Opium War in China, in retaliation for the torture and execution of almost twenty European and Indian prisoners, he ordered the destruction of the Old Summer Palace in Beijing, an architectural wonder with immeasurable collections of artworks and historic antiques, inflicting invaluable loss of cultural heritage. Subsequently, he submitted the Qing dynasty to the unequal treaty of the Convention of Peking, adding Kowloon Peninsula to the British crown colony of Hong Kong. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

19th Century French Ormolu two train mantle clock, the architectural case with foliate scrolls and surmounted by a twin handled urn, the 3in gilt dial with enamel Roman numerals and with French dumoulinneuf Paris movement striking on a bell, height 41cm.

A large quantity of assorted prints, including engravings after Robert Morison, late 17th century, together with other works, mainly botanical and architectural, and loose pages from 'Anno Regni Georgii Regis', 18th century (qty)

A collection of coloured prints depicting birds, including the Hooded Chat, the Gilded Cuckoo, the Pied Fly Catcher and the Stormy Petrel, together with further works, mainly botanical and architectural (qty)

A carved head of grotesque form - architectural salvage

Architectural salvage interest. A pair of large arched heavy quality pine and glass doors, H. 250cm W. 110cm.

FAMILLE ROSE PORCELAIN AND HARDWOOD TABLE SCREENQING DYNASTY, 19TH CENTURY the porcelain plaque painted with a multitude of officials and attendants in an architectural setting rendered in the traditional parallel perspective, mounted on a wooden stand elaborately carved in openwork with dragons and phoenix amongst ruyi cloudsplaque 43cm x 32cmProvenance:From a deceased French estate; collected in the 1980s.

A 19th century mantel clock in architectural brass case with ornate dial and striking French drum movement, height 11.5"

F. GuareliItalianate Architectural Studysigned, watercolour, 28cm x 23cm

A pair of carved mahogany putti, early 19th century, previously architectural or furniture supports, portrayed standing, one holding fish, the other with a crown of wheat and flask, with raised left arms, on later associated waisted rectangular section plinths, 71cm high, bases 19x21cm; a similar carved and stained wood model of the infant Bacchus, 19th century, portrayed standing with raised left arm, wreathed with ivy and holding a chalice, on later associated waisted rectangular section plinth, 74cm high, base 19x22cm

A FRENCH BELGE NOIR ARCHITECTURAL MANTEL TIMEPIECE WITH PRIMROSE ENAMEL DIAL, 25CM H, AN ART DECO WOOD CLOCK, CHIMING MOVEMENT AND AN ANNIVERSARY CLOCK

ENGLISH SCHOOL, MID 20TH CENTURY ARCHITECTURAL SUBJECTS, including Coventry, Halesowen, Welford on Avon and Tettenhall, 25 approx, several recto and verso, several inscribed, pencil, pen and ink and watercolour, 42 x 49cm approx, several other drawings and prints sold in portfolio (30 approx)++Minor creases and handling marks

A Victorian Gothic Revival oak bracket clock, 16.5cm shaped ogee brass dial with silvered chapter ring inscribed Thomas Yates, Preston, Arabic numerals, tracery spandrels, twin-winding holes, 8-day movement striking on a gong, the architectural case crested by ecclesiastical spires and flanked by cluster-columns, 65cm high, bracket en suite, c.1870

Goodwin (Thomas). Moses and Aaron. Civil and Ecclesiastical Rites, used by the ancient Hebrewes; observed, and at large opened, for the clearing of many obscure texts thorowout the whole Scripture. Which texts are now added in the end of the book. Herein likewise is shewed what customes the Hebrewes borrowed from Heathen people..., 5th edition, London: Printed by John Haviland, 1634, title lined to verso, bound with Goodwin (Thomas) , Romanæ Historiae Anthologia Recognita et Aucta. An English Exposition of the Roman Antiquities, wherein many Roman & English offices are paralleld and divers obscure phrases explained. For the use of Abingdon Schoole. Newly revised and inlarged by the Author, Oxford: Leonard Lichfield for Henry Crypps, 1638, title within architectural woodcut border, a few decorative woodcut initials, head & tailpieces, bound with Rous (Francis) , Archæologiæ Atticæ libri tres. Three Bookes of the Attick Antiquities. Containing the description of the Citties glory, government, division of the People, and Townes within the Athenian Territories, their Religion, Superstition, Sacrifices, account of their Yeare, as also a full relation of their Iudicatories. By Francis Rous scholler of Merton Colledge in Oxon., Oxford: Leonard Lichfield for Edward Forrest, 1637, final leaf of text cut down and lined to verso (also with ink annotation), bound without final blank(?) T4, occasional light toning and few damp stains throughout, later endpapers, contemporary calf, old reback, joints and extremities worn, spine rubbed, 4to (Qty: 1)Godwyn: STC 11955, 11964 & 21350.

A 19th century Danish mahogany cylinder bureau, the break top with inset cornice above a panel cupboard door enclosing a rack and shelf and drawer flanked by bode panel cupboard doors, enclosing shelves above a cylinder bureau enclosing a pullout writing surface and central architectural inlaid drawer flanked by inlaid deep drawer above smaller drawers inlaid with classical figures and six shallow drawers above three long drawers and on canted block feet, 115cm wide, 56cm deep, 200cm high

A set of four Regency gesso and parcel-gilt architectural columns, each with an Ionic capital, later simulated marble paint, but original cream paint and gilding beneath, 306cm H, and a set of four matching gesso and marble pilasters.Provenance: Removed from Westcroft Park, Chobham, Surrey.